New World Punx Bang

Review: New World Punx “Bang”

A few years ago Markus Schulz and Ferry Corsten joined forces and formed New World Punx, a name that derives from each artist’s hit signature track (Markus Schulz with “The New World” and Ferry Corsten with “Punk”). As individual artists they have seen some of the highest recognition in their field. Both pioneers in creating a defining and unique sound that has separated them from the masses within the industry. Set on leaving their footprint in the industry pavement as a duo, they began collaborating in the studio and performing together as New World Punx at various events around the world. After a successful array of heavy hitters under their belt which include “Romper”, “Torque”,”Pullover”, “Memories” featuring Cara Salimando plus a few other tracks performed during live sets, the creative minds of the dynamic duo have just released their latest track “Bang”.

Just as the title “Bang” suggests, it’s pure dynamite immediately from the very first seconds of the track. The listener instantly feels themselves captivated by the beat, adrenaline coursing through their veins as the race is on. The heavy percussion and infectious vocal phrase urges the listener to start moving almost hypnotically like a slave to the rhythm. The massive drum beat sets the pace as the epic lead sweeps in, infused by electro hybrid fragments elevating the senses and endorphins. This combination has all the right components just as the styles of the two artists have blended, in a perfect amalgamation of sound showcasing each one’s signature sound and influences thus creating the perfect beat.

Guaranteed to destroy any dance floor worldwide to shreds, “Bang” is quite an understatement to the vast magnitude of this one!

New World Punx “Bang” is available on Beatport or iTunes.

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Review: Arkham Knights “Knightfall”

Arkham Knights is rapidly gaining the attention of dark, progressive trance lovers everywhere after only exploding into the scene a year ago on Infrasonic and Interstate Recordings. Stuart and Ben Turner are the two brothers under the vigilant name that strikes fear into the hearts of villains that haunts the Dark Knight’s world in the DC Universe. Their success was quickly recognized with hits like “Tomorrow’s World” and “Jedi”, a collaboration with Harry Square. Markus Schulz is also a witness to their achievements as Coldharbour Recordings releases their recent production under their mantel.

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With the shadow of their Cowl to live up to, “Knightfall” starts off as powerful as the name. Within the first few seconds, a pounding bass starts the march as a looping electro synth and an escalating jingle ignites the light of war. Once the sharp taps of a snare drums are present, the intensity of the song is heightened. The allied cymbals and kick-drums starts to bang with more conviction, fighting together towards the much anticipated climax. However, there is a calm before the storm as a washout breakdown provides a peaceful break with its beautiful chords that omits an uplifting melody that allows one to survey the dance floor before engaging into combat. The euphoric calm comes to the end with the return of rhythmic tom toms and snares. The drop releases a cavalry composed of instruments and electronic synths that have been built up from the fury of pounding percussions and ravishing melodies of strings and pads produced chords. Once the battle is over, an aggressive drum-roll and a victorious bass leads us off the battlefield.

“Knightfall” is an amazing and energetic track. The Turner brothers does a great job using effective percussions with quick short taps and looping synths that emulates the heated passion of war and victory. At first, the track begins with such raw emotion from different sounds, but as the battle paves way on the dance floor, everything finds its place and forms a synergy of music with a duality of beauty and aggression that makes you want to clinch your fist and scream out your allegiance to these new heroes. Like their release on Infrasonic and Interstate, the track combines elements of techno and progressive perfectly that’s energetic and fun for those who attempts to conquer the dance floor. This track lives up to its predecessors as it is still on Beatport’s Trance Top 10 after its debut four weeks ago. There’s no losing steam for these two. As the battle for The Cowl continues by DJs throughout the world, the Arkham Knights are going to be strong players in that battle as we fall victim to their might on their path to be the best.

“Knightfall” is available on Beatport: Arkham Knights – Knightfall. The track is also available now on Spotify.

