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Urban really really really does hate Trance

Orang Utan said:
No.
It was the object of scorn at the time, just like it is now. I remember getting annoyed by people thinking you were into it when you said you liked techno.
Click to expand...

Whilst 'Get Ready For This' did make rave sets in its first incarnation, 'No Limit' was never that at all - coming out in 92 it was entirely out of step with how the rave scene was developing, and is typical of major labels picking up on an underground idea late in the day because they can sense the $$ in a marketable pop record.

Being there back in the day, buying tunes, going out raving, and then DJing, that tune was simply not part of scenes as I recall whatsoever. My recollection of rave lineage is as kinda as follows:

In late 89-early 91 you had the late-Nu beat into Belgian, US detroit, and UK homegrown stuff (Spectrum - Brazil, Ravesignal, Beltram - Energy Flash, Senses - Destroyer, UR - The Theory, Rhythmatic - Take Me Back, LFO - LFO, 4 Hero - Mr Kirk, etc.)

By the mid of 91 the sped-up breakbeat/hip hop influence was core - Ragga Twins/SUAD - Spliffhead, Lamborghini, Scientist - Exorcist, Meat Beat Manifesto - Radio Babylon, HHFD - Total Confusion, Prodigy - Charly. By end of 91, you had tunes like Manix - Feel Good, Dragonfly - Visions of Rage,

All through 92 breakbeat hardcore run tings - and even at its most commercial cross-over (Sesame's Treet, Trumpton) that tune was musically out of joint. As the backlash happened after summer of 92 when hardcore went mainstream (Mixmag saying it had all died at that point, let's listen to prog house and trance), we then went through actually the strongest and experimental point of hardcore towards late 92 as it morphed into darkcore in one way, and the jungle influences were ever creeping through too in another way. Tunes like Rufige - Terminator, Doc Scott - Here Comes The Drumz, Wax Doctor - New Direction, Noise Factory, Be Free.

There was also the 'split' of late 93, when the piano/hands in the air hardcore turned into happy hardcore (Ramos & Supreme - Crowd Control), whilst by late 93 there was darkcore beginning to turn into d'n'b (Invisible Man - Bell Tune, Doc Scott - VIP Drumz/Riders Ghost, Studio Pressure - Jump, DJ Crystl - Warpdrive) and there was the fusion at that point still which would become jungle in its own right (M Beat - Shuffle, Gappa G - Information Centre, Conquering Lion - Dubplate Special). And this carried on through to about early 94 which at that point I think the directions of what might be considered jungle and d'n'b were more evident - though there will still plenty of fusion.

I can remember techno from 92 onwards being the likes of either Belgian/Euro producers and more US detroit influenced stuff: CJ Bolland - Springyard, Dave Clarke - Four Seasons, UR - X101, The Mover - Nightflight, Energy - Backdraft, Luke Slater - XTront, Kenny Larkin - Aurora, etc.

I remember trance around that time as being Jam & Spoon - Stella, Age of Love, etc.

TL/DR: No Limit just wasn't there and also it was infuriating having to explain to people that techno isn't anything like that fucking tune :D

(I also still have the first 2 or 3 Reactivates which were very good - Belgian techno > Euro trance, but after that what trance had become just didn't do it for me at all I'm afraid).
 
Orang Utan said:
The techno chorus was precisely why I was asked if I liked them.
It was pretty irritating.
I don't know why BNP thinks it was regarded as legitimate. By who? That's not what me and my peers thought of it. We thought it was pretty much the opposite - people cashing in on the underground by association.
Click to expand...

Because I think he's a mostly billy bullshitting self-important twat.
 
stethoscope said:
Whilst 'Get Ready For This' did make rave sets in its first incarnation, 'No Limit' was never that at all - coming out in 92 it was entirely out of step with how the rave scene was developing, and is typical of major labels picking up on an underground idea late in the day because they can sense the $$ in a marketable pop record.

Being there back in the day, buying tunes, going out raving, and then DJing, that tune was simply not part of scenes as I recall whatsoever. My recollection of rave lineage is as kinda as follows:

In late 89-early 91 you had the late-Nu beat into Belgian, US detroit, and UK homegrown stuff (Spectrum - Brazil, Ravesignal, Beltram - Energy Flash, Senses - Destroyer, UR - The Theory, Rhythmatic - Take Me Back, LFO - LFO, 4 Hero - Mr Kirk, etc.)

By the mid of 91 the sped-up breakbeat/hip hop influence was core - Ragga Twins/SUAD - Spliffhead, Lamborghini, Scientist - Exorcist, Meat Beat Manifesto - Radio Babylon, HHFD - Total Confusion, Prodigy - Charly. By end of 91, you had tunes like Manix - Feel Good, Dragonfly - Visions of Rage,

All through 92 breakbeat hardcore run tings - and even at its most commercial cross-over (Sesame's Treet, Trumpton) that tune was musically out of joint. As the backlash happened after summer of 92 when hardcore went mainstream (Mixmag saying it had all died at that point, let's listen to prog house and trance), we then went through actually the strongest and experimental point of hardcore towards late 92 as it morphed into darkcore in one way, and the jungle influences were ever creeping through too in another way. Tunes like Rufige - Terminator, Doc Scott - Here Comes The Drumz, Wax Doctor - New Direction, Noise Factory, Be Free.

