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The word “rave” has become an oddly polarizing term.

Use it in the wrong context, or worse yet, to describe the “wrong type” of event and you can bet your bottom dollar that someone will be up in arms in the comments. 

Some shout, “that’s a club, not a rave.” Some opt to use other ‘cooler’ words in its place, making clarifying statements like “I don’t go to raves, I go to undergrounds.” Others will protect it as a sacred descriptor of events of decades past.

But just what is a rave? defines the word rave as “a dance party featuring electronic dance music arranged by a disc jockey and a light show or other visual effects, and typically characterized by amphetamine and psychedelic drug use.”

However, the cultural phenomenon of raving goes beyond a dictionary definition, and much further into the past. 

The word “rave” can be traced back to the medieval period. It was a term used to imply a sense of madness, as in “raving mad.” It was first associated with events in the 1940s.

The term “rave-up” was applied to particularly boisterous parties, eventually being shortened to just “rave” by the 1950s to describe the lively gatherings happening in London’s beatnik scene.

These early jazz parties can be considered some of the first “underground” music events, fortifying jazz musicians as new symbols of counterculture, just as electronic music has throughout its history.

However, the word’s strongest musical association largely starts with the acid house revolution that swept the UK in the late 1980s and 1990s.

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The term roared to life in mainstream culture, peppered throughout media outlets that demonized the “Second Summer of Love,” and worried countless parents across the country.

Headlines like, “Ban Acid Cult That Killed Our Girl” and “Scandal Of The Giant Acid Party” were all too familiar in publications like The Sun and The Daily Mail.

It was these outlandish headlines that inspired a young Kirk Field to speak up as Mixmag‘s first “raving reporter.”

After years of reporting and promoting events in the UK and Ibiza, Field just published his first tell-all book documenting the early days of the scene, Rave New World: Confessions of a Raving Reporter, in May of this year.

“I went to these great parties, where I saw some wonderful things happen in unity–people helping each other,” Field says. “And then I read about these horrendous parties in the paper–’Children as young as 12 biting the heads off pigeons’ and all these ridiculous statements that they made.” 

A worried parental frenzy imparted by this media misrepresentation led British Parliament to pass the Criminal Justice and Public Order Act of 1994. The bill even went so far as to use the word “rave” in its official language, but what better word was there to describe the massive all-night dance parties that were sweeping the nation?

Regardless of how governments and tabloids might define “rave”—repetitive beats, visual effects, drug use, late nights—Field thinks “rave is a state of mind.”

Field says that similar to how “punk rock was as much an attitude as it was a music style,” it is the community values that made raves such a well-established counterculture.

“You feel when you’re in a rave, just like you feel when you’re in love. And that is kind of difficult to put your finger on,” he says. “I think it’s a spirit of unity. It’s an air of non-judgement. Doesn’t matter if you’re gay, straight; doesn’t matter about your gender, how you dress. You’re not judged.”

Just a handful of years later, the same sweeping counterculture made its way to the United States and captured the attention of music-obsessed high school freshman Moe Espinoza. 

Better known today as the prolific Los Angeles techno producer Drumcell, Espinoza helped to carve out an authentic techno scene in the city during the early 2000s with his acclaimed label Droid Recordings and numerous Droid Behavior events throughout Southern California.

Early on, however, Espinoza got his start playing guitar and singing in various noise, punk, and industrial bands, writing off mainstream electronic music and clubs as “more of a meat market type of environment where men went to go and get laid and girls dressed as provocative as possible.”

“There could have been nothing more uninteresting to me than that. I didn’t care about the social aspect of music, I cared about the art,” Espinoza says. 

Much to his surprise at the time, that same passion did exist in electronic music, shared with him by the drummer in his band, who invited Espinoza to his first rave after one of their punk gigs.

“From the second I showed up, everything that I was ever missing, every part of the world that I ever felt alienated from–I felt like I’d found my people,”  Espinoza says. “I saw a room filled with people dancing by themselves and worshiping the music, and it didn’t matter your gender, your sexual preference, whether you were gay, straight, male, female non-binary, whatever. Nothing mattered except for the music. There was nothing more punk rock than that to me.”

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This counterculture is largely how Espinoza defines his raving ethos, and as electronic music becomes more mainstream, in his opinion, it doesn’t exist in the same way today. He says that today, people enjoy the music, but have “zero historical context” of the past on which our scene is founded.

Even when it was still very new, Espinoza recalls how much he and his peers respected the people who started it all. From the Detroit techno founders to the revolution of happy hardcore and trance. Even clubs like the Hacienda and the role that artists like New Order and Frankie Bones played.

