BT

Brian Transeau-发展历史 很难相信仅仅是2年时间就BT就制作出极受欢迎的个人大碟，这并非一件易事。然而, 时间选择一个人去做创作人或建立一个, 他在马里兰出生, 是一个电子音乐不可多得的人材,全名Brian Transeau , 第一只灌录的大碟,就被收录到一出科幻片里，后来搬到洛杉机，并且帮助Millennium Dome制作销量很好的soundtrack 。
很多人说他已经开创了TRANCE中的一个新风格，在跳舞和电子音乐中他探索出一个新的定义，不过那都是上个世纪的事了。 他的作品之一就是为 Sony Play Station’s提供了DIE HARD的soundtrack 。这是SONY PS畅销的游戏之一。并且全程为英国epic新年PARTY制作！ 然后BT 收拾心情为自己的最新大碟作最后冲刺，名为 < Movement In Still Life>,还在南California城的brutish urban circuitry开了属于他自己的品牌店！
为什么BT可以在这么多方面都做领头羊？BT找到一帮合作伙伴，这个就是他其中一个因素。在他的新大碟上，BT继续沿用将confabs 与 Sasha ，Paul Van Dyk， DJ RAP和Doughty迷倒的乐器 ,作为舞曲的灵魂。结果就是充满迷幻色彩。例如,使用一些VOICE，把舞曲和POP MUSIC匀和一体，令人有一种欢快的感觉，为此Doughty提供了< Never Gonna Come Back Down >的制作版权给他。
但也有人批评他， 特别是一些HOUSE创作人，说“BT利用他那种忧郁的电子架构，音乐的质感迷惑所有人的心！”
顺带提提：BT在1995年和Paul Oakenfold工作室签约（Paul Oakenfold相信这个名字也很熟悉吧，在前一排他进行全球巡回演出时，他是中国DJ行内一个比较炽热的话题！至于各个DJ对Paul Oakenfold本人的评价我就不想说了，但至少他也是一个出色的DJ。每个人都有自己的风格嘛），很快就开始创作，不知不觉就成为TRANCE创作人.
成为出名的创作人的他说：“我并没同自己定下自己所走的路线，这太死板了，就好像做HOUSE MUSICE 一样，不断的重复，重复，再重复！” 他正全心投入制作< Movement In Still Life > “希望它能够为新千年带来新的跳舞音乐冲击！”BT如此说。
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.