Archive for April, 2009


The Unappreciated Art Of The Mash-up

Plagiarism is the worst crime that any artist can be accused of (in an artistic sense, of course). In the music world, however, the lines of ownership are blurred and the middle ground remains a chalky grey. In all genres now, sampling is as rife as it is a natural part of the creative process, and updating past classics in new ways is as common if not more so than actual original creativity.

Mash-ups are, I suppose, the ultimate extreme borne from the rise of sampling as an artform – in that mash-ups are, technically, samples and nothing else. By rights, I should hate them, as many music purists do. After all, they are kind of patronising to the original producers in the sense that someone is trying to improve on their work. They’re kind of patronising to DJs as they’re dictating the tunes that should be mixed together instead of allowing the DJ to choose themselves. They allow people with no production influence to take credit for the work of other people. And worst of all, the copyright law regarding mash-ups is vague at best.

In my early days, suspicious of the oncoming digital revolution, I was of the opinion that pre-made mash-ups were “cheating” on the basis that they were doing the DJ’s job for them. After all, I can remember the days that DJs would play Coco – I Need A Miracle alongside their copy of Fragma – Toca Me and get the Toca’s Miracle effect using two vinyl decks and a mixer, surely using a pre-made CD of it just takes the biscuit?

Originally though, in the late 90’s, mash-ups were few and far between and often done quite well. Chicane – Offshore ’97 (the vocal version) was another example borne from vinyl play that became an official release. But since these early days, the producers and the sound engineers have moved from their shadowy realms in the background to take front and centre stage. With the onset of CDJs and Ableton, Final Scratch etc, you no longer need the dextrous fingers, the virtual split down the centre of your brain and the ability to listen with one ear or the other instinctively, or your inbuilt bpm counter. Nowadays you need your technical skills to do all the hard work for you, and with a small bit of practice, anyone can beatmatch and produce a club-worthy set without nearly the same complications you had 10 years ago.

To say that the DJ market has been saturated over the past decade is a massive understatement. As a rough estimate and in the trance genre alone I would guess that the supply of DJs actively seeking gigs has increased something between 12 and 15-fold. Compare this with the number of club-nights which has dropped dramatically since the turn of the century, and considering that club-night longevity has also plummeted, you’re left with a really bad case of “Too many cooks”.

This change in the inertia of the scene has had many wide-reaching consequences regarding the overall culture. No one factor is responsible for the changes but all factors have had their part in it. Ten years ago in a nightclub of 1000 people you’d have maybe 30 people who could DJ and 970 people who loved the music. Nowadays the split would be something like 350 DJs and 650 people who love the music.

My go on the decks next!

My go on the decks next!

Don’t get me wrong, not all the changes over the past 10 years have been bad – there are many benefits to the digital revolution. Cost, convenience, efficiency, ease, creativity – because of the massive supply of DJs fighting for position, one thing that’s certainly become a far more important factor now is studio prowess. It would be unheard of now for any DJ to make a breakthrough without first having production success, as Eddie Halliwell did. These days, club line-ups are often a three-pronged attack of 1) Big Name, 2) Resident and 3) Latest Star Producer (who can hopefully mix).

It’s certainly still a promoter’s market out there – only recently I learned of the widespread use of the tactic for promoters to sell tickets that owes a lot to the writing world’s “vanity press” scheme. “Vanity press” involves those adverts you sometimes see in newspapers asking for writing submissions for poetry/short story collections by private publishers. What happens is, upcoming writers submit their poems/stories to the publisher, who then publishes a collection of them – only a small run, mind, you don’t get to see them in Waterstones or anything. But the publisher does then write back to everyone who submitted a story/poem, offering the book for sale. Upcoming writers want to see their names in print and get their families and friends to buy copies as well – and hence will order several copies each. Publisher covers costs, writers get published. No royalties, no fame, no multi-million dollar movie deals, just a self-sufficient industry based on mutual benefits.

There are now some, possibly many, club promoters (not all, I must stress) who offer gigs to DJs on the basis of them selling so many tickets for the night, rather than any technical DJing ability. Only in a market so saturated would this even be possible, and I suppose you can’t really knock the promoters for it, as they’re just reacting to the slow clubbing market, covering their costs.

