Brian Transeau-發(fā)展歷史 很難相信僅僅是2年時間就BT就制作出極受歡迎的個人大碟，這并非一件易事。然而, 時間選擇一個人去做創(chuàng)作人或建立一個, 他在馬里蘭出生, 是一個電子音樂不可多得的人材,全名Brian Transeau , 第一只灌錄的大碟,就被收錄到一出科幻片里，后來搬到洛杉機(jī)，并且?guī)椭鶰illennium Dome制作銷量很好的soundtrack 。 很多人說他已經(jīng)開創(chuàng)了TRANCE中的一個新風(fēng)格，在跳舞和電子音樂中他探索出一個新的定義，不過那都是上個世紀(jì)的事了。 他的作品之一就是為 Sony Play Station’s提供了DIE HARD的soundtrack 。這是SONY PS暢銷的游戲之一。并且全程為英國epic新年P(guān)ARTY制作！ 然后BT 收拾心情為自己的最新大碟作最后沖刺，名為 < Movement In Still Life>,還在南California城的brutish urban circuitry開了屬于他自己的品牌店！ 為什么BT可以在這么多方面都做領(lǐng)頭羊？BT找到一幫合作伙伴，這個就是他其中一個因素。在他的新大碟上，BT繼續(xù)沿用將confabs 與 Sasha ，Paul Van Dyk， DJ RAP和Doughty迷倒的樂器 ,作為舞曲的靈魂。結(jié)果就是充滿迷幻色彩。例如,使用一些VOICE，把舞曲和POP MUSIC勻和一體，令人有一種歡快的感覺，為此Doughty提供了< Never Gonna Come Back Down >的制作版權(quán)給他。 但也有人批評他， 特別是一些HOUSE創(chuàng)作人，說“BT利用他那種憂郁的電子架構(gòu)，音樂的質(zhì)感迷惑所有人的心！” 順帶提提：BT在1995年和Paul Oakenfold工作室簽約（Paul Oakenfold相信這個名字也很熟悉吧，在前一排他進(jìn)行全球巡回演出時，他是中國DJ行內(nèi)一個比較熾熱的話題！至于各個DJ對Paul Oakenfold本人的評價我就不想說了，但至少他也是一個出色的DJ。每個人都有自己的風(fēng)格嘛），很快就開始創(chuàng)作，不知不覺就成為TRANCE創(chuàng)作人. 成為出名的創(chuàng)作人的他說：“我并沒同自己定下自己所走的路線，這太死板了，就好像做HOUSE MUSICE 一樣，不斷的重復(fù)，重復(fù)，再重復(fù)！” 他正全心投入制作< Movement In Still Life > “希望它能夠為新千年帶來新的跳舞音樂沖擊！”BT如此說。 by John Bush His concept of epic house inspired by the classical training he received from an early age, Brian Transeau revitalized the British dance community in the mid-90s and provided a point of entry for later dream house merchants like Robert Miles, Sash!, and BBE (though Transeau had, for the most part, left the style behind by the time of its pop success during 1997-1998). After his debut album appeared in late 1995 (as BT), Transeau hit the dance charts when his remix of Tori Amos Blue Skies became one of the most-played American club tracks of the following year. Though he attempted to leave dream house behind on second album ESCM, Transeau continued to do well with club-goers and critics in Britain as well as America. Born and raised in Washington, D.C., Transeau was playing piano from the age of two and began his classical training while only 13. Even while he was studying string arrangement and orchestration, Transeau listened to Depeche Mode and Yes. He attended Berklee School of Music in Boston for one year but then dropped out and moved to Los Angeles; he was soon back in Washington, D.C., where he hooked up with longtime friend Ali Shirazinias new Deep Dish production team. He had already played synthesizer for albums by Salt-N-Pepa and Tyler Collins before debuting on Deep Dish Records with two 1993 singles, A Moment of Truth and Relativity. The tracks became club hits in Britain, routinely played by super DJs like Sasha and Paul Oakenfold for their epic, symphonic qualities, which worked well as a sort of climax at clubs like Cream and Ministry of Sound. Signed to Oakenfolds Perfecto Records, BT continued his success with 1995 singles like Embracing the Future and Loving You More, and did remix work for Mike Oldfield, Seal, and Billie Ray Martin. His debut album, Ima, was a hit with British audiences, though Transeaus name remained largely unheard in his native land. One 1996 remix largely changed that. Transeaus reworking of Blue Skies by Tori Amos became a massive club hit in America and Great Britain. By 1997, England received a wave of pop hits in the same line pioneered by Transeau; dubbed dream house, artists like Robert Miles and Sash! typified the approach with a wash of new age or prog-influenced synthesizers and a chugging beat indebted to trance. Transeau himself attempted to distance himself from the style with his 1998 album follow-up, ESCM. Movement in Still Life followed in mid-2000. He marked time between albums with high-profile production work, including chart hits from Britney Spears (Im Not a Girl, Not Yet a Woman) and *NSYNC (Pop), while a career retrospective entitled 10 Years in the Life was released in 2002. Emotional Technology, which featured collaborations with JC Chasez, Charmed actress Rose McGowan, and guitarist Richard Fortus, appeared in 2003. BT was also moving beyond his own musical sphere during this time by venturing into film. His score Music from and Inspired by the Film Monster was released in spring 2004.