“It’s turned into ‘Look at my outfit. Look at how I dress. Let me take a picture with all my friends. Let me project socially outwards to the world what my experience is instead of experiencing it internally,’” he continues. “And that’s where I feel rave culture died.”

But Espinoza believes that not all is lost.

“The brighter the lights, the darker the shadows. And as one thing starts blowing up, little pockets of things that have true meaning and really matter start to bubble up,” he says. “I think it doesn’t matter whether it’s EDM, trance, techno, dubstep, bass–there is a world within all those scenes where something has developed out of true meaning and true artistic expression.”

With all this talk of great electronic awakenings at old-school raves, it’s also important to note that raves can change depending on the local scene. The UK, Europe, and America have the most historical raving culture, but raving is a global phenomenon. 

Consider the point of view of Sippy, an Australian-born, Los Angeles-based producer who has been making waves on the American circuit with a steady stream of releases on heavy-hitting labels like Deadbeats, Subsidia, and Wakaan.

It wasn’t until she came to the United States for the first time that she experienced the “banner” aspects of the American rave scene, like PLUR culture, kandi kids, and amateur light shows.

“I had never in my life seen that. Not online, not in Australia,” she says “I was shocked because it was a whole culture that I never even knew existed.”

Sippy explains that Aussie raves look a bit different compared to the U.S.. However, these outdoor parties, or “bush doofs,” as they are affectionately called down under, evoke many of the same core principles discussed by Field and Espinoza.

“We’ve set up this spot in the bush and we’re all just coming out–wearing whatever we want, dancing however we want, experiencing however we want. I think we rarely, in Australia, experience the bigger festivals as what we’d call a rave,” she says. “Like if we have Ultra Australia, we don’t call that a rave. We usually just call that a festival or show.”

As a bass artist, Sippy is firmly part of the dance music cohort predicated by Skrillex and other stars of his generation. Though this new wave may not have the same decades-old heritage as the budding movements experienced by Field and Espinoza, Sippy believes that modern bass events are still serving music lovers in the same way.

“Now seeing how raving is relevant and has developed in bass music, I see a group of people that are creating the same environment,” she says. “Sure, the music might be different, or what they’re wearing might be different, or the fact that some of them can get their phones out there and take videos might be different–but I still think it has that essence.”

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A personal account from Sippy illustrates the parallels between today’s often bass-driven American scene and the 90s raves discussed by Espinoza and Field even more clearly, with the community as common ground.

“When I go into the crowd, I see how you can make friends really quickly because you’re bonding over this kind of rave experience,” she says. “You’re giving each other gifts, seeing someone’s outfit that you really like and you’re telling them. It allows you to create a community and a bond with people really quickly.”

When asked about the supposed “death” of the scene as electronic music has entered the mainstream, Sippy shares a sentiment that doubles as a life lesson on a larger scale:

“It’s not going to continue forever and it will never be as it was. The only problem with that is people look back and they go, ‘I want it to be like that,’ rather than seeing what there is now and creating new memories with what’s happening now.”

The fact remains, raves are still happening now.

While the semantics of the word “rave” are still very much up to personal interpretation, there is well-confounded overlap in many definitions, rooted in acceptance and tolerance–or more fittingly, peace, love, unity, and respect.

Despite varied conceptualizations of raving, the one thing that remains constant is the sense of community we feel when we are all united on the dancefloor.

Wherever it may be, warehouse, festival, nightclub, or gathered in a kitchen at 6AM, drowning out the morning birds with a bluetooth speaker.

All images via Credit in order of appearance: Alexsander Popov, Maksim Zhashkevych, Alexsander Popov, Zachary Smith.

The post From Warehouses, To Festivals And Nightclubs: What Makes A Rave, A Rave? appeared first on EDM Maniac.


By: Peter Volpe
Title: From Warehouses, To Festivals And Nightclubs: What Makes A Rave, A Rave?
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Published Date: Mon, 18 Dec 2023 18:21:16 +0000

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A State Of Trance Top 1000 #1 Is Revealed!

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After 30 years of nothing but Trance excellence, with all the feels, and all the incredible talent, Armin van Buuren‘s legacy prevails. A State of Trance Top 1000 Award revealed the number one track of the label. We can’t imagine how hard it was to pick their top track ever. Cue the drum rolls please… The award goes to none other than Dutch Trance producer RAM and German DJ Jorn van Deynhoven. The honorary title is thanks to their remix of the 2009 masterpiece ‘RAMsterdam’.

