{"id":21200,"date":"2026-09-23T09:33:19","date_gmt":"2026-09-23T08:33:19","guid":{"rendered":"https:\/\/letrat.eu\/?p=21200"},"modified":"2026-09-23T09:47:29","modified_gmt":"2026-09-23T08:47:29","slug":"armin-van-buuren-debut-and-the-rise-of-a-noise-maker","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=21200","title":{"rendered":"Armin Van Buuren &#8211; Debut, and the Rise of a &#8220;Noise Maker&#8221;!"},"content":{"rendered":"<p><em>(S. Guraziu &#8211; Sky Division, Sept 2026)<\/em><\/p>\n<p>Sometimes I joke (usually with friends) saying &#8220;&#8230;<em>my music is about as good as Armin van Buuren&#8217;s music, when he started with Push. I&#8217;m not joking, I&#8217;m quite serious, of course I&#8217;m not saying I&#8217;m as good as Armin, I&#8217;m saying I&#8217;m as good as Armin was&#8230; when he started<\/em>&#8221; : ) <\/p>\n<p>Friends usually laugh, or smile, they think I am really joking. In my view that&#8217;s a great self-deprecating joke, and it works on two levels &#8211; they first hear it as a modest, factual comparison &#8211; &#8220;<strong>as good as Armin when he started<\/strong>&#8221; &#8211; and then they realize I&#8217;m cheekily placing my music beside a future legend&#8217;s earliest work : ) Thus, according to me, the &#8220;punchline&#8221; would be the implied comparison.<\/p>\n<table width=\"100%\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"50%\"><audio class=\"wp-audio-shortcode\" id=\"audio-21200-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_push_1995_extract.mp3?_=1\" \/><a href=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_push_1995_extract.mp3\">https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_push_1995_extract.mp3<\/a><\/audio>&#8220;<strong>Push<\/strong>&#8220;, 1995 <em>(extract)<\/em> &#8211; earliest release &#8211; debut, often associated with the Push EP or early single material.<\/td>\n<td valign=\"top\" width=\"50%\"><audio class=\"wp-audio-shortcode\" id=\"audio-21200-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_blue_fear_1997_extract.mp3?_=2\" \/><a href=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_blue_fear_1997_extract.mp3\">https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/a_v_buuren_-_blue_fear_1997_extract.mp3<\/a><\/audio>&#8220;<strong>Blue Fear<\/strong>&#8220;, 1997 <em>(extract)<\/em> &#8211; his breakthrough hit, and the first track to achieve significant international recognition.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt.jpg\" data-rel=\"lightbox-gallery-yhu7YBNK\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt.jpg\" alt=\"\" width=\"1400\" height=\"963\" class=\"alignnone size-full wp-image-21204\" srcset=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt.jpg 1400w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt-600x413.jpg 600w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt-1280x880.jpg 1280w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_armin_van_buuren_ph_1_opt-768x528.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><\/a><\/p>\n<p>Jokes aside, it&#8217;s true that every great journey begins with a first step &#8211; and Armin&#8217;s great journey began with a &#8220;Push&#8221;. Released in 1995, the track marked the emergence of a young artist who would go on to reshape the global trance scene. The title &#8220;Push&#8221; is almost modest, just as the music too. Six years later, in 2001, he began broadcasting &#8220;<strong>A State of Trance<\/strong>&#8220;, inviting listeners into a weekly world of melodies, momentum and discovery. What started as a radio show soon became a global meeting point for trance fans, heard across dozens of countries and ultimately helping transform Armin van Buuren into an international phenomenon.<\/p>\n<p>&#8220;Push&#8221; (released in 1995) is generally cited as Armin van Buuren&#8217;s first release, issued under the name Armin. But his first major success he achieved with &#8220;Blue Fear,&#8221; which is now regarded as a trance classic. &#8220;Blue Fear&#8221; (released in 1997) was his breakthrough &#8211; this track marked the beginning of his influential career in the electronic dance music scene. Since his debut with &#8220;Push&#8221; in 1995, Armin van Buuren has released many notable songs, including &#8220;Shivers&#8221; (2005), &#8220;This Is What It Feels Like&#8221; (2013), and &#8220;Blah Blah Blah&#8221; (2018). His music spans various genres and sub-genres, showcasing his evolution as an artist over the years.