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Trance Jesus
What's up, Trance family? I am here with Deon Butler,
aka Kaeno he's here in Minneapolis. We've got Mark Sherry coming in town. We're
doing this cool interview. I've always wanted to do these because I've seen
them online and just kind of talking and just chatting about the scene, about
each other, about music. And so we were talking about where trans is going and,
like, tell. Tell us your thoughts on this Deon. Like, where you think you see
it going and where it is right now. Let's start with where it is right now.
Kaeno
Well, I see Trance. I see Trance right now as, um.
It's the festival sound. I, you know, it left the clubs, and I really see it
going. You know, it left underground as well. A little bit more. A little bit
mainstream. But I see moving more of the festival circuits out, big stages and
that. That niche market of different parts of the world. I do see the harder
edge sound of trance, the hard, you know, driving stuff like Klangkuenstler
and, you know, T 78. C 78. Yeah, T 78 and all those guys.
Trance Jesus
Like, which we would, I think in some circles would
consider that hard trance.
Kaeno
Right. Yeah, the hard trance. I see, like, the hard
trance out is really going back to the underground where we started at, you
know? So, yeah, I know.
Trance Jesus
What's interesting is, you know, that whole melodic
sound. I think I even talked to people over the last few years, and they would
even agree that melodics kind of. It's kind of the progressives dead. Uplifting
is kind of dead. It's either melodic or it's like a heavier sound, but.
Kaeno
Okay, so, funny story. We were talking about melodic
tech. Melodic techno.
Trance Jesus
Yeah, melodic.
Kaeno
And I was just like, oh, that's progressive tech.
Trance Jesus
Yep. It's either. You're either melodic house or your
melodic techno. It's like, is it kind of have that lighter tone or has it got
that techno kick? But it's still kind of about those lighter melodies.
Kaeno
Yeah, but I mean, back in the days, we used to go to
Lfast-pacedimelight. I mean, I had shadow lounge in Miami, and we had Georgia
Acosta and Talla and Tasha would come down and, you know, we were playing
trance to the main room. It was like the gospel, right? You know, people will
come for the melodies, the. The enchanted vocals and the driving sense, but
that sound doesn't resonate well in the clubs right now. It's, you know, it's.
It's fast. It's fast paced, quick transitions. And then, you know, the festival
market and with all the festivals taking place, that doesn't leave room for,
for nightclubs to write us out.
Trance Jesus
And would you even agree that some of that is to the
effect of the attention span and in kind of our fast paced, social media driven
world, that that's kind of influenced the music scene, too? People want to have
quicker transitions. They want to have harder music. Like, it's kind of, you
know, on demand or faster type of melodies and music.
Kaeno
Definitely. It gives a perfect example. Funny,
there's a record out by Key 4050. I want more. Is there, is. I want more.
Trance Jesus
Is it kind of how it more like that techno-y sound?
Kaeno
Yeah, yeah.
Trance Jesus
You know, if you're Kearney and. Yeah, and they have
that harder sound anyways.
Kaeno
Yeah, but the song. The song says it clearly. You
want more. You, the hook to it. It's like, I want more. You want more music,
you want more beats, da da da da da or 40 something something. Yeah, that's,
that's what it is. They just want more, you know, with them, with all the
record labels, which, yeah, I'm pro everybody having their own market, their
own record label, their own brand, their own sound. But the thing is that it
now segments everybody and pitch and hold you into, well, what crew are you gonna
be on and what sound are you gonna play, etcetera. So to each and so everybody
should have their own brand. Plus, as an artist, you shouldn't be able to come.
You shouldn't sacrifice your sound or conform to one sound because of what a
record label says. But a lot of people do that. Yeah, but with the, with so
many different record labels out, it's hard to then network or be together as a
group.
Trance Jesus
You know, then that's where coming. Coming underneath
of one umbrella with one sound helps you from a marketability perspective.
Otherwise, you're trying to be a pioneer in your own space. And I've had this
conversation with other artists. Yeah. I mean, this day and age, the quality of
music is definitely a little questionable because it's become easier for just
about anyone to create a label. And so where did that check and balance go?
Where some of those larger labels, like your universals or your sonys or
whatever, where you had those people that had the year, they were the experts
in their field, and now everyone is an expert. I'm a self professed expertise
because this is the sound I'm embracing.