 

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Review: Mr. Pit vs. Fisherman & Hawkins “Doppelbanger”

One of the most successful Romanian music producers, Mr. Pit is known for his energetic live DJ set and amazing original productions. He has remixed for some of the biggest talents in the electronic music world and has built a fantastic name for himself. Since signing with Coldharbour, this heavy hitter has taken off. Fisherman & Hawkins have been in the EDM scene for quite a while. Performing, producing and organizing events is what they have done over the past few years. Since late 2011 they decided to combine their forces on the production level and the tracks began to flow. Mr. Pit and Fisherman & Hawkins have shared many nights on stage together in the past year,  both contributing heavily to the Coldharbour Nights worldwide. Their friendship developed further with this collaboration in the studio which accents all the artists perfectly. The deep, dark and devilish, “Doppelbanger” was then born.

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Fisherman&Hawkins

 

Right out of the gate “Doppelbanger” has a nice deep drive that lures you into the track almost immediately. The bass line used is so powerful while being subtle at the same time. About two minutes into this track the original drive softens out to a beautiful melodic creation that resonates through your ears. The notes used blend so well together it is almost indescribable. After this part of the track imprints into your brain you are brought right back into that dark drive that you’ll love. Once you finish riding that out you can’t help yourself other than to replay it again to take another journey through “Doppelbanger”.

Adrian, Isaac and Rob really outdid themselves when creating this track. Recently I incorporated “Doppelbanger” into one of my own sets and the crowd loved every second of this masterpiece as I suspected. Take a listen to the track below.

“Doppelbanger” is available on Beatport: Mr. Pit Vs Fisherman & Hawkins – Doppelbanger

Review: Markus Schulz & Nifra “The Creation (Prague) [Transmission Theme 2015]”

In a few days will take place one of the biggest indoor trance event in Europe, The amazing Transmission in Prague. Markus, who is always saying this event is part of the most important one to him, is considered as the Transmission resident DJ. So it is really not a surprise he will be Saturday for the 11th time on the magical O2 Arena stage.

To me, Transmission is really the event “not to be missed” too.   Everything contributes to make this party a perfect one: the city, the iconic venue, the show with all these lasers & lights, the line-up and, of course, the epic Czech crowd! it’s also probably the event with the most of my friends and familiar faces around, coming from more than 60 countries.

As he promised months ago, Markus wrote, for the 7th time, an anthem track dedicated to this event, which will also be the November track of his upcoming City Series album.  But, the big surprise is that he didn’t do it alone.  Indeed, this track, named “The Creation”, is also his first collaboration with the Slovakian Trance queen and Coldharbour artist, Nifra.

The result is a 7:27 minutes long incredible but unusual track, very different from previous Transmission Anthems. I have to admit I was a bit worry when Markus posted a few seconds extracts of the track on Snapchat, but it didn’t last long! What a good surprise, last October, in Amsterdam, when I heard Markus playing it for the first time! After the breakdown, a strong and powerful lead sound is used to build a long and progressive journey till the climax, that I’m sure will make people becoming crazy with all the Transmission Lasers in action! For sure, this moment will be one of the highlights of this new unforgettable night in the Czech Republic capital.

Transmission tracks written by Markus Schulz:

Markus Schulz & Nifra “The Creation (Prague)” (2015)

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Markus Schulz – Seven Sins (2014)

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Markus Schulz & Elevation – The Machine of Transformation (2013)

Markus Schulz – The Spiritual Gateway (2013)

Markus Schulz – Digital Madness (2011)

Markus Schulz – Future Cities (2010)

Markus Schulz – The New World (2008)

Review: James De Torres “Poseidon”

Age is nothing but a number when it comes to Spanish DJ James (Borja) De Torres. The Madrid native makes his sophomore production debut on M.I.K.E. Push Studios, a sub-label of Coldharbour Recordings. After spending 10 years mastering the musical strings of the violin, Torres love for awe-inspiring music eventually lead him to develop an ear for the sounds of trance.

