A very early example (1974) of the relation between psy-rock and the music that would eventually be known as Goa Trance is The Cosmic Jokers (a collaboration between Ash Ra Tempel and Klaus Schulze) highly experimental and psychedelic album Galactic Supermarket, which features occasional 4/4 rhythms intertwined with elements from psy-rock, analog synthesizers and occasionally tribal-esque drum patterns.
The introduction of techno and its techniques to Goa led to what eventually became the Goa Trance style; early pioneers included DJs Fred Disko, Laurent, Goa Gil, and Amsterdam Joey. Many parties (generally similar to raves but with a more mystic flavour, at least in early 1990s) in Goa revolve entirely around this genre of music. In other countries, Goa is also often played at raves, festivals and parties in conjunction with other styles of trance and techno. A hand-drawn flyer for a Goa Trance party in Israel in 1990.
Today, Goa Trance has a significant following in Israel, brought to that country by former soldiers returning from recreational post-army trips to Goa in the early 1990s. A great deal of Goa Trance (or now, more accurately, psytrance) is now produced in Israel, but its production and consumption is a global phenomenon. New hot-spots today include Brazil, Japan and South Africa. One particular underground genre that branched off from Psy Trance is called suomisaundi (Finnish sound), which originated in Finland. One of its trademark features is reference to earlymid-1990s classic Goa Trance music, and this genre is often exhibited in Finland’s forest party scene.
At these parties, mostly Goa Trance and Suomi-style psytrance can be heard. Goa Trance parties began in the late 1980s in the state of Goa, India and they can take place in locations such as on a beach or in the middle of the forest, although it is not uncommon for them to be held in clubs. There have been attempts to formalize parties, such as those held at Bamboo Forest, into commercial events, which was initially met with much resistance. The need to pay the local police baksheesh means that they’re now generally staged around a bar, even though this may only be a temporary fixture in the forest or beach.
The parties around the New Year tend to be the most chaotic with bus loads of people coming in from all places such as Mumbai, Delhi, Bangalore, Hyderabad and the world over. Travelers, beggars and sadhus from all over India pass by to join in. However, with the proliferation of Goa Trance music across the globe, parties are now being held at locations all over the world. Among the most notable of these parties are the Full Moon Party held monthly at Ko Pha Ngan, Thailand and several events held in Byron Bay, Australia as well as Israel, Japan, South Africa and Scandinavia. Goa parties have a definitive visual aspect – the use of fluoro (fluorescent paint) is common on clothing and on decorations such as tapestries.
The graphics on these decorations are usually associated with topics such as aliens, Hinduism, other religious (especially eastern) images, mushrooms (and other psychedelic art), shamanism and technology. Shrines in front of the DJ stands featuring religious items are also common decorations. For a short period in the mid-1990s Goa Trance enjoyed significant commercial success with support from DJs such as Paul Oakenfold, who later went on to assist in developing a much more mainstream style of trance outside Goa.
Only a few artists came close to being Goa Trance stars, enjoying worldwide fame. Among the most notable are, Infected Mushroom, Eat Static, Astral Projection, Man With No Name, Hallucinogen, Cosmosis and Doof. Goa Trance band Juno Reactor had their music featured in many Hollywood movies like Mortal Kombat, The Matrix and even Once Upon a Time in Mexico.