Kaeno
Exactly. But then, so that's the lack of the he and
ours you don't have in ours anymore, really, like discovering sound. Like, I
always look at, you know, like, that was a full time in re for re additional,
you know, I was looking at new artists that were coming out to the scene but
were making music that was, you know, like legacy. And I always base it around
tracks like, you know, Mike Push, um, legends, and. Yeah, you know, like the
Universal Nation and, you know, the rank one sound and things like those
anthems, you know.
Trance Jesus
And, like when they were putting one on records,
which, by the way, you see where we are, right? You see where we drove from?
Kaeno
Yeah.
Trance Jesus
Ruben walked down here when he was here.
Kaeno
Oh, okay.
Trance Jesus
Like, this is. He was driving, walking this 10 miles.
Kaeno
Wow.
Trance Jesus
Just to check out all the record stores. I digress.
But, yeah, the.OGs that, you know, released on vinyl. Because if you wanted to
release on vinyl, you had to have a good sound, and you had to connect with a
large label that can actually be able to bring that to the masses.
Kaeno
Well, it's like. Like perfect example. I use Darren
Porter, for example, and Paul Denton like David Forbes and I, we discovered
those guys, like, before they hit where they're at now. I mean, Paul. Paul was
writing some heavy stuff back then and killing it. And they're a porter. Darren
Porter is like the musical genius.
Trance Jesus
Oh, yeah.
Kaeno
His melodies and everything. When we first discovered
him, Aria Digital, even Allan Morrow right now, and all amoral, is finally
getting his day in court. I'd say, like, on. On the scene.
Trance Jesus
Like, this is due respect.
Kaeno
His respects, yes. I mean, when rich called them out,
it's like this guy's making some serious music. Like, that's an OG, you know,
pure trance.
Trance Jesus
Like.
Kaeno
Like he's making quality music. So that's what.
That's what it was about. That's what, you know, a true A&R, I feel, does
and discovers talent that's taking a sound and morphing into theirs and
building, you know, on it.
Trance Jesus
Yeah, let's look at that.
Trance Jesus
The fire trucks come in,
Kaeno
See what you started.
Kaeno
Trance seems hot.
Trance Jesus
Trance on fire.
Trance Jesus
Yeah. Talked to Darren last year, you know, his first
time to perform after Covid, and, you know, he went through a lot, but, you
know, he's had the. Always had that love of the cinematic sound, and he belongs
that to a lot of this music. And that's something that you go and listen to a
lot of his music from the last decade. Yeah, it's just amazing.
Kaeno
Well, that's that what actual Trance was back then.
Yeah, like that. Those orchestral, cinematic scores followed by, like, driving
beats and how.
Trance Jesus
That's point.
Kaeno
That's good.
Trance Jesus
So take us back to Miami and not to. I hate saying
comparisons, but what was. If you were to compare, like, where going back in
time from where we are now to back in Miami, like, what was that? Was that
field? Was that scene?
Kaeno
Miami was just thriving. I mean, everybody wanted to
come to Miami. Yeah, yeah, it was.
Trance Jesus
Ultra started, right?
Kaeno
Yeah, Ultra started on the beach 21st in Collins. We
had. I remember the first Ultra I went to, we had the Gatecrasher stage.
Trance Jesus
Oh, man.
Kaeno
Tacha was playing Max Graham. Who else?
Trance Jesus
Tall Paul.
Kaeno
Who else was there? George Acosta, David Padilla.
Trance Jesus
Was that before? Was Paul Oakenfold there at that
point?
Kaeno
Paul was there. Paul Oakenfold didn't play the
Gatecrash series. He played the main stage. But, yeah, we had a. We had a Cream
stage, too. Like, this was like all the European clubs.
Trance Jesus
Yeah.
Kaeno
And they came because of. We had a record label pool
called Flamingo Records.
Trance Jesus
Okay.
Kaeno
And Flamingo Records was in touch with all the
European clubs and. Yeah. Back then that's how you got your music. You know, it
was. It was file sharing through the mail. You were shit. Yeah. Snail metal.
You were sending records to people through the mail. And that's how, you know,
the clubs got their music.
Trance Jesus
Ain't that picture for kids these days?
Kaeno
Yeah. Right. So you will wait, like, two weeks to get
a new record that was already hot in Europe, but then it came to the States and
you got it, and then it was only heard in the club.
Trance Jesus
Yeah.
