Trance Music Club v2

Federation - Quiero (Original Mix)

Aitra - StoneHedge (Tranceangel Techlifting Remix)

Hans Zimmer - Time (Robert Lyttle's Tribute Mix)

Bryan Kearney - The Nettle (Original Mix)

Araya & Mark Dreamer - Circle Of Peace (Moonsouls Remix)

PM Brothers - Coming Home (tranzLift Emotional Remix)

Federation - Quiero (Beatman and Ludmilla ReRub)

Aly & Fila feat. Catherine Crow - It Will Be Ok (Arctic Moon Remix)


solarstone - touchstone (aly & fila remix)


Vast Vision - Ambrosia (Arctic Moon Remix)


Meridian - Smile (Arctic Moon Remix)


Tom Colontonio feat. Cibon - The Sun


And also some of the long-loved sound from old NFS

Romolo Di Prisco - Sirius 909 (OST Need For Speed ​​III Hot Pursuit)


Rom Di Prisco - Paradigm Shifter (OST Need For Speed ​​IV High Stakes)


Rom Di Prisco - Cygnus Rift (OST Need For Speed ​​IV High Stakes)


Rom Di Prisco - Romulus (OST Need For Speed ​​III Hot Pursuit)


Rom Di Prisco - Cetus 808 (OST Need For Speed ​​III Hot Pursuit)


Rom Di Prisco - Aquila 303 (OST Need For Speed ​​III Hot Pursuit)

A bit tired of trance lately :) There was a kind of oversaturation. I was drawn to more measured things.

GTAman
Happens. You can go to Ambiand or something like that, so to speak, to relax.

Ambient dub can be listened to.

GTAman
Here you go, if I understand correctly

Yes, like that, but like that - in the future. Now this is closer to me: I

suggest continuing the conversation here.

InnerSelf - Revenge Of The Sun (Underground Alien Factory, 2009)

01 Revenge Of The Sun

02 The Earth

03 Different Horizont It's been a

long time since Goa trance has poked me like that.

Andain - What It's Like (Sneijder Remix)


and also another version of
Andain w. Sneijder vs. Luke Terry & Focus One w. Immersiv - What It's Spring Rain [Alpha-Dog Fusion]


Beautiful relaxing track
Denis Kenzo feat Sveta B - Lullaby Lonely (Progressive Mix)


And again our Ukrainian creativity from Photographer

Luke Terry ft. Chris Turner - Drifting Through Darkness (Photographer Remix)


Danyella & Cygnus X-1 - Snow Leopard (Photographer Remix)


Photographer-Kervansaray


Photographer - Airport


Mash-Up with Armin-Shivers
Photographer Vs Armin van Buuren ft Susana - Airport Shivers (Armin van Buuren Mashup)

trance died ...

Mainstream - practically yes. Alive, in fact, with one uplift.

----------
Found this track just now. The melody overwhelmed my brain more than completely.

Sunlounger ft Zara - Crawling (DJ Shah Rework) A


timeless hit from Solarstone.

Solarstone - Seven Cities (Pure Mix)


New track from South African Protoculture.

Protoculture - Laguna (Original Mix)

Mainstream - practically yes. Alive, in fact, with one uplift.
Which is the same from year to year. Uplift is very beautiful, but monotonous. It is not possible to listen to it all the time. IMHO.

Yes, that's the problem. I like it very much in form, but rarely really catches and is remembered by the content.

But just the same uplift suitability.

Running Man - Amnesia (SoundLift's Emotional Take)

GTAman, I was put in by old school trance, in particular Dance 2 Trance. Advise more similar.

mindless logic of machine
I don't listen to the most old school. From the old, I mostly like tracks from the second half of the 90s - the first half of the 2000s. Like this:

Solar Stone - The Calling (Still Waters Mix) (1996)

Airbase - Runaway (2002)

Mind One feat. Rena - Star For Me (Original Dub Mix) (2004)

Red Star feat. Tamela D'Amico - I Can't Sleep (Extended)

Young Parisians feat. Ben Lost - Jump The Next Train (Kyau vs. Albert Remix)

GTAman
Red Star feat. Tamela D'Amico - I Can't Sleep (Extended)
Sounds
cool Young Parisians feat. Ben Lost - Jump The Next Train (Kyau vs. Albert Remix)
Reminiscent of the Above & Beyond style like Home, Alone tonight (well, early).

