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albums
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- Emotional Technology
- Released 2003
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- Movement in Still Life
- Released 2000
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- This Binary Universe
- Released 2006
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- R&R
- Released 2001
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biography
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 Shirazinia's 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 Oakenfold's 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 Transeau's name remained largely unheard in his native land.
One 1996 remix largely changed that. Transeau's 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 ("I'm 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. ~ John Bush, All Music Guide
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 Shirazinia's 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 Oakenfold's 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 Transeau's name remained largely unheard in his native land.
One 1996 remix largely changed that. Transeau's 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 ("I'm 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. ~ John Bush, All Music Guide
news
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BT: From a man beaten and imprisioned for 27 years. Thank you Mandela, words can create such beauty. It's an amazing morning, make it count :)
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- 11/20/2009
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- 1:11 PM
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- Twitter / BT
- BT: From a man beaten and imprisioned for 27 years. Thank you Mandela, words can create such beauty. It's an amazing morning, make it count :)
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BT: “Our deepest fear is not that we are inadequate..it is that we are powerful beyond measure. Our light, not our darkness frightens us most"
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- 11/20/2009
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- 1:05 PM
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- Twitter / BT
- BT: “Our deepest fear is not that we are inadequate..it is that we are powerful beyond measure. Our light, not our darkness frightens us most"
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BT: Noetics, I am riveted. Incredible. How did it take a Dan Brown book to hip me to this? BTW New novel is fantastic, couldn't put it down.
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- 11/19/2009
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- 2:15 PM
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- Twitter / BT
- BT: Noetics, I am riveted. Incredible. How did it take a Dan Brown book to hip me to this? BTW New novel is fantastic, couldn't put it down.
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BT: A beautiful blue grey late fall morning. Were gojii, probiotic(ed), up and it's game on. Happy Thursday!
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- 11/19/2009
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- 12:55 PM
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- Twitter / BT
- BT: A beautiful blue grey late fall morning. Were gojii, probiotic(ed), up and it's game on. Happy Thursday!
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BT: Check this out! @LATimes! RT this link! http://j.mp/3Cjkft
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- 11/18/2009
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- 2:44 AM
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- Twitter / BT
- BT: Check this out! @LATimes! RT this link! http://j.mp/3Cjkft
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comments
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In concert
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- By Staticj9
- 7/29/2008 21:16:26
- If anybody is able to see this man in concert, I'd highly recommend it. He's just amazing and knows how to drop a beat. Plus with his stutter edit, just great to dance to. Also, This Binary Universe was made in surround sound and that's the only way it should be listened to all the way from beginning to end. If you have an hour and a half to do it, I also recommend it. BT is so talented.
- 1 out of 1 people
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Gee
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- By tromboneforhire
- 6/23/2008 06:33:16
- First it was "Superfabulous" then "Tao of the Machine". You can't go wrong with the stuff that BT has been putting out. If you can find the video of him performing "Tao of the Machine" with the Roots on Carson Daly, check it!
- Be the first person to rate this comment!
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