Kaeno
And you had to be a dj to get these records.
Trance Jesus
So that makes sense why that's. You would always say
that Europe was ahead of the sound and the us to pick it up because that's the
only way they were able to get it.
Kaeno
Yeah. So it would go. We had the transit commute. You
would go from Europe to New York. New York was still, like house music. You
know, you had Danny Tanag, we had Peter Roper and all those guys, but they
weren't playing, like trance. And then that music really stemmed. I mean,
Georgia Costa was a pioneer for Miami. And Sasha and Digweed, we will be
playing up in Orlando. Paul Ladek was playing up in Orlando, in Gainesville, a
club called Simonse. And a lot of the bedrooms. Gainesville, yeah.
Trance Jesus
College town.
Kaeno
It was a college town. But I think Chris, 40 year, I
believe, from. From Bedrock.
Trance Jesus
Oh, yeah.
Kaeno
The progressive sound was really big up there. So,
yeah.
Trance Jesus
So here's a secret.
Kaeno
That's that.
Trance Jesus
All right. My Fallen Angel project. It's getting a
release of Heaven Scent.
Kaeno
Nice. Congrats, bro.
Trance Jesus
Yeah. So we finally was a six month journey, and
finally John came back to us. It's like all right. Producer credits I'm like,
all right, we're getting close. Producer credits that's awesome, man.
Kaeno
That's big news for congrats, for you.
Trance Jesus
Excited.
Kaeno
But I mean, that's. That's what it was. So
progressive, was, The sound was there. We just didn't know where it was. So
Gainesville had progressive Digweed, Oakenfold, all these guys were playing up
there. And then I think through the. I think I believe through, like, the
promotion of Flamingo Records and all that stuff. That means it started coming
down to, like, the Miami nightclubs, like Club Liquid. Yeah, Shadow Lounge. We
had Pasha. We had a Pasha Miami.
Trance Jesus
Yeah, I remember that.
Kaeno
Yeah, we had that Mars bar, and then we had The Edge
in Fort Lauderdale, which The Edge was the trance and underground Mecca.
Trance Jesus
All right, pause for 60 seconds. Maybe a little more
than 60 seconds. I want to run in real quick, grab these flyers.
Trance Jesus
They still can't get it right. So that's what the
crop marks are for. I know.
Kaeno
Kinda looks cool like a border, though.
Trance Jesus
It does, you know, why would I make.
Kaeno
Next time I make the bleed the color of the flyer.
Trance Jesus
I like that. So finally, this man who's been making
these for the last year finally gets to get some. He gets not only signed to
you, actually get to sign 50. I don't like to sign him, but I've got some
others from the other shows that I already signed for. So the only one that I
thought was really weird is usually with Ruben at Skyway, they'll have a. A
bunch of posters on the wall. They only had one. So, selfishly, I did keep
that.
Kaeno
All right.
Trance Jesus
But I could always get some more prank. Yeah. Now,
son, appreciate all your amazing talent.
Kaeno
So speaking of flyers. Yeah, that's how I got my foot
in the door.
Trance Jesus
Head shows going up go to shows and.
Kaeno
Well, no, that's how I got my foot in the door in the
music industry. I was already djing in college. I had a college radio show.
It's still my show. That Vanishing Point.
Trance Jesus
Yeah, 600 plus episodes.
Kaeno
Actually. I should be. I'm actually in the thousands,
but we took a hiatus and I started the show with DI FM. Oh, hold on.
Trance Jesus
I got a phone call from Mark. He's 15 minutes early.
So flyers and so you're in the thousands for your show, but you took a hiatus?
Kaeno
Yeah. So. No, the radio. The radio show, The
Vanishing Point. I mean, it's been around since 1999. 2000. Yeah, 99. I
started. I started after I graduated from high school. I went to FIU, and then
I started the radio show that summer, it was actually starting as a drum and
bait show.
Trance Jesus
Oh, wow.
Kaeno
Breaks and drumming breaks.
Trance Jesus
All of a sudden, it was hot back in, like, we went to
a lot of breaks shows in the early 2000 back. We lived in Memphis. So totally
Z. Like, got a little bit of taste of trance because it was still trying to get
his. Its bearings here states. But drama based and breaks was flat.