Following his first release, “Monumental”, “Poseidon” displays Torres ability to create beautiful melodies that encompass the rhythm of the drum. The track starts off with quick rudiments that are soon engulfed by a revving synth. This creates a series of musical tides that crashes beautifully on the shores of our ears, as the cries of the sea howls in the background. It doesn’t take long for the track to pick up speed as it nears the breakdown. The driving momentum of the song, however, comes from the fluctuating percussions and sharp taps of the cymbal instead of electronic pads and keyboards. Despite all the heavy drum strokes that accumulates towards the climax, the percussions are not overpowering and perfectly compliments the euphoric tones. And unlike most songs with a powerful bass, the release does not lose its momentum after the drop. Instead of a basic banger drop, the snares and tom-tom gracefully transcends the drop into a groovy beat that is sure to get the dance floor moving. The electronic chords are the beautiful like magnificent sea, while the drums are the ripples that create violent waves, crashing with the wrath of Poseidon, emulating a musical tsunami.

James (Borja) De Torres

Torres unleashes a musical arsenal in his second track; there are a plethora of instruments and synths that are integrated into the song. The combined melodies feels like a musical ocean that washes over you. He does an excellent job using percussions as the backbone of the song that is perfectly balanced. Throughout the track, you can hear, and feel, a drummer working his artful craft on a drum kit, tapping the hi hats and kicking the kick drum. As he sets a high bar after his second release, the trance world is going to have to wait anxiously for his third production as Torres continues to grow into an international DJ.

“Poseidon” is available on Beatport:  James De Torres – Poseidon

 

 

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Klauss Goulart - Bashert

Review: Klauss Goulart – Bashert (We’ll Meet Again)

In addition to his recent success with progressive house, i.e. his track “Young, Wild, and Free”, Brazilian DJ Klauss Goulart still continues to produce beautiful trance with powerful melodies. His new single, “Bashert”, has recently been a frequent flyer in Mr. Coldharbour’s sets. For fans who haven’t had the opportunity to see Schulz live, the folks at Coldharbour have provided plenty of opportunities to hear it on their weekly Global DJ Broadcast.

Bashert is a Yiddish word that means destined to be in-love with, or being with your one true soulmate. Thus explaining the immense level of emotions throughout this love story. That intensity can be felt in the beginning as the track immediately conjures up a warm emotion with its potent notes that’s pushed by a strong kick drum, accompanied by light horns. Then, a cymbal sweeps in for a washout breakdown that’s filled with a perfect combination of electronic sounds that generates an alluring reverberation of echoes. The smooth, airy synths provides an atmospheric feel where you cannot help but close your eyes while Goulart plays with your emotions through your ears. When we are ready to reach the climax of this musical romance, rapid chords starts to fire like a beating heart as quick riding cymbals, joined by a strong bassline, thrusts us towards love. After emotions are felt and released, everything comes together once more as the pads continues to create a spirited, progressive synth before the harmony fades into the beating of a drum.

With a subtitle like “We’ll Meet Again”, you can’t help but picture a Hollywood montage where you’re reunited into an old lover’s arms. This track doesn’t tell just one story, but everyone’s story who has ever felt love. Like his previous hit, “Absolute Chaos”, “Bashert” doesn’t depend on heavy drops for its energy and hooks fans with its consistent progression of euphoric melodies that builds up for an explosive release. I can see why Schulz has been so fond of this track. If you don’t want to wait for its release on Coldharbour Recordings, you can catch Goulart’s new track on the Ministry of Sound’s ‘Trance Nation’ compilation, which is also mixed by yours truly, Markus Schulz.

Trance Nation
CD: http://smarturl.it/TranceNationAmazon
iTunes: http://po.st/TranceNationMS

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Facecdown Markus Schulz

Review: Markus Schulz Featuring Soundland “Facedown”

Markus Schulz has partnered with Kazibo on his latest track “Facedown” which features Soundland. The song is a remarkably ambitious musical turn for Schulz featuring an anthem indie art rock theme showing off yet another impressive side to his talent as a fresh and relevant modern songwriter. There are two versions of the song.

