The 65th in my Retro Goa Explorations series of videos in which I present some of my favourite 'Goa Trance' tracks from the '90s.
In this series, I go back to my first experiences in the Goa Trance electronic dance music movement starting in late 1994, drawing upon my recollections of hearing specific music at certain events and using my classical music background explore the elements that I believe make these tracks so great.
The series is currently focused on music I first encountered in the '96-97 season, starting in September 1996, when I moved to London. This track is one that was issued a couple of months before but which I first encountered while in London, where it was being played a LOT - a very popular quirky leading-edge production from a short-lived collaborative project: Unconscious Collective's classic Fluorostani Transcendance. I give some detailed background into the inspiration of the track (shared by co-producer Colin Bennun, in whose stooodio the track was made) before presenting the music with my observations; after some further observations, I then share the track without my commentary.
I shared quite a bit of background of the story and inspiration of the track that Colin had sent me but not all the technical details, so here is some more from his detailed notes:
𝘛𝘪𝘮 𝘩𝘢𝘥 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘢𝘭𝘭 𝘩𝘪𝘴 𝘦𝘲𝘶𝘪𝘱𝘮𝘦𝘯𝘵 𝘸𝘪𝘵𝘩 𝘩𝘪𝘮, 𝘪𝘯𝘤𝘭𝘶𝘥𝘪𝘯𝘨 𝘢 𝘒𝘰𝘳𝘨 𝘗𝘳𝘰𝘱𝘩𝘦𝘤𝘺 (𝘸𝘩𝘪𝘤𝘩 𝘱𝘭𝘢𝘺𝘴 𝘵𝘩𝘦 𝘧𝘪𝘯𝘢𝘭 𝘳𝘪𝘧𝘧), 𝘢𝘯 𝘈𝘬𝘢𝘪 𝘚2000 𝘴𝘢𝘮𝘱𝘭𝘦𝘳 (𝘶𝘴𝘦𝘥 𝘮𝘢𝘪𝘯𝘭𝘺 𝘧𝘰𝘳 𝘍𝘟 𝘢𝘯𝘥 𝘷𝘰𝘤𝘢𝘭 𝘴𝘢𝘮𝘱𝘭𝘦𝘴), 𝘢 𝘙𝘰𝘭𝘢𝘯𝘥 𝘑𝘝1080 (𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘵𝘩𝘦 𝘱𝘢𝘥𝘴 𝘢𝘯𝘥 𝘴𝘰𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘭𝘦𝘢𝘥𝘴) 𝘢𝘯𝘥 𝘢 𝘕𝘰𝘷𝘢𝘵𝘪𝘰𝘯 𝘉𝘢𝘴𝘴𝘚𝘵𝘢𝘵𝘪𝘰𝘯 (𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘴𝘦𝘤𝘵𝘪𝘰𝘯 𝘭𝘦𝘢𝘥 𝘳𝘪𝘧𝘧). 