There was also the 'split' of late 93, when the piano/hands in the air hardcore turned into happy hardcore (Ramos & Supreme - Crowd Control), whilst by late 93 there was darkcore beginning to turn into d'n'b (Invisible Man - Bell Tune, Doc Scott - VIP Drumz/Riders Ghost, Studio Pressure - Jump, DJ Crystl - Warpdrive) and there was the fusion at that point still which would become jungle in its own right (M Beat - Shuffle, Gappa G - Information Centre, Conquering Lion - Dubplate Special). And this carried on through to about early 94 which at that point I think the directions of what might be considered jungle and d'n'b were more evident - though there will still plenty of fusion.

I can remember techno from 92 onwards being the likes of either Belgian/Euro producers and more US detroit influenced stuff: CJ Bolland - Springyard, Dave Clarke - Four Seasons, UR - X101, The Mover - Nightflight, Energy - Backdraft, Luke Slater - XTront, Kenny Larkin - Aurora, etc.

I remember trance around that time as being Jam & Spoon - Stella, Age of Love, etc.

TL/DR: No Limit just wasn't there and also it was infuriating having to explain to people that techno isn't anything like that fucking tune :D

(I also still have the first 2 or 3 Reactivates which were very good - Belgian techno > Euro trance, but after that what trance had become just didn't do it for me at all I'm afraid).
Click to expand...
Hiya Steth! Great post!
 
I hate to admit it but along side "house", trance is probably one of the more popular genres of electronic music, more so in Europe, Russia & Israel. If you were to attend one of those "full moon" parties in Thailand, you'd find it chocca with Israelis & Russians.

Also, check out the big name commercial DJs/ producers from Holland... 90% of them produce/play trance. its massive over there
 
stethoscope said:
Whilst 'Get Ready For This' did make rave sets in its first incarnation, 'No Limit' was never that at all - coming out in 92 it was entirely out of step with how the rave scene was developing, and is typical of major labels picking up on an underground idea late in the day because they can sense the $$ in a marketable pop record.

Being there back in the day, buying tunes, going out raving, and then DJing, that tune was simply not part of scenes as I recall whatsoever. My recollection of rave lineage is as kinda as follows:

In late 89-early 91 you had the late-Nu beat into Belgian, US detroit, and UK homegrown stuff (Spectrum - Brazil, Ravesignal, Beltram - Energy Flash, Senses - Destroyer, UR - The Theory, Rhythmatic - Take Me Back, LFO - LFO, 4 Hero - Mr Kirk, etc.)

By the mid of 91 the sped-up breakbeat/hip hop influence was core - Ragga Twins/SUAD - Spliffhead, Lamborghini, Scientist - Exorcist, Meat Beat Manifesto - Radio Babylon, HHFD - Total Confusion, Prodigy - Charly. By end of 91, you had tunes like Manix - Feel Good, Dragonfly - Visions of Rage,

All through 92 breakbeat hardcore run tings - and even at its most commercial cross-over (Sesame's Treet, Trumpton) that tune was musically out of joint. As the backlash happened after summer of 92 when hardcore went mainstream (Mixmag saying it had all died at that point, let's listen to prog house and trance), we then went through actually the strongest and experimental point of hardcore towards late 92 as it morphed into darkcore in one way, and the jungle influences were ever creeping through too in another way. Tunes like Rufige - Terminator, Doc Scott - Here Comes The Drumz, Wax Doctor - New Direction, Noise Factory, Be Free.

There was also the 'split' of late 93, when the piano/hands in the air hardcore turned into happy hardcore (Ramos & Supreme - Crowd Control), whilst by late 93 there was darkcore beginning to turn into d'n'b (Invisible Man - Bell Tune, Doc Scott - VIP Drumz/Riders Ghost, Studio Pressure - Jump, DJ Crystl - Warpdrive) and there was the fusion at that point still which would become jungle in its own right (M Beat - Shuffle, Gappa G - Information Centre, Conquering Lion - Dubplate Special). And this carried on through to about early 94 which at that point I think the directions of what might be considered jungle and d'n'b were more evident - though there will still plenty of fusion.

I can remember techno from 92 onwards being the likes of either Belgian/Euro producers and more US detroit influenced stuff: CJ Bolland - Springyard, Dave Clarke - Four Seasons, UR - X101, The Mover - Nightflight, Energy - Backdraft, Luke Slater - XTront, Kenny Larkin - Aurora, etc.

I remember trance around that time as being Jam & Spoon - Stella, Age of Love, etc.
Click to expand...

Spot on :)
 
lot of folk don't know the difference between "tekno" & "techno" kids mainly.

also, the No Limit track was just pop/chart fodder, not part of any scene really.
 
Hating Trance was a tribal thing wasn't it? It was all that cod-spirituality bollox that we used to laugh at and the music seemed well dodgy. Cheesy washing machine stuff ?

Obviously go back to early rave and 'Trance' meant something different. By the 2000s it was all about something.....
 
yeah above and beyond all that the fundamental issue that trance in all it's guises is shite still stands.
 
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