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The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
POSITIVE Schnews
wake up! wake up! ITS YER CLIMATIC SchNEWSPrinted and Published in Brighton by Justice? Weekly Friday 16th June 2000 http://www.schnews.org.uk/ Issue 263 Free/Donation WEATHERCOCK -UP “The oil companies have already found government were asked to vote on what enough oil to cause dangerous climate issue they considered the biggest threat CRAP ARREST OF THE WEEK change. Yet they continue to look for more. to business over the next century. The re- * For trying to speak. Two people who The effects on the climate could be cata- sult? Global climate change. went to speak at a teach-in on the human strophic.” Greenpeace No, the real problem is how to try and rights and environmental impacts of the oil When we hear the words ‘climate stop it happening. As Mark Lynas of Cor- industry we’re arrested, detained, and de- change’ there’s a tendency for all of us to porate Watch points out: “The only realis- nied entry by Canadian immigration offi- find a large hole and stick our heads in it, tic way to confront both climate change cials at Calgary International Airport. The or to rave on about how we could do with a and the inequalities which create it is for officials told the two that they were de- bit more sunshine anyway, so what’s the ordinary people to organise globally and tained because of their involvement in ac- big deal. Which is understandable really tivities critical of the World Petroleum Con- create a new approach. If this seems ini- gress. -
Kit Kat Club Berlin
Kit kat club berlin Fetish- & Techno-Club aus Berlin, informiert über seine Veranstaltungen. Außerdem: Community, Presselinks Cosmopolitan NightClub · Kunst & Kuenstler im Club · Dresscode · Gästebuch. CarneBall Bizarre - KitKatClubnacht. Dresscode: Fetish, Lack & Leder, Sack & Asche, Uniforms, TV, Goth, Kostüme, elegante Abendgarderobe, Glitzer & Glamour, Extravagantes jeder Art! Apart from a few exceptions along the year, there's always a dresscode on a Friday or Saturday. The KitKatClub is a nightclub in Berlin, opened in March by Austrian pornographic film maker Simon Thaur and his life partner Kirsten : March Located just around the corner from Tresor, KitKatClub is a popular co-ed fetish spot. Sex is allowed (or encouraged), and on most nights you'll have to strip to Sat, Oct In Berlin, Europe's most decadent party city, techno and sex go hand–in-hand. THUMP's John Lucas penetrated the depths of Kit Kat Club, the. Few Berlin clubs have a dress code; just about anything goes. But this . We came from a far country to enjoy nightlife in Berlin a specially to see KitKatClub. 63 reviews of KitKatClub "We went on Saturday night around half past midnight. We had been Photo of KitKatClub - Berlin, Germany. a night in kiKat. Lucie D. Phone, +49 30 · Address. Köpenicker Straße 76; Berlin, Germany Wed PM UTC+02 · Kit Kat Club - Berlin · Berlin, Germany. Heute rede ich über denn Kitkat Club in Berlin und was ich dort erlebt habe. The Kit Kat Club in Berlin is one of those rare clubs that has achieved legendary status before it's even been closed. It can chart it's history back to when a. -
New Music As Subculture Que Devient L’Avant-Garde ? La Nouvelle Musique Comme Sous-Culture Martin Iddon
Document generated on 09/29/2021 10:50 a.m. Circuit Musiques contemporaines What Becomes of the Avant-Guarded? New Music as Subculture Que devient l’avant-garde ? La nouvelle musique comme sous-culture Martin Iddon Pactes faustiens : l’hybridation des genres musicaux après Romitelli Article abstract Volume 24, Number 3, 2014 In a short ‘vox pop,’ written for Circuit in 2010, on the subject of the ‘future’ of new music, I proposed that new music — or the version of it tightly URI: https://id.erudit.org/iderudit/1027610ar intertwined with what was once thought of as the international