𝘈𝘭𝘭 𝘵𝘩𝘦 𝘱𝘦𝘳𝘤𝘶𝘴𝘴𝘪𝘰𝘯 𝘢𝘯𝘥 𝘴𝘰𝘮𝘦 𝘷𝘰𝘤𝘢𝘭 𝘴𝘢𝘮𝘱𝘭𝘦𝘴 𝘤𝘢𝘮𝘦 𝘧𝘳𝘰𝘮 𝘮𝘺 𝘌𝘯𝘴𝘰𝘯𝘪𝘲 𝘌𝘗𝘚16+ 𝘴𝘢𝘮𝘱𝘭𝘦𝘳, 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘬𝘪𝘤𝘬 𝘣𝘦𝘪𝘯𝘨 𝘢 𝘤𝘰𝘮𝘣𝘪𝘯𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘩𝘪𝘨𝘩𝘴 𝘰𝘧 𝘢 𝘬𝘪𝘤𝘬 𝘴𝘢𝘮𝘱𝘭𝘦 𝘧𝘳𝘰𝘮 𝘢 𝘴𝘢𝘮𝘱𝘭𝘦 𝘊𝘋 𝘢𝘯𝘥 𝘢 𝘣𝘢𝘴𝘴/𝘴𝘶𝘣 𝘴𝘸𝘦𝘦𝘱 𝘮𝘢𝘥𝘦 𝘣𝘺 𝘕𝘪𝘨𝘦𝘭’𝘴 𝘩𝘰𝘮𝘦𝘮𝘢𝘥𝘦 𝘢𝘯𝘢𝘭𝘰𝘨 𝘴𝘺𝘯𝘵𝘩 (𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘵𝘩𝘦 𝘚𝘪𝘭𝘷𝘦𝘳 𝘔𝘢𝘤𝘩𝘪𝘯𝘦), 𝘸𝘩𝘪𝘤𝘩 𝘢𝘭𝘴𝘰 𝘱𝘭𝘢𝘺𝘴 𝘵𝘩𝘦 𝘤𝘩𝘶𝘯𝘬𝘺, 𝘩𝘦𝘢𝘷𝘪𝘭𝘺 𝘴𝘢𝘵𝘶𝘳𝘢𝘵𝘦𝘥 𝘳𝘪𝘧𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘧𝘪𝘯𝘢𝘭 𝘴𝘦𝘤𝘵𝘪𝘰𝘯. 𝘉𝘪𝘭𝘭𝘺 𝘊𝘰𝘴𝘮𝘰𝘴𝘪𝘴 𝘵𝘰𝘭𝘥 𝘮𝘦 𝘩𝘦 𝘴𝘢𝘮𝘱𝘭𝘦𝘥 𝘵𝘩𝘦 𝘬𝘪𝘤𝘬 𝘧𝘳𝘰𝘮 𝘵𝘩𝘪𝘴 𝘵𝘳𝘢𝘤𝘬 𝘵𝘰 𝘶𝘴𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘊𝘰𝘴𝘮𝘰𝘴𝘪𝘴 𝘵𝘳𝘢𝘤𝘬 “𝘏𝘰𝘸𝘭𝘪𝘯𝘨 𝘈𝘵 𝘛𝘩𝘦 𝘔𝘰𝘰𝘯”. 𝘉𝘢𝘴𝘴𝘭𝘪𝘯𝘦 𝘸𝘢𝘴 𝘧𝘳𝘰𝘮 𝘕𝘪𝘨𝘦𝘭’𝘴 𝘛𝘉-303, 𝘢𝘯𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘪𝘯𝘵𝘳𝘰 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘳𝘢𝘤𝘬 𝘩𝘦 𝘥𝘦𝘴𝘪𝘨𝘯𝘦𝘥 𝘢 𝘧𝘢𝘯𝘵𝘢𝘴𝘵𝘪𝘤 𝘴𝘰𝘶𝘯𝘥 𝘰𝘯 𝘩𝘪𝘴 𝘚𝘺𝘯𝘵𝘩𝘪 𝘈𝘒𝘚 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘤𝘢𝘭𝘭𝘦𝘥 “𝘉𝘶𝘮𝘣𝘭𝘦𝘻𝘢𝘱”. 𝘈𝘭𝘴𝘰 𝘪𝘯 𝘵𝘩𝘦𝘳𝘦 𝘴𝘰𝘮𝘦𝘸𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘩𝘪𝘴 𝘔𝘶𝘵𝘳𝘰𝘯𝘪𝘤𝘴 𝘔𝘶𝘵𝘢𝘵𝘰𝘳 𝘧𝘪𝘭𝘵𝘦𝘳 𝘶𝘯𝘪𝘵 𝘥𝘰𝘪𝘯𝘨 𝘯𝘪𝘤𝘦 𝘵𝘩𝘪𝘯𝘨𝘴 𝘵𝘰 𝘩𝘪𝘴 𝘒𝘢𝘸𝘢𝘪 𝘒1, 𝘢𝘯𝘥 𝘮𝘺 𝘒𝘰𝘳𝘨 𝘋𝘞6000 𝘢𝘯𝘥 𝘠𝘢𝘮𝘢𝘩𝘢 𝘊𝘚15 𝘴𝘺𝘯𝘵𝘩𝘴. 𝘛𝘩𝘦𝘳𝘦 𝘸𝘢𝘴 𝘯𝘰 𝘮𝘶𝘭𝘵𝘪𝘵𝘳𝘢𝘤𝘬 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘪𝘯𝘷𝘰𝘭𝘷𝘦𝘥, 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘸𝘢𝘴 𝘴𝘦𝘲𝘶𝘦𝘯𝘤𝘦𝘥 𝘭𝘪𝘷𝘦, 𝘮𝘪𝘹𝘦𝘥 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘮𝘪𝘯𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮’𝘴 𝘢𝘯𝘢𝘭𝘰𝘨 𝘮𝘪𝘹𝘦𝘳𝘴, 𝘢𝘯𝘥 𝘳𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘪𝘯 𝘳𝘦𝘢𝘭-𝘵𝘪𝘮𝘦 𝘰𝘯𝘵𝘰 𝘋𝘈𝘛.
