Why is the EP called Butterfly Effect? The name choice reflects the environment and vibes present during his creation of the music. "Butterfly Effect" arose naturally as a name choice in a conversation about transformation through art and how small changes can affect larger systems, which is defined in Chaos Theory as the Butterfly Effect. His EP is a poetic interpretation of this scientific theory. 
DJ T-Rell created the EP in the midst of a ground-breaking event whose aim was to diversify and positively change old systems of education. This occurred in September 2021 at the University of Massachusetts in Amherst, a four-day conference and workshop series about Chicago Footwork music and dance culture called Werk Related where DJ T-Rell lectured. The Five Colleges hosted nine guest master artists from Chicago and the larger Chicago Footwork community to share their expertise and personal history with Chicago Footwork. Through a series of dance and music workshops, panel discussions, and performances, students and community members learned about the roots and artistic practices of Chicago Footwork, creating bridges and conversations around race, culture, and diversity in higher education arts programs.

It was a vibe, to say the least. DJ T-Rell tapped into that vibe immediately and started creating music the very night he arrived in Massachusetts. While the other guest artists cooked dinner, conversed, and watched old footwork videos in the common space, DJ T-Rell created tracks in the next room. The assembly of artists marked a legendary moment for Chicago Footwork in its involvement with higher-education dance and music departments. DJ T-Rell found himself setting up his equipment on windowsills overlooking the campus or in the corner of active dance classrooms. He found inspiration from every moment, person, and location he encountered- channeling the experience into his art. 
Five of the seven tracks on this EP were created in Amherst at Werk Related, yet the entire EP carries the same transformative energy.
When we consider Chicago music and dance lineage in regards to their interconnectedness, we often discuss the rich history of that potent exchange within Chicago. However, Chicago Footwork is a living art form, constantly adapting to new peoples, locations, and modes of exchange. DJ T-Rell's "Butterfly Effect" exemplifies how adaptive Chicago Footwork music can be. Listeners can hear what DJ T-Rell experienced during his time teaching at the Five Colleges in Amherst.

5.Drop Ghost REVISIT

QUEERNESS AND MEME CULTURE

Livin La Vida Loca (hardstyle)

Free Download

FCK AROUND AND FIND OUT

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

QUEERNESS AND MEME CULTURE

maniatrix

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