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As an electronic dance music movement, for over 20 years, psytrance
(psychedelic trance) has been a context by which sonic, visual,
pharmacological and virtual media have facilitated the expression of
interwoven narratives, experimental modes of performance, and the
experience of intense sociality in scenes the world-over. A key theme
adopted within this movement is the 'tribe, the discourse around which
is multivalent, though here I focus on the transgressive dimensions of
psytrance to which one is attached as a member of a tribe apart. The
article provides detailed examination of the outlaw figure and sensibility
in psytrance, illustrating how cultural producers e.g. DJ-producers,
label owners, scene writers, event management - facilitate the party
vibe, and a distinct 'psychedelic. or freak' identity via this trope. Among
the chief icons of performance, prestige and tribalism sampled within
psytrance music and culture, the outlaw is adapted from popular
cultural sources (especially cinema) and redeployed as a means of
dissolving and performing difference. The exploration of the outlaw
conceit in what I call nano-media amplified by the producers of
psytrance music illustrates how a psychedelic fiction is generated.
Specific, although not exclusive, attention is given to Israeli producers,
which offers comment on psytrance in Israel where this music is
considered popular. Psychedelic trance has a distinctive, energetic
sound that tends to be faster than other forms of trance or techno
music with tempos generally ranging from 135 to 150 BPM but some
psytrance songs can also reach 190BPM, 200bpm, 210bpm and even
300bpm. It uses a very distinctive bass beat that pounds constantly
throughout the song and overlays the bass with varying rhythms drawn
from funk, techno, dance, acid house, eurodance and trance using
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