<\/p>\n<p>***<br \/>\nElectronic music, in general, began somewhere around 1955, when the <strong>RCA Synthesizer<\/strong> filled a room with cold, humming circuits &#8211; no beats, no bass, no drops. Just pure, curious electricity. Nobody danced to it, but somebody listened. By 1963, Delia Derbyshire was cutting magnetic tape with scissors to create the <strong>Doctor Who theme<\/strong> &#8211; a ghost in the BBC Radiophonic Workshop, building the future from test oscillators and razor blades. Then came <strong>Kraftwerk<\/strong>, <strong>Donna Summer<\/strong>, <strong>Giorgio Moroder<\/strong>, <strong>Jean Michel Jarre<\/strong> etc. The kick drum that never stopped. The 1980s brought house, techno, and the first true dance floors. <\/p>\n<p>The 1990s exploded with rave and big beat, in that long ascent, around 1995, a young Dutch musician made his entrance with a track called &#8220;<strong>Push<\/strong>&#8220;. The title and the music almost sounded like a note from a laboratory experiment. After Kraftwerk&#8217;s machines, Moroder&#8217;s pulse and the towering anthems of the 1990s, there was Armin van Buuren, not yet the global icon, just a young artist pressing forward with a modest first step. <\/p>\n<p>The quality of electronic music was already &#8220;defined&#8221; (almost two decades) before Armin&#8217;s &#8220;Push&#8221;. Long before, in 1977, Donna Summer came with &#8220;<strong>I Feel Love<\/strong>&#8220;. Or, in 1982 Stu Phillips came with &#8220;<strong>Knight Rider Theme<\/strong>&#8220;. Or, Jan Hammer in 1984 came with his legendary &#8220;<strong>Miami Vice Theme<\/strong>&#8220;. Or, in 1990 Depeche Mode and Technotronic amazed us with &#8220;<strong>Enjoy The Silence<\/strong>&#8221; and &#8220;<strong>Pump Up The Jam<\/strong>&#8220;. In 1992 Snap! were thinking &#8220;<strong>Rhythm Is A Dancer<\/strong>&#8220;, a year later, in 1993 two beautiful acting performers of 2 Unlimited were dancing to &#8220;<strong>No Limit<\/strong>&#8220;, Culture Beat were singing with &#8220;<strong>Mr. Vain<\/strong>&#8221; and Haddaway was asking &#8220;<strong>What Is Love<\/strong>&#8220;&#8230; etc.<\/p>\n<p>From cold circuits in a room to a signal heard across the planet, electronic music had completed an astonishing journey. And in the middle of that journey stood a track called \u201cPush\u201d &#8211; an early experiment that, in retrospect, sounded like the first beat of something much larger. Perhaps Armin wasn&#8217;t Jan Hammer class yet, or Depeche Mode&#8217;s class, but that &#8220;push&#8221; kept moving. What began as a modest first step in the Netherlands would grow into one of electronic music&#8217;s most influential careers. <\/p>\n<p>In <strong>June 2001<\/strong>, Armin van Buuren launched &#8220;<strong>A State of Trance<\/strong>&#8220;, a weekly radio show devoted to the sounds, discoveries and emotional journeys of trance. Week by week, the program crossed borders, connected listeners and helped turn a DJ&#8217;s passion into an <strong>international phenomenon<\/strong> &#8211; eventually reaching tens of millions of listeners in more than 80 countries. What started as a broadcast became a worldwide music &#8220;ritual&#8221;. <\/p>\n<p><a href=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt.jpg\" data-rel=\"lightbox-gallery-yhu7YBNK\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt.jpg\" alt=\"\" width=\"1400\" height=\"963\" class=\"alignnone size-full wp-image-21205\" srcset=\"https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt.jpg 1400w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt-600x413.jpg 600w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt-1280x880.jpg 1280w, https:\/\/letrat.eu\/wp-content\/uploads\/2026\/09\/int_a_asot_abstract_ph_1_opt-768x528.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><\/a><\/p>\n<p>***<br \/>\nNext time we will try to cover the international phenomenon &#8220;<strong>A State of Trance<\/strong>&#8221; (ASOT), which started in 2001 and 2 decades later in 2021, the show reached its <strong>1,000th episode<\/strong> &#8211; by then, it was reaching 40-50 million listeners in more than 80 countries around the globe. On September 18, 2026 trance music lovers of the world were listening <strong>ASOT episode #1295<\/strong>&#8230;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/letrat.eu\/z-mmed\/flags\/skyd.svg\" width=\"23\" height=\"23\" align=\"left\" \/>\u00a0<span style=\"color: #919191;font-size: 11px\"><em>S. Guraziu &#8211; Sky Division &amp; Logios, Sept. 2026<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(S. Guraziu &#8211; Sky Division, Sept 2026) Sometimes I joke (usually with friends) saying &#8220;&#8230;my music is about as good as Armin van Buuren&#8217;s music, when he started with Push. I&#8217;m not joking, I&#8217;m quite serious, of course I&#8217;m not&hellip; <a href=\"https:\/\/letrat.eu\/?p=21200\" class=\"more-link\">Lexo <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"class_list":["post-21200","post","type-post","status-publish","format-standard","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/21200","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=21200"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/21200\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21200"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=21200"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=21200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}