Kaeno
So breaks was like, breaks was a thing for South
Florida. So breaks, drum and bass. And then I started. I started really getting
into house music. And then there was a dj named by George Alvarado. And George
Alvarado was like the legend of. He owned a record store called Night Beat. He
was released on a Strictly Rhythm, but he was. He was playing, like, that euro
fusion house that started to venture into Trance a little bit. And he started a
show called Late Night Laboratory. Power 96 with this guy named Liquid Todd.
Yeah. Liquid Todd. Yes. And that show, he started to introduce trance.
Trance Jesus
Liquid Todd did?
Kaeno
Yeah. Liquid and George Alvarado.
Trance Jesus
Hey, those are the guys.
Kaeno
They started introducing Trance. And then the. The
track that he started off with, and it started getting people into the sound
was Kaycee's Escape.
Trance Jesus
Oh, yeah.
Kaeno
And then he started playing Braveheart on Positiva.
And then he started introducing Dumond. And then George Acosta was already
starting to play the sound. George was playing breaks, and he was on strictly
rhythm. And then George Acosta really started picking it up more with David
Padilla and Edgar V and that's how they got into Shadow Lounge, The Mix after
hours, Oscar G was still doing house music, tribal. But I started, and I
started. I started shopping at Groove man, which was George Acosta's record store.
And then I said, hey, I will bring them recordings of the late night
laboratory. I said, I want this track. It was always the harder edge stuff that
I wanted. And it was like Dumond and overdose records. And that's when I
started discovering ScottProject and all these guys. So funny.
Kaeno
After that, I started interning at a graphic design
firm called PK Graphics on South beach. And this is what every shop was buying
their flyers from was beginning to flyers. But it was all the nightclubs that
win.
Trance Jesus
Yeah.
Kaeno
So I met the marketing directors of all these
nightclubs.
Trance Jesus
Yeah.
Kaeno
And also the music management, because nobody.
Trance Jesus
Had computers, nobody knew how to use. There's no
real photo design software back then. You had to go to someone that had the
technology and wherewithal and actually got to do it.
Kaeno
So I remember her name was Chris, can't remember her
last name right now. But Chris was the PR and Marketing Manager with Dee
Sokoloff and Dave Ralph.
Trance Jesus
Okay.
Kaeno
Dave Ralph. Dave Ralph ran, I forget which rec, oh
yeah Ultra Music.
Trance Jesus
Yeah.
Kaeno
Yeah.
Trance Jesus
That's why.
Kaeno
Yeah. And they were in the heat. They were Shadow
Lounge. So they will come in with these just white pieces of paper with writing
on it and says, oh, we're bringing talent tosher, and we're bringing Dummond
and Scot Project and Tij Verwest aka Salty Dog.
Trance Jesus
Yeah.
Kaeno
I think we were talking, and I'm designing all these
flyers for them. And I remember, like, I would be.
Trance Jesus
Designing these flyers before any of them had logos.
It's just text, right?
Kaeno
Yeah. Which is text. And I'm listening to the music,
and Chris goes, come by the club. So I would. I formed a relationship with
them, and I became their designer.
Trance Jesus
Yeah.
Kaeno
For all those flyers. And then. That's right, yeah.
So that connection really got me into the music because Georgia Costa would
recognize me. That's my flyer guy, and he's into the music, too, so. And he has
a radio show, so I will have them come do my radio show at FIU, and then I will
go see them at the clubs. That's cool. Was my goal, to, like, warm up for them.
Trance Jesus
Yeah.
Kaeno
And we started. I got my chance on a global
underground radio from Groove radio. It was like an underground radio station.
Yeah. And then we started. I started. I got my foot in the door, so I started
warming up for them, and we started playing raves together. Then my. My best
friend, like, brother David Alexander, really put me onto the scene. Like, he
taught me the ins and outs because he was already vested playing all the big
nightclubs, and he introduced me to properly learning how to beat match on vinyl,
everything. So, yeah. Like, yeah, he was. That was my mentor. He still is my
mentor to this day.
Kaeno
So he was playing Living Toom, Liquid, Groove Jet,
all these big clubs down in Miami, and, um, that he was running the circuit,
too. He was part. He was part of Flamingo Records. So he was getting trance
through promo pools and sounds that no one else had. Even George Acosta didn't
have some of the stuff that he had. Yeah, exactly. So talk about train
spotting. He was like. He knew. He knew the records.
Trance Jesus
That System F guy.
