Bart-claessen-and-raz-nitzan-pres-who.is-we.are... Apr 2026

The title’s ellipsis is therefore a political statement in dance music terms. It refuses to define “trance” as one thing. We are... whatever the moment requires. We are the melody. We are the silence between beats. We are the anonymous producers behind the decks. We are the crowd with hands in the air. Bart Claessen and Raz Nitzan pres. Who.is – We Are... is not just a track; it is a philosophy encoded in four minutes of kick drum and synthesizer. It acknowledges that identity in electronic music is fluid, that the self dissolves into the rhythm, and that the most powerful statement a producer can make is to step aside and let the listener answer the question. So, who is? Listen closely. The track whispers back: You are.

The breakdown is pure catharsis—a swelling supersaw pad, a filtered vocal, a snare roll that feels like a held breath. Then the drop arrives, not with a brutalist electro slam, but with a melodic, shimmering release. It is less a climax than an affirmation. The “We” is not a crowd screaming at a DJ; it is the collective unconscious of the dance floor. To understand We Are... , one must remember the context. By 2010, Armin van Buuren’s A State of Trance was king, but critics complained trance had become formulaic. Meanwhile, acts like Swedish House Mafia were flattening its emotional peaks into harder, more masculine drops. Claessen and Nitzan, via Who.is, offered a third path: a track that was both peak-time and introspective, both anonymous and deeply personal. Bart-Claessen-and-Raz-Nitzan-pres-Who.is-We.Are...

In the vast, emotionally charged universe of vocal trance, few track titles capture a moment of existential clarity quite like “We Are...” by Bart Claessen and Raz Nitzan pres. Who.is. On the surface, the title is incomplete—an ellipsis that begs for an object. We are what ? Happy? Lost? One? But the deliberate ambiguity is the message itself. In an era (circa 2010) when trance music was splintering into commercial “trouse” and purist underground sounds, We Are... stood as a defiant, self-referential anthem about identity, production, and collective belonging. The Power of the Pres. First, note the credit: “Bart Claessen and Raz Nitzan present Who.is.” This is not a solo project. It is a conscious masking of two established producers behind a pseudonym— Who.is . The very name is a question, a placeholder, a challenge to the cult of the superstar DJ. At a time when the EDM boom was beginning to prioritise faces and brand names, Who.is rejected personality in favour of pure sound. By asking “Who is?” the track forces listeners to answer: We are . The listener becomes the artist. It is a brilliant inversion of ego. Production as Emotional Architecture Musically, We Are... is a masterclass in mid-2000s progressive trance meeting late-2000s stadium energy. Claessen provides the driving, tech-influenced bassline—tight, relentless, yet warm. Raz Nitzan, a veteran lyricist and vocal producer, supplies the haunting, chopped vocal hook: “We are... we are... we are...” The lyrics never complete the sentence. Instead, they layer, repeat, and dissolve into reverb. This is not a failure of writing; it is an invitation. Each listener fills the blank with their own identity: dancers at a festival fill it with euphoria; lonely night drivers fill it with longing; nostalgic older trance fans fill it with the memory of a scene that was slipping away. The title’s ellipsis is therefore a political statement