Pearsall presents Eurotrash 2

70 minutes of classic old skool European hardtrance!

Pearsall presents Eurotrash 2

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Mixed in London, February 2008
(68:21, 126.33 MB, APX VBR MP3)

Back cover
Zip pack (cut into individual tracks)
Cue file

Style: European hard trance

direct link to the mix:

01. DJ Baphomet – Ehec Injection (Evolver)
02. Mr. Burns – Everlasting Part 2 (Unreal)
03. Razor’s Edge – Sleepless (Underground Contribution Mix) (Prolekult)
04. Commander Tom – Space Sexual (Noom)
05. Elektrochemie LK – Positive Vibes (Confused)
06. DJ Randy – More And More (Smoke Free DJ Tools)
07. D-Factor – Tripwire (Tri Lamb)
08. Mandala – The Acid Of House (Noom)
09. Lectric Cargo – Active Sensing (Phuture Wax)
10. Genlog – Nightmare (Low Spirit)
11. Casseopaya – Powertrax 2.1 (Prolekult)
12. Signum – The Other Side (Jinx)
13. Insider & Stephenson – Inda (Bonzai)
14. Gollum & Hunter – Feel So Good (Strictly Alarm Mix) (Tunnel)
15. Neuronoid – Neurobashing (Time Unlimited)
16. Amorph – Sunflow (Oliver Lieb Mix) (Formaldehyd)
17. Cortex Thrill – Infiltration (Bonzai)
18. Aurora Borealis – The Milky Way (Lunatic Acid Mix) (F Communications)
19. Nature Party – Stoned Nation (Corrosive)
20. Code 27 – Got To Be Better (Stepp Off Mix) (United Ravers)

This was the first mix that I did this year, after a long lay-off from mixing. When I started selling off some of my records on Discogs it also prompted me to start filling in some of the gaps in my collection of old European hard trance, which then prompted me to record this mix to listen to on my way to work.

Since the old European stuff is often tricky to mix, with weird cuepoints, random little fills that throw out the phrasing, and often subtle kick drums, this mix was a real bastard to do. Most of the mixes that I do are done in one or two takes (which can be attributed either to my God-like skills or to my laziness, depending on your perspective), but this fucker took at least six tries to nail, since I wanted it to hang together just so. This is one of the hassles of doing mixes, especially of this type; you get it in your head that the transition absolutely has to start here, and not there, that you have to flip the bassline now, not four or eight bars later. This kind of sonic pedantry can lead to serious aggravation and some frankly ridiculous behaviour.

I mean, let’s get real, what’s the point of moodily turning off the mix and shouting fuckfuckfuckfuuuuuuuuuuuuuuck at the walls over missing a cuepoint? What difference does it make to my life? Yet, this is how things go.

All of this is to say that, having finally nailed this mix on like the fifth or sixth go, I think that it is a thing of beauty and that I am very happy with it, and if you like this kind of music, I think you’ll enjoy it too!