Kaeno
Yep. So that's where. That's how it all started.
that's how my career started in the
music scene.
Trance Jesus
That's amazing.
Kaeno
Yeah.
Trance Jesus
And fast forward to today. And I know you work with a
lot of. A lot of the artists that, you know, you've gotten to know over the
years, and you've done a lot of their artwork. And, you know, I know this
gentleman that we're going to pick up in the airport right now.
Kaeno
So Mark Sherry. Yeah, I met Mark, if that's going to
be a funny story, but when Mark gets in here, we'll go deeper into that. But I
met Mark through Trance Addict.
Trance Jesus
Oh, yeah, the website. Yeah. And that was.
Kaeno
He played it. He played a track, I think it's called
something time and space or something by DJ Quicksilver. That is crazy. Intro.
And he supposed to sets on Trance Addict. And I messaged them about the track
and where could I get it from? He says all, it's only on vinyl. So I actually
went to the store and I actually found the vinyl. So I said, we started
talking. He put, he actually, could he do a guest mix for my radio show? And
then he started email. He put me on his email list of all the music that he was
playing. To see Marcus in a radio show too. He was radio dj. Yeah, in Scotland.
He had a radio show and everything. And he used to send out his track list of
all the tracks that he's played, everything else. I can't remember the name of
his radio show offhand. But it was, he was already had the guys outbursting.
Yeah, but I don't think his show is called outburst yet. And he would send his
playlist over with all his tracks and stuff like that. And I will send him my
stuff.
Kaeno
And he goes, hey, like, who's doing all, like, how do
you get this cool artwork and stuff? And I said, oh, I'm designing it. He's
like, I helped him design first. No, well, no, I helped to design like a promo
flyer.
Trance Jesus
Okay.
Kaeno
Yeah. And I. And at that time, I didn't even know he
was Public Domain.
Trance Jesus
Oh, yeah.
Kaeno
I have no idea. We started getting deeper, and I
started doing more artwork for him, and I realized it when I read the credits.
That's Public Domain based in the place London. And, um. Yeah, yeah. In, uh,
the rest is history. I've been designing for Mark, uh, to this day since then.
Trance Jesus
How, what year was that? 2000.
Kaeno
That was. Whoa. That was nice. No, that was about
actually designed for Mark, I think. In 2000. I mean, Mark before that, I think
2004. Wow. Yeah. Because Trance Addict was still around back then.
Trance Jesus
Yeah.
Kaeno
So it's about 2000. It's all 2003, 2004.
Trance Jesus
Yeah. I remember being around the forums and, you
know, getting a lot of the music through, you know, either satellite or DiFM
and then having it with, with DiFM in the early two thousands and like, having
the paid subscription for it every year. And then having stream Ripper, just
having it run all the time. So that way when some of those radio shows would
come out and be like, all right, I. I was asleep for it. I was working, but I'd
always have that collection of all those sets that I can go back and listen to.
Kaeno
So, so that's that. So that's the funny. That's
another funny story behind it. Because I didn't know who Armin. I knew who
Armin was because Marcus Schultz used to bring him to Miami. Marcus Schultz had
a record store in Miami, but I didn't know he had a radio show. A State of
Trance. And I had my radio show the exact same time. So my show is technically
in the thousands. Yeah, but the number when I got. I got on Sirius, my show
went to Sirius Satellite Radio and then it went to DI.FM. So the numbering just
got lost between you, you know, different show entities. I couldn't start DI at
show, you know, 600 and it's Sirius satellite radio. So I just started
renumbering certain things. So that's why it's called TVP Reloaded, because
it's featuring all my top selections for the month of what I would usually do
when the Vanishing Point was by weekly. Yeah, you know, that was when it was
on. It was a Sirius Satellite Radio. It was also a party107.com. so I was doing
the show every week.
Trance Jesus
Was that when it was on 82 world space?
Kaeno
Yeah, exactly. So it was every week. And I was able
to chart all those. Those tracks, the record labels. And then that's. So that's
why TVP reloaded was formed on Di FM, because they wanted something exclusive.
So. But Armin and I show started roughly around the same time. And I remember I
was a huge fan of ID&T records and at ID&T radio and Slam.FM. And Armin
came out with the album 76, and that's when he started posting A State of
Trance episodes. And he featured Plastic Boy and Push and Silver. What was the
silver screen in all those tracks? And we were getting those tracks in. So I'm
like, okay, we're getting the same music now because I'm publishing the radio
or in sync. Yeah. And that's what I really discover. Like, Armin's A State of
Trance and what he was doing. And his show was. It wasn't to the level it was
now. Oh, like, yeah, yeah.