The acoustic version of the song begins with a hooky, catchy, jangly acoustic guitar riff surprisingly reminiscent of something you would hear an indie band playing at a coffee shop. A kick drum propels the song along at a head bobbing pace and then drops into a chill indie feel as vocals skillfully guide the track along on a journey that appears to tell the tale of a couple’s shattered dreams and unrealized ambitions. The main jackpot of the song is the subtle synth keyboards propelling it underneath which takes the listener on a beautiful emotional ride the sound of which reminds you of times riding unicorns and horses on a merry-go-round as a child.

The club mix of “Facedown” is even more ambitious. Once again the song begins with the same indie guitar riff but underneath it is Schulz’s synth keys out of the gate beginning to build the song soaring upward. A short time later the indie vocals kick in and the song soars higher but without any drums. And then the vocals stop and the keyboards shatter through the song building it higher and higher with bass and rising tension until a thick kick drum pulsates throughout the song making it irresistibly danceable. As it builds into a frenzy the song goes to a drop until once again it is just guitar, keys and the vocals which builds it up all over again. After the song builds for a while the song quite suddenly explodes once again into drums and a full orchestra of both real instruments and DJ beat magic. Only an artist of Schulz’s stature could have attempted something so musically innovative and unlike the character’s in his lyrics he has exceeded expectations quite handily.

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Markus Schulz Talks About His New Ministry of Sound Mix Compilation ‘Trance Nation’

Markus Schulz got his start as a mover & shaker in Arizona’s highly influential, mid-to-late 90s rave scene. At the start of the current millennium he made the transatlantic move to London, cut his Ministry of Sound teeth as a clubber, before planting the Schulz flag squarely and firmly in the then-embryonic/now front-&-centre electronic music capital of Miami. There he’s stayed, becoming, arguably, the city’s most successful electronic music son. Over that time, career highlights, landmarks and accolades have whipped by at pace. He’s polled 10 years straight in the DJ Mag Top 100 chart, won Best American DJ at the 2008 IDMAs, bagged in 2012 DJ Times’ America’s Best DJ gong and then rang its bell again (for an unprecedented 2nd time) in 2014. 

Given his extensive run at the forefront of scene, Markus mixing one of Ministry of Sound’s ‘Trance Nation’ album’s was never really an ‘if’ – only ever a ‘when’. When he became available, Ministry’s once-a-year annual release guideline for the series sailed straight out of the nearest window. The cards had fallen right and Markus – undoubtedly the series’ most requested mixing prospect of recent times – was at the wheelhouse and ready to ‘skipper’ a ‘Trance Nation’.

With those stars in alignment and an exclusive-packed tracklist that had us, frankly, frothing, we decided to collar Markus and get the full lowdown on what he’s been up to of late and what the compilation holds in store…

Markus Schulz
Photo by: ashyoud.com

Thanks for talking to us this afternoon, Markus. Where in
the world do we find you today? 

Markus: Hi guys, thanks for having me.

Currently speaking to you from Melbourne, Australia. I had quite the trip to get here; from Hong Kong to San Francisco on Sunday for 13 hours, played Beyond Wonderland Bay Area, flew to Los Angeles and then 15 hours to Melbourne. So my body clock is probably clueless right now!

Well, we’ll take it easy on you! We’re chiefly here to discuss your new mix compilation release, ‘Trance Nation Mixed By Markus Schulz’. As it’s your first in yours and the series’ long, estimable history, it feels like it’s been a long time coming. Do you feel likewise!? 

Markus: It’s an incredible honor to be asked. I remember when I moved to London in 1999 and walking around Brixton; there would be flyers plastered all over the buildings and bridges promoting the very first Trance Nation, mixed by some unknown guy named Ferry Corsten.

If you asked me that at some point in the future I’d ever be mixing an edition myself, I wouldn’t have believed you. But now, I regard it as another chapter in a relationship I have been so lucky to establish with the people behind the Ministry of Sound club and brand.

The biggest challenge was producing a compilation worthy to match the prestige of the series.

