Latest news with #Trance
The Sun
31-07-2025
- Entertainment
- The Sun
Grammy-nominated DJ Armin van Buuren releases two new albums like we've never heard him before
FOR over two decades, Armin van Buuren has stood as one of the towering figures in electronic music, a Trance titan, global festival headliner and relentless creator. With a Grammy nomination and as 5-time No. 1 DJ on DJ Mag's Top 100 DJs list, behind the scenes, Armin has undergone a personal transformation that goes far beyond his music. 3 That story comes to life on Breathe, his most expansive and genre-defying project to date. Spanning 51 tracks across two companion albums, Breathe In and Breathe Out, the body of work is both a celebration of artistic freedom and a snapshot of transformation. From mainstage-ready collaborations with David Guetta, Bon Jovi and Moby to experimental detours with Pendulum and deep club workouts tested in late-night sets, Breathe is Armin like we've never heard him before. 'Albums are like time capsules,' he says. 'Even in the age of playlists, I still believe in crafting something that tells a story from start to finish.' With Breathe In released first, followed by the sprawling Breathe Out, the complete project paints a picture of an artist who has broken free from creative constraints and personal ones, too. Behind the scenes, Armin has undergone a dramatic shift. After years of nonstop touring, he found himself on the brink of burnout. 'I had a press release ready to announce I was taking a sabbatical,' he admits. 'Then COVID happened and suddenly I had space to breathe literally.' What followed was a total lifestyle overhaul. Armin quit drinking, embraced mindfulness and breathwork, and began a journey inward that would reshape not only his health and mindset, but also his music. 'I used to think meditation was nonsense,' he laughs. 'But if so many high-functioning people are doing it, maybe it's not so stupid after all.' His new routine includes daily journaling, gratitude lists and breathing exercises. The results have been powerful. 'I'm more productive than ever thanks to the sobriety, thanks to looking after my diet, thanks to my sleeping pattern, thanks to finally being able to say no to big shows and big offers' he says. 3 3 This personal evolution has poured directly into his creative process. 'DJing still fuels a lot of the music,' he says, explaining how many of the tracks on Breathe were road-tested live before being finalised in the studio. 'You don't even have to fully finish a track or master it to play it out. If I have a short snippet, I can already tease it in my sets. I don't have to finish the tracks immediately, but I can sculpt them, which is different from the vinyl days where you had to cut an acetate.' Collaboration, too, remains central. Whether working with icons like Guetta or the genre-blurring Pendulum, there's no fixed formula. 'Sometimes it starts with a loop, sometimes a vocal or a chord progression. Every session is different and that's what makes it exciting.' But perhaps the biggest shift is Armin's relationship with success. 'There was a time when I took gigs purely for the money,' he confesses. 'But now, success is being present, going to my son's football game instead of chasing another big show.' That doesn't mean he's lost the fire. Armin's still innovating, still pushing boundaries. At his A State of Trance festivals, which continue to sell out worldwide, he's introduced new formats like 'face-to-face' DJ sets, where two artists perform from separate decks, locked in a kind of sonic duel. 'You can't touch each other's mixer. You use hand signals like boxers,' he says. 'It's nerve-wracking, but it brings a real human element to the performance.' The face-to-face sets are just one of many ways he's reinventing the live experience. At this year's A State of Trance Festival in London recently, his second in the UK capital, Armin brought a more diverse lineup with more underground names sitting comfortably alongside traditional heavyweights. 'There's a real resurgence of Trance right now,' he says, noting how classic Gatecrasher-era records are finding their way back into sets sometimes even in their original, unedited forms. 'All the tracks we played in 1999, 2000, 2001, they're all coming back in different shapes or form. I mean, obviously, the sound quality is a lot better. You know, the kick hits harder, the drop hits harder, but the melodies are still the same. It was funny because I remember at the time, we didn't have a clue what we were doing. I guess the groundwork was done by people in 1999, 2000, 2001. And there was something golden in that time, but then after that, for a while Trance became a bit of a dirty word. It definitely feels to me now that Trance is not a dirty word anymore.' Ibiza also still holds a special magic for him. 'It goes back to the Balearic spirit of '88 with Oakenfold, Sasha, Digweed. Ibiza is unique. There's something in the air there.' Armin continues his residency at Ushuaïa this summer but, that said, he's taking a break this August in line with his new approach to looking after himself. 'No decks, no phone, just family. That's my summer plan.' In an industry that has too often glamorised excess and punished vulnerability, Armin's honesty is refreshing. He's not just talking about mental health, he's demonstrating what a healthier version of success looks like. 'Take care of your balance,' he advises younger artists. 'Once the train gets going, it's easy to say yes to everything. But it's okay to say no. It's okay to rest. You're no good to anyone if you lose yourself in the process. We've only got to see the downsides recently, you know, particularly since the passing of Tim (Avicii). There was a dramatic shift in the electronic music world.' For Armin van Buuren, this isn't a detour, it's the destination. The music is still euphoric, still anthemic, still packed with the uplifting energy that made him a global force. But now, it's grounded in something deeper. He's breathing. And in doing so, he's showing others how to do the same.