𝘞𝘦 𝘢𝘭𝘴𝘰 𝘳𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘰𝘶𝘳 𝘰𝘸𝘯 𝘴𝘢𝘮𝘱𝘭𝘦𝘴. 𝘖𝘯𝘦 𝘸𝘢𝘴 𝘢 𝘬𝘪𝘯𝘥 𝘰𝘧 𝘢 𝘣𝘶𝘭𝘭-𝘳𝘰𝘢𝘳𝘦𝘳, 𝘸𝘩𝘪𝘤𝘩 𝘸𝘦 𝘳𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘪𝘯 𝘴𝘵𝘦𝘳𝘦𝘰 𝘸𝘪𝘵𝘩 𝘮𝘦 𝘢𝘯𝘥 𝘚𝘵𝘦𝘷𝘦 𝘩𝘰𝘭𝘥𝘪𝘯𝘨 𝘵𝘩𝘦 𝘮𝘪𝘤𝘴 𝘰𝘯 𝘦𝘪𝘵𝘩𝘦𝘳 𝘴𝘪𝘥𝘦 𝘰𝘧 𝘛𝘪𝘮 𝘸𝘩𝘪𝘭𝘦 𝘩𝘦 𝘴𝘵𝘰𝘰𝘥 𝘰𝘯 𝘮𝘺 𝘣𝘦𝘥 𝘴𝘱𝘪𝘯𝘯𝘪𝘯𝘨 𝘵𝘩𝘪𝘴 𝘵𝘩𝘪𝘯𝘨 𝘰𝘷𝘦𝘳 𝘩𝘪𝘴 𝘩𝘦𝘢𝘥 𝘢𝘴 𝘧𝘢𝘴𝘵 𝘢𝘴 𝘩𝘦 𝘤𝘰𝘶𝘭𝘥, 𝘵𝘳𝘺𝘪𝘯𝘨 𝘯𝘰𝘵 𝘵𝘰 𝘩𝘪𝘵 𝘶𝘴 𝘸𝘪𝘵𝘩 𝘪𝘵. 𝘈𝘯𝘰𝘵𝘩𝘦𝘳 𝘸𝘢𝘴 𝘵𝘩𝘦 𝘚𝘱𝘢𝘤𝘦𝘱𝘩𝘰𝘯𝘦, 𝘢 𝘵𝘰𝘺 𝘸𝘪𝘵𝘩 𝘢 𝘭𝘰𝘯𝘨, 𝘭𝘰𝘰𝘴𝘦 𝘴𝘱𝘳𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘢 𝘱𝘭𝘢𝘴𝘵𝘪𝘤 𝘤𝘰𝘯𝘦 𝘰𝘯 𝘦𝘢𝘤𝘩 𝘦𝘯𝘥 𝘵𝘩𝘢𝘵 𝘺𝘰𝘶 𝘸𝘦𝘳𝘦 𝘴𝘶𝘱𝘱𝘰𝘴𝘦𝘥 𝘵𝘰 𝘴𝘵𝘳𝘦𝘵𝘤𝘩 𝘰𝘶𝘵 𝘢𝘯𝘥 𝘴𝘱𝘦𝘢𝘬 𝘵𝘩𝘳𝘰𝘶𝘨𝘩, 𝘸𝘩𝘪𝘤𝘩 𝘸𝘦 𝘩𝘪𝘵 𝘸𝘪𝘵𝘩 𝘢 𝘴𝘵𝘪𝘤𝘬 𝘵𝘰 𝘮𝘢𝘬𝘦 𝘵𝘩𝘦 𝘴𝘱𝘳𝘰𝘪𝘯𝘨𝘺 𝘳𝘦𝘷𝘦𝘳𝘣𝘺 𝘪𝘮𝘱𝘢𝘤𝘵 𝘍𝘟 𝘩𝘦𝘢𝘳𝘥 𝘵𝘩𝘳𝘰𝘶𝘨𝘩𝘰𝘶𝘵 𝘵𝘩𝘦 𝘵𝘳𝘢𝘤𝘬. 𝘞𝘦 𝘨𝘰𝘵 𝘵𝘩𝘦 “𝘗𝘰𝘵𝘴𝘭𝘰𝘷𝘪𝘢” 𝘷𝘰𝘤𝘢𝘭 𝘴𝘢𝘮𝘱𝘭𝘦 𝘧𝘳𝘰𝘮 𝘢𝘯 𝘈𝘤𝘵𝘪𝘰𝘯 𝘔𝘢𝘯 𝘴𝘵𝘰𝘳𝘺 𝘵𝘢𝘱𝘦 𝘛𝘪𝘮 𝘩𝘢𝘥 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘢𝘭𝘰𝘯𝘨 𝘢𝘯𝘥 𝘳𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘴𝘰𝘮𝘦 𝘨𝘢𝘳𝘣𝘭𝘦𝘥 𝘴𝘱𝘦𝘦𝘤𝘩 𝘰𝘧𝘧 𝘶𝘯𝘥𝘦𝘤𝘰𝘥𝘦𝘥 𝘎𝘦𝘳𝘮𝘢𝘯 𝘴𝘢𝘵𝘦𝘭𝘭𝘪𝘵𝘦 𝘛𝘝 𝘧𝘰𝘳 𝘢𝘯𝘰𝘵𝘩𝘦𝘳. 𝘛𝘩𝘦𝘳𝘦’𝘴 𝘢𝘭𝘴𝘰 𝘢 𝘏𝘶𝘮𝘱𝘩𝘳𝘦𝘺 𝘉𝘰𝘨𝘢𝘳𝘵 𝘴𝘢𝘮𝘱𝘭𝘦 𝘪𝘯 𝘵𝘩𝘦𝘳𝘦 - “𝘐𝘵’𝘴 𝘵𝘩𝘦 𝘴𝘵𝘶𝘧𝘧 𝘵𝘩𝘢𝘵 𝘥𝘳𝘦𝘢𝘮𝘴 𝘢𝘳𝘦 𝘮𝘢𝘥𝘦 𝘰𝘧”!
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