You’ve been a resident at the Ministry of Sound’s Gallery nights for a considerable while now. How long’s it been exactly and what memories stick out from your earliest nights playing there? 

Markus: There’s something truly special when you say the words “Ministry of Sound resident”.

I have been working closely with them since 2008. In February of that year, I played at one of the final ever nights at The Gallery’s former home, and another iconic London venue, Turnmills. There was quite a bit of uncertainty and part of me wondered how long it would be before I had the chance to play at a club in London again.

But the best thing possible happened, with The Gallery taking over Friday nights at Ministry of Sound. So I was booked to play one of the first shows there in May of that year. And honestly, as soon as I stepped foot back into that venue, but for the first time as a DJ, there was an instant chemistry.

That gig in particular was very important, particularly the role played by the fans. A month later I was in Ibiza, having dinner before a night at Amnesia. My mouth was full of bread and the phone rang, and it was right there when they asked me to become their international resident. We haven’t looked back since.

I think the biggest compliment I can pay about the residency is that it was the catalyst for the open to close solo sets elsewhere. People saw what was happening at MOS it helped open doors for me at other respected venues in various worldwide cities.

Your history with Ministry goes back further even than your shows there of course. You used to have studios just down the road from the club in Coldharbour Lane. What initially prompted you to up sticks from the States and move to London?

Markus: By the end of the nineties I felt completely burned out. I was living in Arizona and had just completed a seven year residency at a club called The Works, but it closed down and got converted into a parking lot. The frustrations in trying to succeed outside of the state were enormous, especially in the infancy days of the internet. It was incredibly difficult to feel the pulse of what was going on in the scene worldwide.

So in an effort to rediscover who I was musically, I moved to London and lived on Coldharbour Lane for two years. I look back and think of everything up to that point as “learning” for my career, and my actual career commencing from London onwards. This was where I began to click as a producer, and figured out that if I can make music that is good enough for me to play in my own sets, then other DJs could play it as well.

Of all the DJs you caught at the club at that time, whose set do you remember finding most inspirational?

Markus: That was one of the most important aspects of London – having the opportunity to be a clubber, watch and study the big international DJs performing. I took a lot of inspiration from Sasha & Digweed, Paul Oakenfold, Judge Jules and Carl Cox at the time. Xpander was practically the soundtrack of my early days in London.

I think that’s why the residency at the club is so important to me; because I have been on the other side of the DJ booth and can understand the importance of the connection between performer and clubber.

When you play there nowadays, what set time do you find to be optimal? 

Markus: Open to close! Haha. If I had my wish, I’d do that on every appearance there.

The club is quite unique in that it opens at ‪around 10-10:30, and all the other rooms have music up and running, except for the main room, called The Box (hence the Lost in the Box track name). It opens ‪at midnight. So when you’re the first DJ in the main room, there is a sudden rush from the fans to fill the room as soon as the clock strikes midnight. The nights generally run until about ‪6am.

What I’ve loved most about the residency is that there is an element of trust within the audience, and it is arguably the best setting in the world for road-testing material that no one has ever heard before. I never feel confident releasing anything until I have played it first at Ministry of Sound.

Moving onto the release itself, broadly what approach did you want to take to its compilation & mixing? How did ‘Trance Nation’ differ from the curating & mixing of, say, one of your City Series compilations?

Markus: It was different in the sense that for the city series compilations, it’s a brand that’s deeply associated with me, and all of my own fans will know about it’s development, creativity and build their own anticipation towards the release day.

However, Ministry of Sound and Trance Nation are iconic brands on their own, and there will be a large volume of people out there who religiously collect the Trance Nation CDs, but possibly never have heard or bought a Markus Schulz compilation before.

So the challenge of Trance Nation Mixed by Markus Schulz was twofold – present lots of unreleased exclusive material to satisfy the expectations of the hardcore followers, and to provide a fair snapshot of who I am and the musical passion I represent; so that for the casual fan who follows Trance Nation, it may interest them enough to explore my work further.

With that series moving from a mix-comp to a run of city dedicated singles, this year has been an even more prodigious one on the production front. What of the studio creations under your own name are we seeing on the album?