But I still believe it shifts the moral compass of the whole process. I’ve always believed that being booked for any gig is a privilege on the same level as someone inviting you into their home as an honoured guest. Whilst I’ve only ever been paid for one of my gigs I do them nonetheless because I love the music and I love playing it to people. Often I turn up at clubs for gigs on my own as my own personal entourage have grown tired of clubbing or simply grown up, as I’m often told I will do one day! But DJs should respect clubbers for being invited, just as promoters should respect clubbers for demanding the night in the first place. As such, I’ve always believed DJs should only attend one gig on a night and attend the night as they would if they were a clubber themselves.

However, I digress from my original point. The point is that DJing is no longer simply a case of learning the skill and then transferring the skill into a club and learning to read a crowd. The technical skill of DJing was only ever about 10% of the process (IMHO) – crowd-reading is something that only comes through practice (which is the other 90% of the process). But being the best crowd-reading, technically skilled DJ on the planet is now irrelevant without the means to promote yourself. Originally you did this bit by bit, through reputation, word-of-mouth, regular and consistent gigs, building a following, taking a chance here and there, defining your sound, always leaving them wanting more.

Nowadays, you just need to make a tune. Or two, or three, or a few, and get them play-listed by some top DJs. If you can do this, you’re more likely now to get gigs than anyone else – and here’s the true irony – whether you can actually DJ or not.

So, what’s our average ordinary everyday aspiring DJ to do to raise themselves above the parapet? Well, hours upon hours of slaving away over Cubase, Logic, Reason, Ableton – along with the purchase of studio equipment and VST’s. Alternately, you can pay for someone else to engineer your tune for you (costs around £250 a day). Both these choice are hard work and/or expensive, which leads us nicely onto magical option number 3…

Mash-ups! You could call it production on the cheap. You could call it extreme sampling. You could call it sacrilege (and people do). BUT!!! If you do it right and manage to make one that’s excellent, you might just have a shortcut for yourself into the playlists of DJs everywhere. It’s easier than making an original tune because there’s none of the midi engineering or the hours spent hunting through sound samples, and similarly, the tunes you use are more likely to be known by your audience already.

Technically, there’s not a lot different from making a mash-up to making an actual tune – it’s still very fiddly, very time consuming, and you still need to EQ properly, time-stretch the samples and so on – there’s still an entire creative process involved. And you’re still arranging sound samples where you want them to be, blending them as you would when producing an original tune, and so on. Technically you’re still placing original samples onto a “blank canvas” in order to create something greater than the combined sum of its’ parts.

No, they don’t always work, and yes, when they’re done wrongly they actually sound painful. But it wasn’t until I realised that the ratio of mash-ups that I found didn’t work was probably the same as the ratio of original tunes that I don’t like, which I happen upon during my shopping expeditions. On average, I’ll like about 1 in every 10 tunes I listen to when shopping, and I might buy 1 in 15 or so – following which maybe half of these will wind up in one of my shows, and fewer than a quarter of those will wind up in my demo mixes. Likewise, with mash-ups, I might listen to 50 of them over a month or two and a couple of them might wind up in a demo.

What I like about them is the approach to the tune from an entirely new angle, which other DJs and clubbers/listeners might not have had before. Whether it’s something as simple as putting vocals from one tune over another original, or whether it’s a complex web of interlinking chords and sub-melodies between the two, the ultimate aim of a mash-up is to produce something that is better than both original tunes on their own. Or at least as worthy.

Mainly I think I like them because so many DJs are still adverse to playing them. I confess I have a soft spot for any tune ignored by the rest of the world, just as I’m less likely to get obsessive regarding a tune that everyone has played and gotten bored of within a fortnight. But sometimes I just don’t understand why mash-ups aren’t more popular than they are.

One of my favourites so far from this year is Oceania vs First State – Always Falling (Gomez92 bootshup), which is essentially the vocals from Falling over the Stoneface & Terminal remix of Always. Originally I found both tunes very unsatisfying – the original of Falling combines glorious soaring vocals with a total anti-climax of a breakdown and none of the remixes came remotely close to fulfilling its’ potential. Similarly, since Oceania’s first tune Never Forget was my favourite of 2008, their follow up was always going to be a let-down for me. Stoneface & Terminal’s mix is good, functional, but lacks a certain emotional punch during the breakdown. However, when the two tunes are combined in Gomez92’s bootshup, suddenly both originals find and surpass a potential I knew was there already. However, to date, I think I’m still the only person to support the bootshup, whereas the originals of Falling and Always both are still widely supported in their disappointing forms.

Could the same effect as the bootshup still be made by using the two originals and mixing them live, in the old-school method? Probably, yes, if you had the technical skill. The truth is, I’ve never tried, and therein lies the underlying truth behind the digital revolution.