Time of India
10-07-2025
- Entertainment
- Time of India
Bigg Boss Malayalam 7: Fierce second teaser is out; Host Mohanlal says, ‘Pani Varunnund'
Bigg Boss Malayalam Season 7 is generating buzz with its second teaser, showcasing host Mohanlal in a fierce avatar. The teaser features a high-energy rap track with Malayalam and English lyrics, hinting at a tougher game ahead. With a striking red and black theme, the season promises major shake-ups in tasks and challenges, with the premiere expected on August 3. The second teaser for Bigg Boss Malayalam Season 7 is out, and it's turning heads for all the right reasons. Ditching the usual format, the latest teaser brings in a new twist, a high-energy rap track featuring none other than host Mohanlal , who appears in a fierce and intense avatar. Clocking in at 84 seconds, the teaser showcases Mohanlal like never before, oozing intensity as he delivers a message that the game is about to get rough. The highlight of the teaser is the hard-hitting rap with both Malayalam and English lyrics. The phrase 'Pani Varunnund', the popular one-liner from the Fahadh Fazil-starrer Trance, meaning "something troublesome is coming". The English lyrics further raise the bar, declaring: 'Things are gonna be tough The game is gonna turn rough You gotta have a lot of stuff Brace up or you gonna huff and puff' The teaser hints at major shake-ups in the show's format this season, particularly in areas like Luxury Budget tasks, Captaincy challenges, and even the jail punishment. All signs point to a much tougher game ahead for the contestants. Visually, the teaser departs from the familiar tones of previous seasons, adopting a striking red and black theme that has already sparked curiosity and speculation among fans. Mohanlal, known for his charismatic and cheerful hosting style, appears intense and unyielding throughout. The makers had earlier released the first teaser featuring Mohanlal in a black shirt and mundu, riding a bike, setting the stage for what's shaping up to be one of the most dynamic seasons yet. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Tại sao CFD tiền mã hóa có thể phù hợp với danh mục đầu tư của bạn IC Markets Tìm hiểu thêm Undo Preparations for Bigg Boss Malayalam 7 are in full swing, with the premiere date expected to be August 3. Several celebrity names are already making the rounds as possible contestants, including Anumol, Sharika, Rohan Lona, Appani Sarath, Rekha Ratheesh, and Renu Sudhi. Meanwhile, the selection process for commoner contestants is also underway.
USA Today
28-03-2025
- Entertainment
- USA Today
Young Thug headlines Summer Smash 2025 lineup in first show since prison release
Young Thug headlines Summer Smash 2025 lineup in first show since prison release In what could be his first performance since being released from prison last year, Young Thug is among the headliners for the annual hip-hop festival Summer Smash. The "Trance" rapper will headline alongside Future, Don Toliver and Yeat during the festival at the SeatGeek Stadium in Bridgeview, Illinois scheduled for June 20-22, 2025. Young Thug, whose real name is Jeffery Lamar Williams, will headline the third and final day on Sunday, June 22 which includes acts like Chance The Rapper, Quavo and Lil Yachty. The Atlanta rap star was jailed between May 2022 and November 2024 on several charges relating to alleged street gang involvement with Young Slime Life (YSL). Yet he avoided more time incarcerated after pleading guilty in November returning home on probation. On Wednesday, the rapper posted on Instagram a photo of himself performing, a treat for fans who've highly anticipated his return to the stage during the festival's 7th edition. "I feel lucky to be able to throw the party of the year with my best friends," Summer Smash Festival co-founder Cole Bennett said in a news release. "May this be the best one yet. Lucky No. 7." Music news: Ye sued for copyright infringement by German singer angered over antisemitism Summer Smash 2025 lineup Lyrical Lemonade unveiled its Summer Smash 2025 lineup Thursday featuring some of the biggest names in hip-hop. Don Toliver and Yeat will collectively headline Day One on Friday, June 20, while Future leads Day Two on Saturday, June 21. Young Thug will serve as the final headliner Sunday, June 22, with the day also including a special performance by Chance the Rapper. See the full lineup below. Summer Smash 2025 tickets Three-day passes for Lyrical Lemonade's 2025 Summer Smash festival will go on sale Friday, March 28, at 12 p.m. CT on the event's official website. Ticket prices will start at about $370 with parking passes priced at about $135. Contributing: Edward Segarra, USA TODAY
New York Times
27-02-2025
- Entertainment
- New York Times
Paul Mpagi Sepuya's Photos Reverberate With Scenes of Their Own Making