Trance Jesus
It was where he was speaking Dutch and English kind
of fluently, going back and forth. Because I remember listening to some of the
earlier episodes and my first one was actually because of satellite radio, is
because of World Space and being broadcast on there. And I heard it in my
buddy's car, and I was like, oh, I love this. Because, you know, that was
really when I was starting to get really deep into trance back in the early two
200s. It was episode like 62, I think was kind of the first one, but it was so
funny. Like, like, wait a second. I know he's speaking English, but then he,
like, was Dutch. And so I was telling Ruben that, and he kind of laughed. He's
like, yeah.
Kaeno
So that was like, the shift of, like, so knowing from
where I came from with trans and techno, progressive breaks, all the music,
like, seeing how it. How it fostered into what it's become now, and looking at
the festival market and the nightclubs that I've seen come and go, um, yeah, I
just. I feel it's. It's like a. It's like a cycle, you know, I feel the music
is going to go back underground. Trance has gone back underground, but it's
taking a new form.
Trance Jesus
Right.
Kaeno
It's the more harder driven, harder edge style. Like,
you know, the 140. You know, 140. We were like, four to the floor 140. That's
like 150.
Trance Jesus
I think some of that has to do. And I wish I could
find this article, but someone had shared this with me, and I thought it was
really profound. It has to do with global political climates. You've got
election years. Like, everything that causes an uneasiness and uncertainty kind
of drives, like, where the direction of sound is. And, like, people embracing
the more feelsy stuff and they're wanting the harder stuff feel because of, you
know, how things are within the world.
Kaeno
And then, well, so Covid. Covid is a perfect example.
The world stopped.
Trance Jesus
Yep.
Kaeno
Like, you couldn't go out. It was like what Paul Van
Dyke said, which I love. He said in one article that he didn't want to be known
as a Trance DJ. He said, I'm a musician, and I remember this is Politics of
Dancing came out.
Trance Jesus
Yeah.
Kaeno
but it was like back then, you know, like, Covid, the
world stopped. We couldn't go clubbing. We couldn't hear the music we love. We
couldn't go to festivals. So people started creating. You know, like, there
were raves. They were really underground. Like, nobody knew about them.
Trance Jesus
There were. There were certain artists that they
started to embrace Twitch.
Kaeno
Yeah.
Trance Jesus
And that when I started doing Twitch, and then there,
we all did Twitch.
Kaeno
Yeah.
Trance Jesus
And then there were artists that said that I've
refused to play online because I'm not in front of a room full of people, and
then there are other people, other artists that said, I'm going to do this
because I'm still sharing them the level music. And that's where you've got
artists like Talla is just revolutionized after 30 years or 40 years of doing
music but still is strong. And then you've got some new kids like Miyuki.
Kaeno
Yeah.
Trance Jesus
Blowing up because of COVID and because of Twitch.
Kaeno
I'm glad. I'm glad, I should say, I'm not glad that
Covid took place, but I glad the clubs slowed down.
Trance Jesus
Yeah.
Kaeno
And the music paused for a second because it allowed
a lot of new breed artists to surface.
Trance Jesus
Right. That's a great point.
Kaeno
And a lot of those artists who embraced technology
took it to the next level and introduced their sound, informed their. Their
following, their community. And that's what it is now, you know, so props to
those artists that, that weren't given the opportunity to get on the main
stage, you know, guess what? I made my own mainstage.
Trance Jesus
The world was a bigger mainstage.
Kaeno
Yeah. So they made their main stage, and now, you
know, like Klangkuenstler. Forgive me, I'm butchering his name. But, like, a
lot of these, you know, hard style artists that are transitioning now can do
their own festivals, you know, and do do their own venues and find their own
venues, bring sound.
Trance Jesus
In because they built those communities and those
communities are. They're loyal and they want to hear more. And then, you know,
then that kind of fosters that next generation of artists that it has. They've
all come this community, and then now these artists are able to see the people
that are really starting to shine. And and that's.
Kaeno
That's essentially the music industry that's been the
sense of this type of music generally. Like, I feel like I've never really
conformed to a sound or conform to a promoter. I've always
Trance Jesus
Always been yourself?