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A post shared by ☆ R A M ☆ (@ramofficial)

The Duo took it on their social medias to showcase the plate they received to commemorate the award. We can’t forget the track has earned over 10 million streams on spotify. The track embodies Trance in its rawest form. Its true nature and drive summarize the power the genre carries from decade to decade. Naturally, ‘RAMsterdam’ (Jorn van Deynhoven Remix) reigns supreme over 999 other songs that have moved millions of people since the inception of A State of Trance. Furthermore, RAM mentioned on his Facebook post that after he earned the title, DJ Mag announced his residency in the number one Trance club in China for 2024.

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Both artists are one of a kind, and the award deeply recognizes the mark they continue to leave on a State of Trance and the scene itself. ‘RAMsterdam’ (Jorn van Deynhoven Remix)paved the way for more unique sounds to evolve and develop to this day. RAM and van Deynhoven have what it takes to carry the title of worldwide phenomenon.

Congratulations to these two legends! Now, go ahead and leave ‘Ramsterdam’ (Jorn van Deynhoven Remix) on replay. After all, it is the number 1 ASOS Top 1000 track.

The post A State Of Trance Top 1000 #1 Is Revealed! appeared first on EDMTunes.


By: Jay Seabrook
Title: A State Of Trance Top 1000 #1 Is Revealed!
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Published Date: Tue, 30 Apr 2024 13:54:55 +0000

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[EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too

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The large ‘U’ festival celebrated a fantastic return to South America recently.

When you think of Ultra Music Festival, you likely gravitate towards Miami straight away. But we’re lucky enough to have them all over the world, celebrating parties far and wide. That is certainly a blessing for energetic crowds living in somewhat further places in the globe, like South America.

I’ve been here for a while, and it’s safe to say it’s growing a strong community of Dance-devoted madmen like me. I’ve been lucky enough to get to know the Argentinian scene fairly well, and also those in its neighbouring country, Chile. This is a country where Hardstyle reigns supreme, and genres like Techno and its branches are seeing a roaring uptrend in the number of fans and followers. So much so, that Ultra themselves decided to pay a visit. A two-day visit, mind you.

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Ultra Chile: Its History

Chile had its first Ultra in 2013, with the next two years also calling artists from around the world to come together on the far southern end of the globe for Ultra Chile 2014 and 2015. The year after, Chile received a more compact Road To Ultra, as well as in 2017, for the Ultra host of those years was the continental giant, Brazil. After that, Chile would have to wait some time before the brand set foot on it again.

2023 saw Road To Ultra return to the long country for a Halloween party, headlined by Marshmello, Nicky Romero, Oliver Heldens, and Two Friends. And this year, the acclaimed main branch returned in full force, with two days of unstoppable beats coming from a handful of places, and showcasing an impressive plethora of talents, established, up-and-coming, returning… everything.

It was held on Friday, April 19th, and Saturday, April 20th, in Santiago’s iconic go-to place for massive events, Espacio Riesco.

Day One: Friday

Day One kicked off late in the afternoon, at 7 PM to be precise. The crowds started to appear from very early on. Once inside, it was time to have a look at the place, and, oh dear, they truly made the most out of the venue. Three of the four stages were on that day, the Mainstage, on the back of the property and boasting an impressive open-air setting, the Resistance stage, a blacked-out, massive former plane hangar to welcome the best Techno represents in the world, and the Carolina stage, a local-lineup filled stage out on the open.

Day One Winners

Jumping between the Mainstage and the Resistance stage allowed me to watch basically all artists for a little. That’s life at a festival, you can’t really marry one particular DJ. That said, I think I’ve got my favourite artist of the night, and it is Stephan Bodzin.

I had never watched him play, so I was basically going in not knowing what to expect. Add to that, I was at the Main seeing Armin before, so I didn’t really know what I was about to witness. Walking into Resistance, the first thing I noticed was that there was A TON of space to dance and just be yourself. The Mainstage was filled to the brim with people, and well, that left the Techno-devoted stage with a crowd that was truly enjoying Bodzin’s magic. I did too.

I swear, ten minutes in I was already fully hooked. Eyes closed, moving side to side, that kind of hooked. Him playing a live set was a tenfold amplifier as well, since he was interacting a lot with the audience, and the audience interacted a lot with him back. Ask me to name one track from his set, I can’t. But what I CAN recall vividly is how happy he was managing his instruments, and how happy the people dancing beside him were. I was one of them, fully gone away in a trance. A star for you, mate.

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Day Two: Saturday

Day Two started quite earlier, promising twelve endless hours of good music. My friend — who flew in from Buenos Aires for the festival — and I entered the place just past 2:30 PM. And after a little day tour of the venue, we headed straight to the brand-new Resistance Square stage. Reason being, Daniella Da Silva was on at 3:00.

The stage itself was really interesting to me, since the Ultra guys turned this giant conference place into the host for the darkest, most energetic beats of the entire day. I remember my highschool once took me for University speeches or something of that kind literal years ago, and seeing it changed to fit a literal Ultra festival blew me away.