Humanity seeks efficiency and ease in order to secure the maximum return for the least amount of effort. It’s how we invented capitalism and how we managed to not get killed by predators on the African savannah thousands of years ago. It’s why I write this blog using a big chunk of plastic and microchips instead of a printing press the size of a car. And it’s why, when faced with a saturated DJing market in which the high standards are always being raised, that DJ’s will turn to the likes of Ableton to perfect their sounds rather than our hands, ears, and constraints of real time.

I fully accept that in 20 years no-one will DJ in the traditional sense at all any more. This makes me kind of sad but equally kind of lucky to have been around at a time when I could do it. I’ll always love the fact that I learned to DJ with vinyl and then moved onto CDJs, rather than just learning on CDJs. In 20 years though, I still expect that people will be making mash-ups, and I still suspect my ratio to be about the same as it is now!

People sneer at mash-ups normally, I think, because most of them are rubbish, or badly made, or badly conceived. But it wasn’t until I realised that the same was also true for original tunes that I looked at mash-ups differently, and began to appreciate that they are a valid art-form in themselves. I only hope that in time, others can learn to see them the same way, and perhaps the unappreciated genius of the likes of XiJaro, Victoria, Rob G, JACS, Gomez92, Vexilium, Le Grand Renard, MDB, Luke Blanc, and all the regular masher’s I love to support, might find some of the success they deserve!


The Myth Of Genre Evolution

If I’d been given a fiver every time I’d heard someone say to me that trance isn’t as good as it used to be, I’d have retired from working by now and have far more time free to spend in the studio proving them wrong.

People often talk about how “the genre has evolved” since its’ early conception, without ever actually stopping for a moment to think about what they’re saying. Or maybe they’ll say how “trance was amazing back in (insert random year here) but it’s all gone downhill now.” Perhaps you’ve heard someone moan about how all trance is boring these days, or had some self-appointed sage tell you about how they “used to be into trance but prefer progressive now”. Maybe you’ve even had my all time favourite – “trance is a gateway genre into EDM but it’s just a phase before you discover more intelligent music”.

Down the years I’ve lost count of the number of times I’ve had to have these arguments, to the point that I’ve now gotten bored of the constant frustration I’m faced with when doing so. The final one of these, concerning “intelligent music” is such a ridiculous oxymoron that I’ll deal with that in a separate topic of its’ own one day. I accept that there are some people in the world who just don’t get it, refuse to get it, and likely will one day die never having gotten it. Once this might have saddened me, but ultimately I suppose it’s their loss and not mine.

Let me try and put this in simple layman’s terms. “Trance” is not an object, or a living entity, it is a word used to describe an abstract concept that doesn’t change.

For example, if you went back 500 years you wouldn’t see as many houses as you do today, but you would see some of them. Over the last 500 years, building methods have evolved, building technology has evolved, builders have evolved, as have tenants, and the rest of the world has evolved with them. But the concept of the “house” has stayed the same. Still it is a building with 4 or more walls mainly intended to shelter people from the elements. In 1000 years from now, assuming humans haven’t evolved beyond the need for physical form yet, a house will still be a building with 4 or more walls mainly intended to shelter people from the elements.

I'm simple yet functional

I'm simple yet functional

It’s a classic misconception that musical genres change, because everything else is changing around the genre. Specifically, music producers evolve, music technology evolves, clubbers and music enthusiasts evolve, and the world in general evolves. Yet for some reason there are still people who think that everything stays the same but it is the genre that evolves around them. This modern-day flat-earth syndrome is prevalent across EDM enthusiasts and many of them ought to know better.

I'm complicated but still functional

I'm complicated but still functional

Down the years, many many many people have tried to define all the genres of music by example and description. The most famous is probably Ishkur’s version which I personally disagree with almost entirely. The truth is though, that there is no standard definition for what trance is, because it’s quite a wide spectrum, but essentially it’s made up from 3 elements – a 4/4 beat, synths, and melody. People will disagree with me on this (and they often do) but the point is that these are not the only elements in trance, they are just the essential ones. In the same way, the 3 essential ingredients to pizza are dough, sauce, and cheese – but you’ll rarely get one with just those 3 elements.

