Which old track of trance scene do u believe has made history?

On 2006-02-09 20:10, ritual_om wrote:
the music analysis is made by you faithnomore?
i am impressed...

On 2006-02-09 20:09, ritual_om wrote:
the musiv analysis is made from you fiathnomore?
i am impressed...

On 2006-02-06 23:32, FaithNoMore wrote:
Astral Projecion - Distorded emotions

and offcourse
Hallucinogen – LSD
(Twisted – track 1)
Themes

6:44 duration
0:00 atmospheric sounds (Terence McKenna)
0:15 chords in D major



0:53 beat starts with bass line
1:06 hi-hat comes in too as bass line ascends
1:21 beat with bongo
1:35 main melody in hesitant sounds
1:48 downwards arpeggios G-E flat-D
2:03 they change to D minor triad (hints of B-flat M7?)
2:10 back to G-E flat-D
2:15 voices


2:17 beats and main melody (without A)
2:31 melody repeats with countermelody



2:58 drum drops out, bass and new speech sounds, with countermelody
3:13 atmospheric sounds
3:19 drums back with just bass and new treble contour
3:48 descending Dm7/B-flat M7 arpeggios (the bass now plays D-E flat in a
new rhythm)
4:01 arpeggios doubled in new octaves
4:15 hint of main theme (many more repeats before notes change)
4:29 bongo melody with aerial stuff while bass drops out




4:43 Dm7/B-flat M7 arpeggios over new bass
4:57 new sounds with Dm7/B-flat M7 arpeggios over beats climax with extra
sounds



5:53 Terence McKenna again over new bass (no bass drum) and other sounds
6:07 bass drum returns, bongo melody while bass holds a D (hints of
atmospheric sounds)
6:22 just atmospheric chords from beginning, two fake cadences, and then
one that arrives at the beginning of the next track on the CD0:00-0:53
Introduction
0:53-2:58 Exposition
2:58-4:43 Transition
4:43-5:53 Climax
5:53-6:44 Conclusion


The general outline of this track gives a development from D minor to B-flat
major tonality. However, the very beginning and very end have vague hints of D
major, but are mysterious enough to leave the context mysterious. The
introduction sets up this mysterious context while playing a sampled speech by
Terence McKenna, an advocate of using hallucinogenic drugs to achieve spiritual
enlightenment.
In the exposition, first the initial bass line is developed with a variety of
motifs and themes that will recur throughout the track, including suggestions of
some arpeggios that will occur more prominently later. After the sampled voice
returns, the main melody of this section is repeated several times, together
with a new countermelody.
The transition achieves the transformation of the track from D minor to B-flat
major. At first the countermelody plays over a bare bass with the atmospheric
sounds and sampled voice of the beginning (to indicate this is a new beginning
in the track). Then, a new shape arrives in the treble, which includes a
prominent B-flat, though it still supports a D minor tonality. Soon, the
arpeggios from before reappear, this time more clearly outlining a B-flat major
seventh chord, though the D and E-flat in the bass prevent the ear from hearing
a change in tonality.
Only after all the thematic material has been revisited and the bass has dropped
out, does a new bass line enter that suggests B-flat major more than D minor. At
this point, the arpeggios gain many new sounds as accompaniment, creating the
climax of the track. This climax is unusual in that it doesn't use much of the
thematic material of the exposition, but it is nonetheless quite satisfying, as
the bass line now creates harmonic motion instead of being fixed.
But eventually the sampled speech returns, the bass becomes fixed, the bongo
sound makes one last appearance, and everything dissolves back into the
atmospheric sounds of the opening, leaving us back in an ambiguous D-centered
tonality.
!

and also
Infected Mushroom – Release Me
(The Gathering – track 1)
Themes

8:28 duration
0:00 four-tone theme
0:07 voices
0:13 main melody
0:23 sounds and voices again
0:40 main melody again (with countermelody) and voices start
0:53 “peace, no peace”
1:07 melody ends, more voices



1:13 actual start with bass drum, four-tone theme and guitar riff
1:28 snare comes in
1:40 maracas come in
2:00 new phrase
2:08 movie sounds
2:14 descending squelches start and guitar stops



2:54 “release me” and bass, four-tone theme (shifted between left and
right channels) starts to ascend
3:08 movie sounds again, sounds like a fight
3:16 guitar riffs in different rhythms now between samples
3:35 descending squelches come back again in a new rhythm, this time with
guitar too
4:02 new treble theme, though bass and four-tone themes continue, as do
squelches



4:30 new squiggly sound in high registers, four-tone theme is gone forever
(just bass E)
4:36 E-G#
4:42 main melody (F dim. 7 harp arpeggio at 4:50, guitar riff at 4:56)
5:06 bass drum drops out briefly
5:10 squiggly sound and bass, melody again with treble countermelody as
well, melody punctuated by metallic percussion
5:37 just squiggly sound



5:43 beat comes back, with snare drums and squiggles
5:57 squelches come back
6:23 new treble theme again, in different timbre (occasional A#)
6:56 fade
6:58 breakbeat snare drum, with movie sounds
7:07 guitar riffs



7:11 bass drum comes back, new treble theme in even brighter timbre,
rising in register, more irregular rhythms
7:39 squiggly sound too, climax
8:06 music fades as the voices come back, dropping out at 8:190:00-1:13
Introduction
1:13-2:54 Exposition
2:54-4:30 Variation
4:30-5:43 2nd Half Intro

5:43-7:11 Recapitulation
7:11-8:28 Conclusion



Sampled text:
“Release me”
“Open the door, get him out of there.”
“There is much we can learn from each other if we can negotiate a truce.
We can find a way to coexist. Can there be a peace between us?” “Peace –
no peace.”
“What is it you want us to do?” “Die.”

< br/>The introduction starts with a set of noises sampled from some movie, and then
introduces a slow theme in strings. While this theme is played the second time,
the complete sampled text is spoken to set up a scene in the listener's mind.
The exposition builds on the four-tone theme that has been playing throughout
the introduction, layering it with guitar sounds, and then a squelching sound,
both of which will be developed later. The variation reintroduces the movie
sounds to the texture, and alters the rhythms of the thematic material
introduced so far. Towards the end, the final thematic material of the track is
introduced, which introduces hints of major tonality to counteract the minor
mode implied by the four-tone theme.
The introduction to the second half starts by clearing away most of the
textures, and in particular the four-tone theme, to emphasize the major mode of
the new theme. Then it repeates the main melody of the actual introduction to
show that the second half of the track is beginning.
The recapitulation runs through the thematic material of the exposition more
quickly (without the four-tone theme), allowing greater emphasis on the new
major tonality, though occasional A#'s disturb this harmony. The last few
seconds of this section form a break before the final section of the track. In
the conclusion, all the remaining thematic material is layered and the energy
level reaches a peak, and the sampled voices are finally brought back to end the
track. (The A in the bass at the end of the track isn't a development in harmony
&#8211; it is the main bass note for the following track on the CD.)
the some movie was "independence day" nice sample and nice ending