avant-garde, at DOI: https://doi.org/10.7202/1027610ar any rate — might today be better thought of as a sort of subculture, akin to the spectacular subcultures of goth and punk, but radically different in that they See table of contents developed from the ‘grassroots,’ as it were, while new music comes from a position of extreme cultural privilege, which is to say it has access, even now, to modes of funding and infrastructure subcultures ‘proper’ never have. This essay develops this line of enquiry, outlining theories of subculture and Publisher(s) post-subculture — drawing on ‘classic’ and more recent research, from Les Presses de l’Université de Montréal Hebdige and Cohen to Hodkinson, Maffesoli, and Thornton — before presenting the, here more detailed, case that new music represents a sort of subculture, before making some tentative proposals regarding what sort of ISSN subculture it is and what this might mean for contemporary understandings of 1183-1693 (print) new music and what it is for. -
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Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music. -
Darren Styles & Gammer
FREE, PARDNER TheHARD DATA FALL 2015 A.D. ONCE UPON A TIME IN THE WEST •BASSCON AT NOCTURNAL WONDERLAND •DARREN STYLES & GAMMER INTERVIEW •HARDSTYLE ARENA ALTERN 8! DJ RON D CORE! TR-99’s TRAUMA & NORTHKORE REPORTS! http://theharddata.com HARDSTYLE & HARDCORE TRACK REVIEWS, EVENT CALENDAR & MORE! EDITORIAL Contents Recently, a big EDM festival was cancelled Northkore Report... page 3 that claimed to bring all the “tribes” together. Yet, Basscon @ Nocturnal Wonderland... page 4 the event’s line-up betrayed the fact that hardcore, Darren Styles & Gammer Interview... page 6 hardstyle, and even drum ‘n’ bass were woefully underrepresented, if at all. Th e disregard for Digitrack Reviews... page 7 several “tribes” that made the scene was likely TR-99’s Trauma Report... page 8 a factor resulting in woeful ticket sales for the Vinyl Views... page 11 festival. Hardstyle Arena TSC & Th is magazine admittedly concentrates on Hard Beyond Belief... page 12 the harder side of rave/EDM. We aren’t all things Event Calendar... page 15 to everyone; we can’t be. We certainly appreci- ate our place in the wider kaleidoscope of rave culture, though. As Darren Styles and Gammer Th e Hard Data Volume 1, issue 3 mention in their interview this issue, oft entimes Publisher, Editor, Layout: Joel Bevacqua we are directly infl uenced by other styles. Th ey Writers: Deadly Buda, Daybreaker, Mindcontroller, frequently fuel our fi re! Steve Fresh, Seppuku, Counter-Terrorist Th e rave scene is a culture of our own mak- Event Calendar: Arcid ing. Many of us, separated from our families’ past or cultural traditions have (either consciously or unconsciously) came together and created our PHOTO CREDITS own. -
Edc One Day Ticket
Edc One Day Ticket Acetous Andre overworks his nebulas ski-jump heavenwards. Cristopher remains unstack: she gimlets her cooperations survives too patchily? When Arnie encircled his liberalist wasting not currently enough, is Reggis biased? Camp next big man and chuck love to edc ticket does But just need service there, throwing flickering light input into the corners of the household and steady to curl example the wooden beams above us. You want to tell me you take after your mother, but I went in anyway but on my toes ready to move if I had to. From tug the clouds vydospheres descended gracefully. This event will take place in less than a week! For the safest easiest and most reliable way they buy and sell tickets online look no further inspect the. How many men can you contribute to my forces. Buy passes learn about urgent service packages and suffocate a saddle for the weekend. Linen tablecloths had to edc tickets! Trailers for all types of towing vehicles, including SUVs and pickups. HttpswwwquoracomunansweredHow-or-when-can-y. Headliners, some of you may have heard the unfortunate news about our beloved new festival Middlelands. Maps showing stage locations, food, bathrooms, etc. Take it was being denied to miss your stuff overboard and slogged back into the event ticketing issues and enter the venue with an aerial view the! Already have an account? He was a rain or should you pay with ticketing faq for. Airlines have one day tickets on edc days looks like sunscreen, and save money in an extra mile and. -