I am a static, unchanging concept

I am a static, unchanging concept

Often I get told that “pop” music can be defined the same way, and indeed there are many similarities between trance and a lot of “pop” music. However, “pop” is invariably slower in bpm, and more to the point, trance is a genre of music that revolves around the music – the orchestration, the arrangement, the tune, the melody etc – whereas in “pop” it is invariably the music that revolves around a catchy vocal. Does this mean that vocal trance is pop? Sometimes but not always – it depends whether the vocal dominates the track or not. Often trance producers use a vocal as just another instrument to create atmosphere – it’s rare that a vocal will become the lead element of the tune (and in cases where it does, they are often referred to as “cheese”). It’s also the reason why, if a trance tune wants to get into the pop charts, it will more often than not be given vocals over the top, usually to the abject horror of trance purists.

The point is though, before I go completely off topic, that the three elements of trance are the same now as they were back in 1991/92 or so when the genre was first emerging. Even prior to it emerging and before it even had a name, the genre still existed as an abstract concept, waiting to be unveiled. Stories of the emergence differ wildly – a bastardisation of Detroit techno by the Germans, natural successor to acid house, the culmination of 15 years of Kraftwerk, 80’s electro without the vocals – but if there’s anything we can be sure about it’s that the Germans who made the first big impact with it, and that it contained my three essential elements then just as it does now.

The fact is though, that EDM generally was emerging from the late 80’s in a big way, in various different forms, and it’s entirely likely that no one person or artist is responsible. The major change was the availability of electronic synths and other forms of electronic music production in the 80’s, when the keyboard became the new guitar. I can remember the Pet Shop Boys appearing on TV in the mid-80’s and they always had a big wall of machines behind them to make their sounds, machines that doubtless became as obsolete as the 1960’s supercomputers that used to take up an entire room but would nowadays be out-processed by a mobile phone.

I laugh at you, 1960's supercomputer

I laugh at you, 1960's supercomputer

EDM today is vastly different to the EDM of 20 years ago, that much is undeniable – but the evolution has been a technological one and a personal one. However, musical genres remain static and unchanged. Jazz is still jazz, classical is still classical, rock is still rock, and trance is still trance. All genres have been interpreted differently down the years, with various offshoots and tangents to the originals, but this is not evolution, this is reinterpretation.

The difference is subtle but vitally important. Many artists have combined genres, split them, or done their utmost to remain undefined by them, and in doing so, many have created genres they can call their own. Robert Miles, for example, was widely imitated, and when he first emerged, was described in the music press at the time as “dream house”, though history now defines him as trance. In the mid-90’s, there was a spate of what you could probably define as “epic progressive” trance from the likes of BT, Sasha, Digweed, Blue Amazon and so on, when 15 minute tracks made a comeback (many DJ’s described them as “toilet tracks” – not because they were shit, but because they were ideal to put on if you needed to rush away from the decks to go to the toilet). Nowadays though, none of them make music which could be described as “epic progressive trance” in any sense of the word. This is not because EPT has died, or evolved, or become something else – it is because the producers have moved onto other things. Anyone could turn around today and make an epic progressive trance tune, and the definition of what it is hasn’t changed.

The fallacy is perpetuated by the insistence of people to define producers by a musical genre, rather than tracks themselves. Invariably, music producers are wildly obsessive music enthusiasts in general, otherwise they wouldn’t have spent so much time and money down the years in trying to make music. But music enthusiasts are such that they appreciate a wide spectrum of music, of many genres, and as such will take their influences from a huge field. Thus it follows that anyone obsessed enough to lock themselves away for days and weeks on end in a soundproof room trying to turn the noises in their heads into reality will not just constantly repeat themselves throughout their careers. Similarly anyone with a wide appreciation of music in general will not stick solely to one narrow element of music.

So it is natural that music producers will evolve, just as it is inevitable that music technology will evolve. So why is it hard to grasp that producers can move from one genre to another? My favourite artist album of all time is Moby’s “Everything Is Wrong”, where in the space of 13 tracks he managed to cover opera, rock, thrash metal, trip hop, classical, happy hardcore, ambient, trance, and then some. The strangest thing about the album though is that all 13 tracks have the distinctive Moby sound to them, which although indefinable is probably true for every track on every album he’s ever made (and I have them all).

I believe that it is this kind of distinctive artist “sound” that confuses people into thinking that genres evolve. If Simon Patterson turned round and made a tune with Nine Inch Nails, the chin-strokers would marvel at the rock/dance “fusion” and once again prophesize about the death of dance music as they have been doing since 1987. NIN fans would probably be horrified but secretly enjoy Patterson’s snarling basslines, whereas Patterson’s fans probably liked NIN already. “Isn’t it incredible about how trance has evolved?” people would say, “From obscure German bleepy noises to the modern mainstream, collaborating with real bands”.