Markus: Trance Nation features the three that were released between June and August, because the compilation had to be completed and submitted before the end of the latter month.

My mantra with the city series production project has been to feature clubs or events in municipals that have played a crucial role in the development of the scene, and also for me personally.

Because of the Ministry of Sound residency, London was always a guaranteed fixture in the series, and also for the Trance Nation compilation. From London we moved to Belgium and to the biggest European festival of the year – Tomorrowland. I also have a special connection there; due to the open to close solo sets on my own stage. This year was a special occasion, because I was one of the chosen three selected for the Daybreak sessions on the main stage, so naturally there should be a track to reflect that.

And the final track on the album is dedicated to another solo set destination, Avalon in Los Angeles.

You are very well known for being a DJ that’s equally at ease playing the deeper end of the genre as you are with the tougher stuff. Is this something you were able to translate into the ‘Trance Nation’ mixes you’ve done?

Yes, absolutely.

Anyone who follows me closely knows that I have a broad palette when it comes to music; with everything built around the magic of the melodies. And I think that’s well represented when you collate the members of the Coldharbour family.

So hopefully when people are listening to the compilation, there is a sense of progression from first track to last.

Your ‘Destiny’ single had a huge impact earlier this year. To your mind, why do you think that was so and which single track that you’ve produced has had the single greatest effect on your career?

Markus: To be honest with you, I am still overwhelmed by how deeply that track has resonated with everyone, and maybe the reason it has is because it marked the beginning of my proper foray into songwriting.

The aspect of songwriting I feel is the next step in my career. I love the art of creating, and I have a blast working in the studio alone on instrumentals, but there’s something very gratifying about writing.

Destiny was one of the first songs where they’re my words – not just my music, but words – and the singer singing them back to me. It’s a new chapter in my career. I’ve always been into creative writing and helping the songwriters, but this is a special track with personal meaning, and that’s why I spent so many hours trying to get it absolutely perfect; with the old-school arrangement and the ten minute track length.

During every part of the process, we felt we were creating something special, something that touches your soul, and I’m delighted for Delacey that the fans have been so complimentary towards her talents.

To date, I still think The New World remains as the one track, which affected my career the most. It was a watershed moment at the time, because of my association with the Transmission events in Prague. I know that I meet so many fans, particularly those based in the eastern European countries, whose first discovery of me was thanks to that track. That area remains important to me today – Czech Republic, Hungary, Romania, Bulgaria etc. – and Transmission is our annual gathering together.

Markus-Schulz

With ‘Cathedral’ having just hit promotion and ‘Twilight of the Night’ featuring exclusively on the album, things look like they’re gearing back up for your Dakota alias too. What plans are afoot in that area? Will we be seeing a new album soon? 

Markus: We have the 225th release on Coldharbour coming up, and traditionally for every 25th and 75th release we like to dedicate as a Dakota release, so that will most likely be next, and include Twilight of the Night.

Cathedral was more of a spontaneous decision, but when the track was completed, it was only natural that it should be christened as a Dakota production.

Doing the Dakota tracks is a lot of fun for me personally, simply because there isn’t necessarily that element of pressure to deliver attached. The problem is however that when it becomes an album process, suddenly that pressure from labels, management and so on is intensely cranked up, and right now I’m not sure if I am in a position to fully commit to doing that.

Don’t worry though, the alias is a lot more active than everyone realizes. Many of the IDs that filter through the solo sets are Dakota tracks that haven’t been released. Most of them don’t even have track titles!

One of your two mixes brings both Giorgio Moroder and Sia to the tracklist of the compilation – a genuine first (and possibly only!) for a ‘Trance Nation’. How did your mix of ‘Deja Vu’ come about and what line did you go down with it?

Markus: This is one of the big exclusives on the compilation and an incredible honor to feature them. Thanks to a connection within my management, I had the privilege of collaborating on an original with the pioneer Giorgio Moroder for his album, entitled Timeless. When you think of the bonafide legends who have contributed to the scene of electronica, few have done more than Giorgio. So you can imagine the pride I feel to be able to include his name on a compilation.