Kaeno
I've always been independent. I've always been. Yeah,
I've always stuck by my integrity. I've always played the music I want to play,
and I think I've been better off doing that mentally, I don't have the stress
of somebody telling me I need to do x, y and z to be, you know, successful. You
know, I have my art degrees. I have my businesses and everything else.
Trance Jesus
And that I have your love of music.
Kaeno
Yeah, I thrive in, and I have my love of music, too,
and I'm still able to get up, go play shows, interact with the community,
because that's what we came from, you know, we came from the message boards,
the underground forums. That's. That was our community. And now I'm really
fostering the new and up and coming artists, helping them with branding and,
you know, helping educate or, you know, learn the music industry. But they're
also teaching me the technology side and where you need to be at.
Trance Jesus
Right.
Kaeno
You know,
Trance Jesus
Who would you say that is, you know, if you were to
put a spotlight on an artist or two here 2024, with those next up and comers,
be that you seen it, really embrace it and or have that passion.
Kaeno
Submersive.
Trance Jesus
Yeah, yeah, yeah, yeah Clayton
Kaeno
Clayton just did a guest mix for me. Oh, sick.
Trance Jesus
Um, probably brought his own tracks too.
Kaeno
Yeah, Submersive, I want to say. Jackob, uh, Jackob Ronald or Rocksonn from, uh, from Europe, he's doing some serious stuff.
Oblivion is doing some really good stuff. Robbie, over in Glasgow, he's doing
some. Some awesome stuff as well. You guys. Yeah, I mean, you got a community
there. Luccio, down in Miami.
Trance Jesus
Yeah, I just had. He was here last week with Cosmic
Gate, had dinner with him.
Kaeno
And Luccio is doing some big things. Like, when I
left Miami, Luccio was, you know, Luccio was a promoter and Luccio took the
scene and just like, did a 360 with and shifted it.
Trance Jesus
He's amazing.
Kaeno
You know, I'm really proud of him because where he
came from, like, how he's turned the music into his own down there, like, props
to him. Umm Mike. Mike St. Jules is doing some really cool stuff. Yeah. Brian
Flynn, I feel, is really fostering his progressive style.
Trance Jesus
Yeah, his. Flynn.
Kaeno
Yeah.
Trance Jesus
P-h-l-y-n-n. Yeah, yeah.
Kaeno
Just back to back with him out in Cali. Yeah. Who
else? Tasso. Tasso.
Trance Jesus
Oh, Dean.
Kaeno
Dean. Yeah, Dean's doing some really good stuff right
now. Autumn Morrow. Like I said earlier, Allan Morrow is a wiz right now. He's
cranking it out. I mean, there's so many different people. Like, I mean, you
see my playlist, like, I look bits. I'm working on Bixx's new album.
Trance Jesus
Yeah.
Kaeno
Like, can't forget this guy. Uh, why am I drawing a
blank? Derek. Derek Ryan.
Trance Jesus
Ryan. Yeah, we did a. I did a release review for
Ciaran's of this track. It wasn't one on the album, but. Yeah, dude, he's got a
massive catalog.
Kaeno
Derek Ryan's album. Like, no, that album sounds. That
is like, what I grew up on playing like that. That kids album was like a dj set
for me. He started with breaks, he went to progressive. He started picking up
the bpms. He went full on Baleric trance. He went full on vocals. The guy does
his vocals.
Trance Jesus
Yeah, I heard that. He didn't disclose the tracks
that he did the vocals on.
Kaeno
I'm not telling you, but I might be remixing one of
them, but, yeah, his record label, he's. He's.
Trance Jesus
He doing some good stuff.
Kaeno
Yeah, he's doing. He's doing stuff that I feel needs
to be more done. Done more of in the music industry. He's looking for new up
and coming artists, and he's really fostering them.
Trance Jesus
He's got an interesting niche there in Japan.
Kaeno
Yeah. He's hoping to build their sound. He's helping
them with their marketing, their brand. Yeah, he's just doing everything of
what, like, a record label should do.
Trance Jesus
Yeah.
Kaeno
And he's doing it on a scale that will allow them to
expand and then him also to expand at a point. Him and Sash, his partner,
they're just amazing. They're A&Ring some really good stuff coming out.
Trance Jesus
Awesome
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