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Acid house is a sub-genre of house music that emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines rather than sung lyrics. Acid house's core electronic squelch sounds were developed by mid-1980s DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom, Australia, and continental Europe, where it was played by DJs in the early rave scene. By the late 1980s, copycat tracks and acid house remixes brought the style into the mainstream, where it had some influence on pop and dance styles. Nicknamed "the sound of acid", acid house was different than the emerging styles of deep house or vocal house in that it was starkly minimal, being very light or absent of instrumentation and generally harder or trancier sounding than these.[citation needed] This bifurcation marked an early separation in house music that directly correlated to the origin of hard dance and trance and which developed in conjunction with the more underground and specialized rave scene.[citation needed] The starkness of the style was a result of the discovery of the strange sounds that the Roland 303 bass line synthesizer produced when tweaked and the straight 4|4 rhythm which though shared by much of house and techno music was programmed into much harder and more pounding rhythms than pop or electro.[citation needed] Both of these elements are present in most of the tracks considered core to the sound of acid house.[citation needed] Roland's other famous sound, the Roland TR-909 drum machine is nearly as common. Acid house's influence on dance music is tangible considering the sheer number of electronic music tracks referencing acid house through the use of its sounds, including trance, Goa Trance, psytrance, breakbeat, big beat, techno, trip-hop and house music.
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    Popular trance

    By the mid-1990s trance, specifically progressive trance, which emerged from acid trance much as Progressive house had emerged from Acid house, had emerged commercially as one of the dominant genres of dance music. Progressive trance has set in stone the basic formula of modern trance by becoming even more focused on the anthemic basslines and lead melodies, moving away from hypnotic, repetitive, arpeggiated analog synth patterns and spacey pads. Popular elements and anthemic pads became more widespread. Compositions continued to contain incremental changes (aka progressive structures), sometimes composed in thirds (as BT frequently does). Meanwhile, a different type of trance, generally called uplifting trance was becoming popular. Uplifting trance had buildups and breakdowns that were longer and more exaggerated, being more direct and less subtle than progressive, with more easily identifiable tunes and anthems. Many such trance tracks follow a set form, featuring an introduction, steady build, a breakdown, and then an anthem, a form aptly called the "build-breakdown-anthem" form. Uplifting vocals, usually female, were also becoming more and more prevalent, adding to trance's popular appeal.
    Immensely popular, trance found itself filling a niche that was 'edgier' than house, more soothing than drum and bass, and more melodic than techno, which made it accessible to a wide audience. Artists like Tiësto, Armin van Buuren, Paul van Dyk, Robert Miles, Above & Beyond, Darren Tate, Ferry Corsten, Johan Gielen, ATB and Paul Oakenfold came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Many of these producers also DJ'd in clubs playing their own productions as well as those by other trance DJs. By the end of the 1990s, trance remained commercially huge, but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s had, by the end of the decade, abandoned trance completely in favor of more underground[clarification needed] sounds - artists of particular note here include Pascal F.E.O.S. and Oliver Lieb.

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