None of the videos here have anything like a dub)

GTAman, please throw a trance, like in GTA3 on Rise FM. Beg.

There is nothing like a dub in any of the videos here)
Dub is one of the types of processing of the original track. It consists in partial or complete removal of vocals, sometimes even in giving a richer sound (by adding deeper bass, reverb and other effects). This business comes from the same place as the dub style, that is, from Jamaica, and is the forerunner of full-fledged remixes.

Briefly, but succinctly about this phenomenon, blogger palladev, widely known in certain circles, wrote, whose article about the marks used in naming tracks was distributed in copy and paste on the Web. By the way, he is also the author of the developing encyclopedia of electronic music http://12edit.ru The original article on dub versions has not survived, but remained in the Webarchive. Below is an excerpt from there.
About dub versions25 September 2009 | 20:23

Music: Tonka - Get back (Dub)

Today a little about them. I do not pretend to be exclusive in my statements, but there is something to tell. In addition to the fact that dub is a musical style that emerged from reggae, dub is also a variation of the composition, with minimal or no vocals, a great emphasis on drums and bass section, as well as the use of various gimmicks-effects, such as reverb, echo, delays (delay-lay-lay-lay-lay-lay ... :-) by skipping drums and bass parts through a compressor, etc. Actually, a lot has been written about this in different places. As well as the fact that the first versions of the dub were just instrumental variations of the compositions, which were recorded on the B side of a 7-inch record, and the original with a voice was present on the A side. Under these backing tracks in the homeland of dub - Jamaican discotheques - MCs or DJs entertained the audience with their fiery recitative. It was because of the practice of creating another version of the song (duplicate, doubling) based on the original that the word dub appeared - the guys cut dubplates and tried the tracks at discos; usually such test wax discs quickly deteriorated after several plays. By the way, the technique of creating dubplates still exists. A little later, in the wake of experiments, when the dub has prioritized its characteristic musical qualities, a version about another origin of the name dub will appear - from duplicating music tracks, which the sound engineer was engaged in recording the dub version, and filling them with various other experimental content with subsequent processing different effects. This is how the first remixes appeared, by the way. doubling) based on the original and the word dub appeared - the guys cut dubplates and tried tracks at discos; usually such test wax discs quickly deteriorated after several plays. By the way, the technique of creating dubplates still exists. A little later, in the wake of experiments, when the dub has prioritized its characteristic musical qualities, a version about another origin of the name dub will appear - from duplicating music tracks, which the sound engineer was engaged in recording the dub version, and filling them with various other experimental content with subsequent processing different effects. This is how the first remixes appeared, by the way. doubling) based on the original and the word dub appeared - the guys cut dubplates and tried tracks at discos; usually such test wax discs quickly deteriorated after several plays. By the way, the technique of creating dubplates still exists. A little later, in the wake of experiments, when the dub has prioritized its characteristic musical qualities, a version about another origin of the name dub will appear - from duplicating music tracks, which the sound engineer was engaged in recording the dub version, and filling them with various other experimental content with subsequent processing different effects. This is how the first remixes appeared, by the way. By the way, the technique of creating dubplates still exists. A little later, in the wake of experiments, when the dub has prioritized its characteristic musical qualities, a version about another origin of the name dub will appear - from duplicating music tracks, which the sound engineer was engaged in recording the dub version, and filling them with various other experimental content with subsequent processing different effects. This is how the first remixes appeared, by the way. By the way, the technique of creating dubplates still exists. A little later, in the wake of experiments, when the dub has prioritized its characteristic musical qualities, a version about another origin of the name dub will appear - from duplicating music tracks, which the sound engineer was engaged in recording the dub version, and filling them with various other experimental content with subsequent processing different effects. This is how the first remixes appeared, by the way.

