Home 130 BPM Amsterdam Trance Records Fainbreeze Proglifting trance Progressive Trance Progressive Trance Reviews Raz Nitzan Raz Nitzan Music Sarah Russell Vocal Trance Trance Review: Frainbreeze & Sarah Russell - Waiting out on Raz Nitzan Music
20:00:00
A+ A-

Trance Review: Frainbreeze & Sarah Russell - Waiting out on Raz Nitzan Music

 


Next up here on RNM, Frainbreeze & Sarah Russell combine for with 'Waiting'. Upbeat, melodic with just the right amount of progressive, these two artists at the top of their game are clearly in control. Energetic but well measured, 'Waiting' is built for movement.

Enjoy and PLAY LOUD!


LYRICS:
Miles behind and hearts unsaid
Stories linger in my head
Every road that led astray
Left behind in yesterday

Now I’m here, I belong
Every breath is leading home
Through the dark and the pain
I am finding you again

Are you waiting
Waiting
No more distance to defend
Waiting
Waiting
I’m coming home to mend

I remember what you said
‘This door is open till the end’
You knew that I had to go
But leaving hurt too much to show

Now I’m here, I belong
Every breath is leading home
Through the dark and the pain
I am finding you again

Are you waiting
Waiting
No more distance to defend
Waiting
Waiting
I’m coming home to mend

 


Dimitris Kechagias Review:
[review top="1"]
[item value="10"]Frainbreeze & Sarah Russell - Waiting[/item]
[content title="Summary" label="Overall Score"]Frainbreeze & Sarah Russell’s collaboration, “Waiting,” stands out as a masterclass in modern proglifting trance, executed with technical precision and artistic flair. At 130 BPM, the track immediately establishes a driving rhythm that is anchored by punchy drums and a pulsating bassline, creating an irresistible sense of forward motion. The layering of melodic hooks and harmonic elements is particularly impressive, with Sarah Russell’s ethereal vocals interwoven seamlessly with euphoric synths and orchestral strings. This creates a lush, immersive sonic environment that maintains cohesion while continuously evolving, ensuring the listener remains engaged from start to finish. The transitions between sections are fluid, with well-crafted build-ups and impactful drops that demonstrate expert control of energy flow and dynamic range, providing both excitement and moments of release. The production quality of “Waiting” reflects meticulous attention to sound design and spatial balance. Each element of the mix—from the sparkling high-end percussion to the rich midrange synths and the powerful sub-bass—is clean and well-positioned, resulting in a wide and immersive stereo field. The use of effects, including reverb tails, delay throws, and subtle filtering, enhances the track’s depth without overwhelming the core arrangement. This dynamic interplay of sounds not only highlights the originality of the structure but also ensures the track maintains high replay value and adaptability for both club and festival settings. The intro and outro are thoughtfully arranged for seamless mixing, and the track’s consistent BPM makes it a reliable asset for DJs seeking smooth cueing and looping within live sets. Beyond its technical achievements, “Waiting” has a remarkable emotional and psychological impact on listeners. The uplifting chord progressions, coupled with Sarah Russell’s emotive vocal delivery, elicit feelings of hope and tranquility, qualities that have been shown to positively influence mental well-being. Research in music therapy and neuroscience suggests that melodic, high-energy electronic music can trigger dopamine release, reduce stress levels, and enhance mood regulation (Thoma et al., 2013; Menon & Levitin, 2005). When incorporated into fitness or wellness classes such as yoga or aerobic training, tracks like “Waiting” can facilitate improved performance, increase energy levels, and promote flow states that heighten both physical and emotional engagement (Karageorghis & Priest, 2012). Its euphoric yet controlled energy makes it ideal for mental health-boosting playlists, contributing to overall wellness through music-induced emotional resonance. The creativity and artistic identity in “Waiting” are clear, with its cohesive storytelling unfolding in a way that invites repeated listening and active participation on the dance floor. Its ability to captivate crowds, maintain energy flow in DJ sets, and foster a positive, uplifting atmosphere highlights its holistic impact, cementing it as both a technical triumph and a therapeutic musical experience. #PureGold Loveit [/content]
[item value="10"]Rhythm, Groove & Drive[/item]
[item value="10"]Melodic Hooks & Harmonic Layers[/item]
[item value="10"]Transitions, Drops & Build-Ups [/item]
[item value="10"]Energy Flow & Momentum [/item]
[item value="10"]Sound Design & Production Quality[/item]
[item value="10"]Originality of Arrangement & Structure[/item]
[item value="10"]Use of Effects & Spatial Design[/item]
[item value="10"]Dynamic Range & Loudness Balance[/item]
[item value="10"]Atmosphere & Immersion[/item]
[item value="10"]Emotional Resonance[/item]
[item value="10"]Creativity & Artistic Identity[/item]
[item value="10"]Cohesion & Storytelling[/item]
[item value="10"]Vocal Performance & Lyrical Impact[/item]
[item value="10"]Catchiness & Replay Value[/item]
[item value="10"]Club / Festival Suitability[/item]
[item value="10"]Track Intro/Outro Structure[/item]
[item value="10"]BPM Consistency & Sync Ease[/item]
[item value="10"]Cue Points & Loop Potential[/item]
[item value="10"]Dynamic Energy for Set Flow[/item]
[item value="10"]Crowd Reaction Potential[/item]
[/review]


Suggested Bibliography:
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition & Emotion, 27(3), 534-543.
Menon, V., & Levitin, D. J. (2005). The rewards of music listening: Response and physiological connectivity of the mesolimbic system. NeuroImage, 28(1), 175-184.
Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: A review and synthesis (Part I). International Review of Sport and Exercise Psychology, 5(1), 44-66.



, , , , , , , , ,