The other stages were just as breathtaking as the day before, and now places like the Mainstage enjoyed the geographic surroundings of Espacio Riesco: mountains for days. It was another level. Point for you, day parties!

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Day Two Winners

Daniella Da Silva

My friend wanted to see her so badly, and I wanted to learn from someone new to me. Good. Lord. Those were 90 minutes of nonstop dancing. There are pictures and videos of me absolutely losing it during her set which I won’t show for, reasons, but let me tell you, her energy is sensational. Dark, Hard Techno. I’m not of the kind to enjoy that in a car ride or on a normal day, but I for sure allowed myself to enjoy her beats at Ultra. I felt slightly sore after that, and that should tell you enough of how good of a set hers was.


My childhood hero. How wouldn’t I have enjoyed Hardwell’s set when he was my role model when I was in school back in the day? Growing up loving ‘Encoded’, ‘Spaceman’, and his remix of ‘Man With The Red Face’, it was about time to see him again. Absolutely nuts. Lots of what he played I had heard before at his Ultra Miami set from earlier this year, but far from taking away from the experience, it allowed me to sing my lungs out. Special shoutout to that ‘Strobe‘ x ‘Save The World‘ mashup which nearly got me crying.


These guys take the gold for me, no question. Seeing Hardwell, you know beforehand that it’s going to be a phenomenal show, but I had never seen Kasablanca before. I’d only heard their Anjuna tunes. And so my friend and I got to the very front of the Mainstage to see them. We could not have decided better.

They played a live set, just like Bodzin had done the day before. The difference here was the setting: While Stephan Bodzin played inside the warehouse vibe of the Resistance stage, Kasablanca did it out in the open. And their set just so happened to occur during the last hours of the day and into the night, sunset included.

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They absolutely rocked it. From synths to vocals to literal choreography, their set had it all. They truly made good use of the Mainstage speakers as well, with their fat-bottomed tracks. I can’t tell you just how magical that time was, even the landscape fit the vibe of their music. Mountains all around, the clouds turning slightly red at sunset (see a few pictures above), and the moon reigning high aloft by the time they dropped their remix of Above & Beyond’s ‘Black Room Boy’. The duo take the gold, and my heart with it. I won’t turn down the possibility of seeing them in the future.

Final Thoughts

It had been a while since I last attended a big festival, since I’d been much more inclined to go to artist-focused events. It was a refreshing treat to come to Ultra Chile and soak in the festival experience again. My mate and I had a great time, enjoyed the food (shoutout to Papa John’s), the Gin Tonics, and the feel-good atmosphere. For now, be right back, I’ll be listening to Kasablanca!

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The post [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too appeared first on EDMTunes.


By: Felipe Latorre Cabello
Title: [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too
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Published Date: Mon, 29 Apr 2024 18:43:56 +0000

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Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage

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As time goes by, some songs become timeless classics. Even more when artists reimagine different emotions and moods. This is the case with Eynka‘s ‘Beyond Us‘. It wasn’t long until Swiss Electronic duo Adriatique made their own renditions of the track. They amped it up a notch when they immortalized their rendition at the Hatshepsut Temple in Egypt last year for Cercle. Finally, we’re delighted to get an even more magical version of the track, brought to you by Deep House Parisian Icon Alex Wann.

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‘Beyond Us’ (Hatshepsut Version Alex Wann Remix)

How do you remaster and refresh a track that has so much influence and power, you may ask? Well, it seems like Alex Wann found the right formula for his ‘Beyond Us’ remix. From Eynka’s melodic touch, to Adriatique’s deeper and darker undertones, Wann manages to deliver an ethereal track with powerful afro elements. The percussion calls out to your ancestors, and the groove represents the vast deserts phenomenally. After a successful run with his Kelis’ ‘Milkshake’ Remix, the producer continues to influence the world around him.

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A star in the rise, Alex has received the support from House legends Keinemusik, Pete Tong, Swedish House Mafia, Diplo, and Blond:ish. This remix furtherly proves his ability to produce with different elements and styles, such as Adriatique’s unique sounds. Earlier this year he embarked in a North American tour, visiting major musical capitals such as Miami, New York, Toronto, San Francisco, and Montreal. Next Up, Alex Wann will make his rounds around Ibiza, Milan, Dubai, and La Bourget.

Watch out for Alex Wann this summer! He will most likely reign supreme with this delicious version of ‘Beyond Us’.

The post Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage appeared first on EDMTunes.


By: Jay Seabrook
Title: Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage
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Published Date: Mon, 29 Apr 2024 01:18:32 +0000

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