TRACKLIST:

1. NOUN (HARYASHVAS & FRACTALIEN) - BHANG - 155  
2. ANTAGON & SELECTIVE MOOD & NOCTURNES CREATURES - DUST  - 168
3. PARABAX VS HIGHKO - DABBING - 172
4.  -Z- (ALPHA & ANTAGON) FEAT. YATA-GARASU  -  DREAMING BOYZ - 180
5. FRACTALY NOISE VS YUXIBU - WE GONNA BREAK TONIGHT - 182
6. MICROORGANIZM VS TZYTLOS - LES ILLUMINATI - 193
7. KFREQ & KOPOPHOBIA - DUAL CONSCIOUSNESS – 200
8. YATA-GARASU & MINDELVE - BONKERS - 200
9. NEXUS A VS NASTY GALAXY - GALACTIC CHAOS - 210

MASTERED BY ANTAGON 
ARTWORK BY PSYFLYART

Release Date: 01 May 2018

Physical Pre Order at Bandcamp -> https://blackoutrec.bandcamp.com/album/double-trouble-mmxviii-pre-order

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VA DOUBLE TROUBLE MMXVIII BY ALPHA -> PATCHWORK MIX (OUT NOW)

99 + אין אחריות בכלל 🎶😜🏴‍☠️
לא לשמוע בשבת !

What's the perfect music for modern trance dance ceremonies of the 21st century? Obviously there's no simple answer to this question. Fast, hard rhythms and cascades of spaced-out sound effects prove to be an excellent medium for journeys to Inner Space. However, mellow grooves and dreamy melodies work just as fine to make the feet moving and the mind drifting away to alien worlds. That's why Black Out Records is not about a particular style, a particular genre. It's about deep, psychedelic sound – in all its synapse-tickling variety.

Label founder DJ Psycko has witnessed the musical evolution of the scene since 2000, both as an eager party freak and as a passionate DJ. During all these years he has seen the change of the psychedelic seasons, new subgenres popping up, trends coming and going. In face of this dynamic development he never restricted himself to a particular style. That's why his brainchild Black Out Music, born in 2015, is meant to be a universal interface between Trance freaks and producers. The sound of the label oscillates around psychedelic deepness – 'Electronic Trance' would probably be the best description, as this term says everything and nothing.

(German)

Was ist die beste Musik für die modernen Trance-Tanz Zeremonien des 21. Jahrhunderts? Eine eindeutige Antwort darauf gibt es nicht. Schnelle, harte Rhythmen und weltfremde Soundeffekt-Kaskaden eigenen sich hervorragend für Reisen in den Inneren Kosmos. Aber mit entspannten, groovigen Klängen und verträumten Melodien lässt sich ebenfalls großes Kopfkino herbei zaubern. Aus genau diesem Grund geht es bei Black Out Records nicht um ein bestimmtes Genre, einen bestimmten Stil. Es handelt sich vielmehr um ein Open Source Projekt für deepen, psychedelischen Sound in all seiner synapsenkitzelnden Vielfalt.

Schon seit 2000 beobachtet Labelgründer DJ Psycko das musikalische Szenegeschehen mit ungebrochener Begeisterung – auf der Tanze und hinterm Mischpult. Im Laufe der Jahre hat er erlebt, wie neue Subgenres entstanden sind, wie Trends kamen und gingen. Auf einen bestimmten Style festlegen konnte er sich angesichts dieser Tatsache nie. Deshalb versteht sich das 2015 ins Leben gerufene Black Out Records auch eher als universelle Schnittstelle zwischen Trance-Freaks und Produzenten. Erlaubt ist alles, was aufgrund von psychedelischem Tiefgang Spaß macht. Deshalb spricht er auch gerne von 'Electronic Trance' – ein Begriff, der auf wunderbare Weise alles und nichts sagt.


The Prison Was the American Dream: Youth Revolt and the Origins of the Counterculture. (August 2008) Damon Randolph Bach, B.A., The University of Wisconsin at Madison Chair of Advisory Committee: Dr. Terry H. Anderson This thesis discusses the reasons for the emergence of the American counterculture in the mid-1960s, and makes a significant contribution to the existing literature on the subject with an innovative methodology. Historians have neglected to study the counterculture’s grievances, the issues, and events that birthed it, employing a systematic year-by-year analysis. And few have used the sources most appropriate for drawing conclusions: the underground press, a medium hippies used to communicate with other like-minded individuals. This thesis does both. The most imperative factors that led to the emergence of the counterculture can be firmly placed in the first years of the 1960s. Students and dropouts feared the prospect of worldwide nuclear annihilation, and railed against the Cold War and the Cold War consensus that left little in the way of political alternatives. Old Guard liberals became targets, for they seemed to be complacent with America’s foreign policy, which prolonged and entrenched the Cold War world. American society and the Establishment frustrated and angered the young. It posed a danger to civil liberties and equality for minorities, while restricting freedom. Most grievously, American universities and those who ran them sought to assimilate youths into the military-