In Paul Mpagi Sepuya's new photographs, there is no mistaking where we are: Camera tripods stand like machinic bodies, studio lights cast their lurid shine upon things, and the walls are busy with what appear to be the artist's photo prints. The fourth wall between the photographer's studio and the art gallery has come down, and we are peering into the womb from which images are born. Such disclosures are the animating principle behind the 13 photographs on view in 'Trance,' Sepuya's second show at Bortolami Gallery in TriBeCa. Shot with digital cameras, Sepuya's scenes depict the process of image-making, revealing his world of cameras, curtains and other equipment. Sepuya also turns his incisive lens upon the realm his pictures enter once they leave the studio; seven images in the show were taken in the very gallery in which they are on display. Our own space of viewing is reflected back at us. Sepuya, 43, became a force in the photo world after the 2019 Whitney Biennial. He is known for his meticulous interrogation of photography, using myriad techniques to explore how images are constructed — an inquiry that leads, ultimately, to an exploration of seeing itself. Mirrors and other reflective surfaces mediate the view of the camera, opening up a world of layered reflections. In 'Photographing (DSF4950),' a man reflected in a mirror holds a camera to his eye, and it is as if we are being photographed; a sliver of his back is shown in another mirror. On the wall behind him is a framed photograph by Sepuya in which a pair of embracing arms holds another camera, creating an echo of images inside images. The result, which demands a visual deciphering that is both delightful and maddening, recalls art-historical traditions, including Velázquez's celebrated 'Las Meninas,' in which the king and queen of Spain, whom the artist is painting, appear in a mirror behind him. It also calls to mind contemporary work, like Jeff Wall's 'Picture for Women,' which shows Wall at work in his studio gazing at the subject he is photographing. But Sepuya's images do more than invite the viewer behind the scenes. They become an instrument with which the artist, with forensic precision and delicate vulnerability, dissects the inner life of his medium. Sepuya's previous work in the Whitney Biennial, as well as his 2019 solo exhibition at the Contemporary Art Museum St. Louis, lavished attention on the body and its expressions of queer desire (in particular, his own body in intimate positions with friends and lovers). In 'Trance,' however, many of the photographs seem to be absent of people. At times, this specificity of attention, to the medium of photography, can begin to feel repetitive and limited. But the mystery in Sepuya's photographs keeps this seriality interesting. For example, when Sepuya's body does come into view, his presence is uncertain. In 'Night Studio Mirror (DSF1073),' Sepuya makes use of double exposure, rendering the contours of his body a blurred rush. In 'Gallery Mirror (DSCF1114),' 'Gallery Gazing Ball' and 'Gallery Gazing Ball Negative,' shot inside Bortolami, we see only his hands. Elsewhere, he appears as a barely discernible reflection. The artist's presence becomes an unstable fact, or even an unresolvable question. Another clever and strange optical contrivance recurs in 'Trance': mirrored gazing balls. In them, we glimpse distended, fish-eye-like reflections of the studio or the gallery, redoubling and widening our view. It is almost as if we've gained a third eye. In 'Gazing Ball Position 02 (DSF2658)' and 'Gallery Gazing Ball Negative,' the balls sit atop tripods, as if ready to capture us. It's an almost uncanny substitution: It seems this other device for looking has usurped the camera. 'Gallery Gazing Ball Negative,' which depicts the empty interior of Bortolami and its cavernous reflection in the gazing ball, involves another kind of revelation: the photographic negative. Here, and in three other negative images in the show, Sepuya brings to the surface the technical foundations that lie beneath the developed picture. The triumph of the show is 'Studio Mirror Diptych (DSF3596 ),' an architectonic photo-installation mounted on a wheeled frame called a mobile flat, a device Sepuya often uses to mount mirrors in his studio. A series of self-reflexive maneuvers unfolds from there: A mobile flat almost identical to one in the gallery appears in the right panel of the diptych, as if the very object before us lives in the image itself. This view is reflected in a free-standing mirror in the left panel. The entire scene is shot in a different mirror, textured with smudges and dirt, in which we see part of Sepuya's reflection behind the camera. In this diptych the construction of the image and its reception — the studio and the gallery — bleed together. The universe inside the frame and the one beyond its edge seem to swallow each other, and the act of looking at an image slowly folds into the feeling of being a part of it.