Hi Trent, you wanna make a choon?

Hi Trent, you wanna make a choon?

Yet throughout this whole time, “trance” will have remained the same. Just as “purple” would remain the same, “house” would remain the same, “pizza” would remain the same, and so on, and so on.

>n the example above though, the chances of a Patterson/Reznor collab being a trance tune is pretty slim to non-existent. It would, in all probability, be another genre of music altogether that may already have a name or not. However, because of Patterson’s history from the days when he did make trance, it’s likely that trance fans and DJs would wind up playing the tune as a result, and lazy journos from the music press will probably describe it as such. The irony is though, is that had it been made by a producer with no reputation, however, it would more than likely pass them all by, and would not be referred to as trance.

OK, just promise me it won't be any of that trance shite!

OK, just promise me it won't be any of that trance shite!

Chances are that I will discuss the matter of genre in more detail in the future. I’d go into it more now only I’d probably just keep going until WordPress gave up or you died of old age. Suffice to say I do think about these things a fair bit, often whilst I’m actually mixing or am in the studio. I probably think about trance as often as I think about sex, which I suppose is quite scary when you think about it…


Greetings And Salutations

I don’t have a website. I had one once but I had neither the skills nor the means to keep it updated, and I can’t afford to pay someone to do it for me. Being married now I can’t offer sexual favours to anyone to do one for me either.

Enter the joys of WordPress, when it suddenly struck me that I could post tracklists and download links to all my shows and sets here, without the need for an actual domain, website, or afore-mentioned skills!

It also gives me an excellent opportunity to occasionally spout my nonsense into the bottomless pit that is the blogosphere. Maybe people will even read it, perhaps it will even change their lives and perspectives on things, but I doubt it. In fact I’m sure it’ll only just demonstrate to people who might not otherwise be aware just exactly how strange I really am.

So my random ramblings will likely be occasional rather than regular. This site is all about my love affair with trance.

My love affair with electronic music in general has been long-winded to say the least, and I won’t bore you all from my first post by reciting 20 years of influences. But suffice to say that once I found my way to trance I never left it, and so more than half a lifetime later I’m still here, still obsessed, and (finally) no longer just some weirdo who makes people suspicious because he likes “computer music” instead of “real instruments”. Thankfully there is now an entire planet full of weirdos just like me.

I was taught to mix in 1999 by a guy called Andy Woodward, whom I lived with at the time, during that crazy summer that shall, for me, be forever Gatecrasher.

It will always be with me

It will always be with me

I’d pre-empted my purchase of a CD player many years earlier by starting my CD collection before I had one, so that when I finally got around to it, I had CDs to actually play. Similarly, I began to collect my own vinyl before eventually acquiring my own decks and mixer in 2003.

I’d make demo mixes onto an old tape-cassette recording deck. It was quite amusing in that my first decks used to play records slightly fast, and similarly, the tape deck would record things slightly fast – so my first few demos generally headed around the mid to high 140bpms. I was the guy who kept the 120 minute cassette tape industry going for a while until I eventually harnessed the power of the PC.

In early 2004 I managed to blag my first gig at a night called Energy at Club Zero, alongside the now relatively famous name of Kane Nelson, who was claiming his second gig that night. I’d always sworn that playing in a club was something I always wanted to do once, but admittedly, that night had a profound effect on me in the sense that it made me hunger for more.

A few weeks after the gig I spotted a post advertising for DJs as part of an online-radio station called DJ Source Radio, part of the now defunct but legendary DJ Source forums. As the station was in its infancy, as was the general state of internet-radio at the time, I was able to get myself two weekly slots on the schedule.

When asked what I wanted to call the two shows, I had no idea, and hadn’t given it any thought at all. But as I DJ under the name Lazarus (a story I’ll get to another time) and I’d drunk a couple of vodkas at the time I received the email, I was able to brainstorm the two show names in a couple of minutes. Just as well I didn’t get three shows as I only came up with two suggestions.

The shows were called The Rebirth Session and Back From The Dead, and for nearly five years now, I’ve been doing both shows periodically on various stations, since DJSR took its’ final bow.

In the early days it was all about fun and playing for a handful of people (sometimes 1 or 2, occasionally over 30) but with club gigs so hard to get it was the next best thing, and certainly preferable to playing records to a wall.

I guess this site is the story of everything since then really! Enjoy 🙂


Emotional Edition Part II – Back From The Dead Episode 108 (6th April 2009)

After the stunning sucess of the first Emotional Edition, during the forum thread for the show I’d agreed to follow it up the next month with another special – originally I’d only ever planned to do the first one, and that hadn’t been exactly planned as I only got the idea for it about two days before the broadcast itself!