While Timeless was going on, I simultaneously had the chance to remix the title track of Giorgio’s album, Deja Vu. This of course wouldn’t be the first time I would remix Sia, having done one for her track Buttons many years ago.

Her vocals on Deja Vu are incredible, and it’s one of those tracks that will captivate you from first listen. It’s full of beautiful layers of grooves and melodies, and is a vital piece of disc 1 one on the compilation.

Hopefully the remix reflects well on the original!

There are also the massed ranks of your dedicated Coldharbour artists’ latest featured on the album. What, in particular, can listeners look forward to hearing from them? 

Markus: I am so proud of my Coldharbour family! Whenever a compilation project comes up, they are always there to play their part tremendously with their individual talents.

When I received the details from Ministry that they wanted me to mix Trance Nation back in March, the first process was to contact the producers and emphasise the importance on their next production or two, because I wanted to create something memorable and special for the compilation through the inclusion of their compositions.

So even though the likes of Nifra’s Army of Lights was an important part of Coldharbour’s summer release schedule, the ultimate aim for it was to have it shine on Trance Nation – one of those tracks people will remember when listening in future years.

Doppelbanger – the collaboration between Mr. Pit and Fisherman & Hawkins, was an eleventh hour entry, in that they sent the final version 12 hours before the submission deadline! But I’m glad to have been able to include it.

And I’m so happy with all of the input from our guys really; whether it’s the beautiful lush tones of Gai Barone or Danilo Ercole, or the peak hour power of Ron Alperin or Dave Neven, they should be very proud of their work, and I am certainly grateful to them all.

Do you think that this will be the Markus Schulz Trance Nation, or do you think we might see another one again one day?

Markus: Ultimately that’s not up for me to decide! The final say should be decided by the fans and by the folks at Ministry of Sound.

The history of the scene is very important to me, and I know from my own life experiences and studying the Trance Nation series the names who have resonated throughout.

So to have both Ferry Corsten and Judge Jules; guys that have mixed multiple editions of Trance Nation, in a production capacity on my compilation is an honor. Having legends like Chicane, Giorgio Moroder and Sia is an honor. And to have such a healthy wave of upcoming talent from Coldharbour and beyond represented tops it off.

Whether I do a second edition, who knows, I’d sure love to! But all I can say is that I am truly grateful to have had the opportunity to contribute to the series with this one.

Many thanks for talking to us Markus – it’s been a pleasure! Before we wrap up anything else you’d like to say to the good people!?

Markus: As always, many thanks to everyone who follow me and especially those who have supported and bought the album digitally or on CD.

With everything I do, I have put my heart and soul into the compilation, and I hope that it’s a journey that you will enjoy on your own or with friends for quite a while to come.

 

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‘Trance Nation Mixed By Markus Schulz’ is available now!

CD: http://smarturl.it/TranceNationAmazon
iTunes: http://po.st/TranceNationMS

Tracklist:
CD1:

01. Marscela – Time Plex
02. Chicane – Fibreglasses
03. Gai Barone – Un-Theme
04. Markus Schulz presents Dakota – Twilight of the Night
05. Sergey Shabanov – Whirlpool (Crystal Design Reface)
06. Judge Jules – Turn On the Lights
07. Giorgio Moroder featuring Sia – Deja Vu (Markus Schulz Remix)
08. Rank 1 vs. M.I.K.E. Push – Juno
09. Rex Mundi – Radiance
10. Markus Schulz – Daybreak (Boom)
11. Nifra featuring Seri – Army of Lights
12. Tritonal – Gamma Gamma (Ferry Corsten Fix)
13. Mr. Pit vs. Fisherman & Hawkins – Doppelbanger
14. Klauss Goulart – Bashert (We’ll Meet Again)
15. Tenishia featuring Adina Butar – Don’t Let Go
16. Dimension – Moments
17. Solarstone – Solarcoaster (Markus Schulz Coldharbour Remix)
18. Markus Schulz featuring Delacey – Destiny