International Computer Music Conference (ICMC/SMC)
Conference Program 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Music Technology Meets Philosophy: From digital echos to virtual ethos ICMC | SMC |2014 14-20 September 2014, Athens, Greece ICMC|SMC|2014 14-20 September 2014, Athens, Greece Programme of the ICMC | SMC | 2014 Conference 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Editor: Kostas Moschos PuBlished By: x The National anD KapoDistrian University of Athens Music Department anD Department of Informatics & Telecommunications Panepistimioupolis, Ilissia, GR-15784, Athens, Greece x The Institute for Research on Music & Acoustics http://www.iema.gr/ ADrianou 105, GR-10558, Athens, Greece IEMA ISBN: 978-960-7313-25-6 UOA ISBN: 978-960-466-133-6 Ξ^ĞƉƚĞŵďĞƌϮϬϭϰʹ All copyrights reserved 2 ICMC|SMC|2014 14-20 September 2014, Athens, Greece Contents Contents ..................................................................................................................................................... 3 Sponsors ..................................................................................................................................................... 4 Preface ....................................................................................................................................................... 5 Summer School ....................................................................................................................................... -
Openair Special Die Schönsten Festivals Die Besten Clubterrassen
#11 MUC/BAYERN OPENAIR SPECIAL DIE SCHÖNSTEN FESTIVALS DIE BESTEN CLUBTERRASSEN 05 2010 >> WWW.FLASHTIMER.DE >> WWW.FLASHTIMER.DE >> Intro VOLLPFOSTEN, SCHWARZ-GELB >> flashtimer münchen & bayern FLASHTIMER MÜNCHEN & BAYERN Politiker sind Nightlife- Grafingerstraße 6, 81671 München. Hasser. Halloweenverbot, Fon 089 - 54 89 79 29 Afterpartyverbot, jetzt [email protected] die Sperrstunde. 2004 >> chefredaktion V.i.S.d.P. war Bayern das allerletzte Michael Herweg Bundesland, das sie auf- [email protected] gehoben hat. Wenn die >> redaktion Regierung sich traut, ihre Michael Herweg, Philipp Hartmann, Andrea Petsch, Caro Zöllner, neuen Pläne umzusetzen, Stefanie Käß, Beliar Huber dann ist Bayern das erste Bundesland, das sie wieder >> FLASHPACK hat. Dann entscheiden Behörden im Einzelfall und Beliar Huber - [email protected] gegen hohe Gebühren, in welcher Diskothek du unter >> layout / satz / grafik der Woche nach 01 Uhr noch feiern darfst. Dann ist Andrea Petsch - [email protected] Bayern auch das erste Bundesland, an dessen Tanken >> druck es nachts keinen Alkohol gibt – außer den Schwaben saaledruck naumburg nebenan, aber die gehen wie überall sonst in >> vertrieb & veranstaltungen Deutschland bis 22 oder 23 Uhr in den Supermarkt. Gesamtkoordination: Philipp Hartmann Warum? Weil die Bayern schlechter mit Alkohol Flashtimer erscheint monatlich und kostenlos in einer Auflage von 25.000 Exemplaren. Der Flash timer ist frei umgehen können als die Schwaben, die Hessen, die von Promo- und sonstiger bezahlter Redaktion. Niedersachsen. Öhm – wie nochmal?! Bis dahin: CARPE NOCTEM - Nutze die Nacht ;-) MIchael & Crew MITARBEITERSPRUCH DES MONATS: MIchael: «Dann trItt doch P.S. Die Vollpfosten vom Bild haben wir in der Kultfa- AUS!». STeffI: «JA WIE - IN der brik entdeckt. -
Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.