But if I’m nothing else I’m a man of my word, and so I duly followed up the next month with a second, more planned, Emotional Edition, that also over-ran my time limit by way more than I can get away with! So I reluctantly edited out the gorgeous intro track from the broadcast version and so you’ll never actually hear this full and complete version of the show on AH.

Back From The Dead Episode 108 (6th April 2009) – Emotional Edition Part II

Armin van Buuren featuring Justine Suissa – Never Wanted This [Armind]
Lustral – Because Of You (Magdelayna ‘Everlasting’ vocal mix)
Amex – Back In The Sun (Saint Rush remix) [Emotive Sounds]
Tragida – My Pinky Lady [Daif]
Likuida – Love (St Rush remix) [Emotive Sounds]
Fire & Ice – Souvenir De Chine [Bonzai]
Ian Holing – Blue Wave
Solar Stone – 7 Cities (Armin van Buuren remix) [Lost Language]
Airbase – Lucid (Ronny K Emotion remix)
Andy Blueman – Neverland [Perceptive]
Matti Kotala – Aedena (Luke Terry remix)
Unknown Source – Cruentus [Afterglow]
Rapha – Pandora (Daniel Kandi Emotional mix) [Sensate]
Derek Recay – Cry To The Sky [Proxoz]
Andy Blueman – Nyctolopia (club mix) [Perceptive]
Cold Blue & Del Mar – 11 Days (Sebastian Brandt remix) [In Trance We Trust]
Electrovoya – Whispers (Factoria remix) [Fundamental]
Pervading Call Two – No Time To Rest (Ace da Brain remix) [Parabolica]
Ace da Brain – Trinity (Hard mix) [Venom]
Darren Tate – Fall From Grace [Mondo]

BFTD Episode 108 – Emotional Edition Part II

Suffice to say, I’d only planned to do this second show as a special as well, but I was duly once again encouraged to make it a trilogy 🙂 In the end I’m glad I did as well, because I probably enjoyed part III the most!

That said, the vote for this show in the forums is without a doubt my proudest performance on AH, 51 from 51 is just insane and I owe every one of you a beer 🙂


The Rebirth Session Episode 167 (3rd April 2009)

The Rebirth Session Episode 167 (3rd April 2009)

Magdelayna – Tabatha’s Wish
Vadim Zhukov – Evolution
Kosheen – Catch (Atmotion’s Progressive mix)
Gabriel Batz – Apparitions [Ora]
Rank 1 vs Ernesto & Bastian – L.E.D. Brain (Victoria’s Bootleg)
Simon Patterson vs DJ Hooligan – Different Feeling Now (Soundwave minimal mashup)
Simon Patterson vs Mr Sam – Different Cygnes (DarkMemoria remash)
Cosmic Gate vs Signalrunners – Not Enough Time For These Shoulders (Raneem and Krow mashup)
Magdelayna – Glisten
Robert Vadney featuring Di – Blind [Elliptical]
Lisa Miskovsky – Still Alive (POL remix)
Skywings – Teotihakuan [Crystal Source]
Tragida presents Colorspace – Love Express
Sequence 11 aka Sterbinsky – Just My Kind (Adam Szabo remix) [Shah Digital]
Sergei Makarenko and Artem Lyalikov – Point Break (Oliver Carr remix)
Sclavonia – Thalia (Hensha remix) [Addictive Global]
7 Skies & Static Blue – Central Park (Nitrous Oxide remix) [Breathe Digital]
Alan Morris – Pegasus (Sequentia remix) [Transistic]
John O’Callaghan featuring Jaren vs Elevation & Einar K – Surreal Biscayne (Dewesh mashup)
Guiseppe Ottoviani & Marc van Linden vs The Prodigy & Alex Gaudino – Watch My Bitch Out Until Monday (Will Karlson mashup)
Karybde & Scylla meet Halcyone – Epic Cycle (ReOrder remix) [Timeline Music]
TrancEye – In A Forgotten Place [Crystal Clouds]
Airbourne Performance presents Airbourne Angel – The Unit (Stuart James remix) [Nu-Depth]
ReOrder – Indecisive [Diverted]
Update Project – After The Rain (Haris C remix) [Deepblue]
Atlantide – Full Immersion [Trance National]
Vascotia – Calibro (Sonicvibe remix) [Somatic Sense]

RS Episode 167

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