CD2
01. Markus Schulz & Vassy – Tomorrow Never Dies (Markus Schulz Coldharbour Intro Mix)
02. Genesis – Supernova
03. Ron Alperin – Knockout
04. Arkham Knights – Knightfall
05. Danilo Ercole – Format
06. Dan Thompson & Ron Alperin – The Punisher
07. Jes – Two Souls (Fisherman & Hawkins Remix)
08. Dimension – Cima
09. Markus Schulz – Lost in the Box (London)
10. Dawn – The Truth We Can’t Escape
11. Elevation vs. Grube & Hovsepian – City of Angels (Purple Stories Remix)
12. Markus Schulz – Remember This
13. Solis & Sean Truby vs. Harry Square – Concrete Jungle
14. Dave Neven – Drifter
15. Gouryella – Anahera
16. Artisan – Worlds Apart
17. New World Punx featuring Cara Salimando – Memories (Markus Schulz Remix)
18. Markus Schulz – Avalon (Los Angeles) (Trance Nation Outro Mix)

 

Markus Schulz - Dancing in the Red Light (Amsterdam)

Review: Markus Schulz “Dancing in the Red Light (Amsterdam)”

October is the month that most people involved in EDM industry and fans from all over the world travel to the Netherlands, for the Amsterdam Dance Event (ADE). Five days of conferences, meetings, and of course parties! It is for sure the main reason why Amsterdam is this month’s selection for Markus Schulz’s upcoming City Series compilation album. The track is named “Dancing in the Red Light”, in reference the most popular Dutch capital urban area located in the heart of the city, the Red Light District.

On Thursday October 15th, Markus along with some of the DJs from his Coldharbour Recordings label, played at the Panama Club as part of the Luminosity presents Perfecto Fluoro vs Coldharbour Recordings event. Markus opened his set with this new incredible track! And what a way to open it! Many people came to me during and after his set to ask me what was this awesome track that Markus had just played! He also debuted this track during his weekly Global DJ Broadcast radio show.

For sure, we will be hearing “Dancing in the Red Light (Amsterdam) often in Markus’ sets during the upcoming months!

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Available on Beatport: http://bit.ly/clhr227bp

 

Markus also premiered two other tracks during his ADE set. The new Transmission theme which he made in collaboration with Nifra and his new vocal track “Facedown”, which he released on October 20th!
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Video: Markus Schulz Featuring Soundland “Facedown”

Markus Schulz has partnered with Kazibo on his latest track “Facedown” which features Soundland. The acoustic version of the track was revealed to the world early on Tuesday morning October 20th. The video, starring Laura Cosoi and Alec Secăreanu, was shot at a studio near Bucharest in Romania this past August. The version of “Facedown” that Markus Schulz will be performing in all his sets will be debuted during Global DJ Broadcast on Thursday, October 22nd.

“Facedown” is a song very close to Markus’s heart and it symbolizes an exciting new chapter in his life. Markus has recently started pursuing his passion for songwriting,”Getting back to the roots, just a guitar and writing a story. Not just the melodies and the beats, but actually the words and the stories that accompany the song.”

Lyrics to Markus Schulz Featuring Soundland “Facedown” 

Waking up on the pavement
Living large like we made it
You and I nothing but wasted time
Never know until we get there
Take a hit when life’s not fair
You and I sleeping under neon lights

Shut your eyes
We could stay here forever
I’ll try to hold us together
We could stay here facedown
All this time we’ve been searching for pleasure
I’ll try to hold us together
We could stay here facedown

I see it all in slow motion
Feel the future sinking in
From these highs
Nothing can sink us now

Shut your eyes
We could stay here forever
I’ll try to hold us together
We could stay here facedown
All this time we’ve been searching for pleasure
I’ll try to hold us together
We could stay here facedown

 

Here’s a few photos from the video shoot!

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Markus Schulz feat. Soundland - Facedown

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