Sometimes dub and instrumental versions are equated. And although completely instrumental variations of the tracks without changing the track itself appear in some releases under the name dub, they are not the same thing. The instrumental is by nature the same original, but with the vocal track disabled and that's it. As a rule, no further significant changes are introduced (it happens that the instrumental is shorter in length than the original version). Dub is a separate genre of processing, with its own musical characteristics, by which it is defined as a dub version.

Regarding the spelling of the word dub in releases. Since the word dub already implies a different variation (version, mix, remix, processing) of the original, then after marking dub the words mix, remix, version or something else are not written. In early singles with dub versions on the B side, the dub mark was written next to the track title.

In the 70s:
A. Want to go home
B. Want to go home dub

Today:
A. Ghettomusick (Benny Benassi remix)
B. Ghettomusick (Benny Benassi dub)

In the 70s and 80s, whole dub albums were released, saturated with experiments with sound, drums, bass and effects, thanks to which the dub was enriched with techniques and has survived to this day without losing its zest. They were produced by a gang of dubbers led by the leaders of the movement - King Tubby and Lee Perry. In these albums, almost every track contained the word dub, and some of the records were soaked through with a dub spirit and the tracklist was as follows:

either:
1. King Zion dub
2. Super star dub
3. Blood, sweat & dunza dub
4. Fancy up a dub
5. Stalac 80 dubwise, etc.

or:
1. I can rock dub stylee
2. Dub you hold me
3. Sweet dub rockers stylee, etc.

or:
1. Painted dub
2. Danny J. special duba
3. Out of one man comes many dubs
4. Killburn high rock dub
5. Bumper dub etc.

At that time there was already a special division between dub and instrumental version. Instrumental was designated as version (or ver., But it was rare)

written in brackets after the title of the track:
A. Get smart
B. Get smart (Version)

and sometimes without brackets:
A. Free
B. Free Version

or did not write in brackets after track title:
A. Get smart
B. Version

The third case sometimes concerned the dub versions - just a seven-inch rush came out with the original and a remix of it. So, on the B side, they did not duplicate the name of the song, but wrote just dub and the listener could understand it. The dub was rarely written in brackets. The main practice was to either replace the last word from the original title with dub, or add it at the very end, for example:

either:
A. Conscious man
B. Conscious dub

or:
A. Sister love
B. Sister dub

or:
A. Rootsman
B. Rootsman dub

or:
A. Caravan (Reggae version)
B. Caravan (Dub version)

There was also a play on words with the name of the original and the addition of the word dub to it,

for example:
A. Only Jah Jah knows
B. Jah Jah dub

or:
A. Natty vision
B. Dub this vision

This is about the history of dub versions and their use in the releases of that time. In modern music, dub firmly occupies a niche of dark horses, in which there is a lot of head start to experiment with the original, without fear that it will differ from it. Dub versions have long since emerged from under the wing of reggae, and in the early 90s, in the heyday of techno, they firmly settled in electronic music. In notes to tracks, dub almost always takes the last place - that is, after the name of the musician (Pooleys honeymoon dub), except, perhaps, when dub is involved in a phrase (Mito's everybody in dubfloor) or is divided into several parts (Love dub I, Love dub II). In the radio version, dub appears in the first rows after the opening parenthesis (Dub radio edit) and immediately after the artist's name (Soupa dub radio edit).

Is there an instrumental dub? Yes, if there is also a dub-version with interspersed vocals - thus the instrumental dub mark emphasizes the absence of samples with a voice. Otherwise, the instrumental dub is a tautology.

* * *

And I repeat once again: it is important to understand that not everything in the music industry obeys some kind of laws from the center. Tracks are annotated either by the musician himself or by his label. The logic behind tagging some record companies is beyond comprehension. I haven’t found any rules for labeling tracks, but it’s obvious that they exist, since labels release songs with logical notes. Based on my observations of many releases, I have come up with some recommendations. I follow them myself when I am engaged in any musical projects. To draw or not to draw conclusions from it, to apply it or not, remains the choice of the reader.


PS I will look for a trance in the spirit of Rise FM.