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Hmm, you're asking difficult questions here. That friend of mine who introduced me to both goa trance and Impulse Tracker gave me his entire sample library (most of which was quite useless tbh) and I couldn't in any way tell where all those samples were from. I do remember we found some websites with useful sample packs, so there's the source of most of the sounds in my tracks. Of course I couldn't tell which synths and drum machines the sounds are from; I did rename all of my samples for the sake of organisation, so the original file names are lost to time. There are some hints in some of the file names, but of course you have to remember that back in 98/99, I had absolutely no idea what words and numbers like "acid", "juno", "303", "909", and so on even meant. They were all just useful sounds to me

We're getting close to the end now, this is track 10 and it was finished in mid-February 1999. Here is where I started experimenting with adding in a bit more complexity, at least from a technical point of view. I can't really pinpoint any specific artist influence here, but that synth solo that comes in at around 5:45 is definitely a nod to the Hallucinogen track "Demention". Of course I took it quite a bit further, and I clearly remember I managed to crash Impulse Tracker when writing the solo, so something about it got lost in the crash.

Funnily enough I didn't find this topic while searching.. 1) fluoro neuro sponge 2) gamma goblins 2 3) lsd / angelic particles / magik 4) demention 5) horrorgram / snakey shaker

nope, xeno is not a better artist than filteria. you can tell pretty easily by the sounds crafted. Xeno seems to not care much about sound design, while filteria would spend a year on a kickdrum.. And as far as vision go, i mean, comon. Filteria basically invented neo goa. abode of the damned was pretty nice. well mixed. but sound design leaves alot lacking. negative time didnt remind me much of mfg.. but the 2nd half of the track was allright!

One hell of an album indeed.

I would like to continue this thread, as I’ve been trying to find artists new and old from Israel. I’m specifically interested in the more melodic, Goa trance side of things. Artist albums + compilations are both on my list. I’ll get the thread moving with my favorites: Astral Projection Afgin Sykespico MFG Who knows of other artists from Israel? Trying to make an Apple Music playlist mostly of albums, although good individual songs are appreciated as well.

Xenomorph - Netherverse (2024) Suntrip Records 1. Sinister Contours 2. Dying Sun (Sol Aeternus Mix) 3. War In Heaven 4. Negative Time (-L Di/-Dt Mix) 5. No Beginning No End 6. Nebula Of Souls 7. Subdimensional Anomaly 8. Abode Of The Damned 9. Netherverse It's so interesting to read the comments here. I found the the Negative Time EP (2023) fairly monotonous, lacking the visceral, dynamic energy of Mark Petrick's previous albums. A brief recap, Cassandra's Nightmare (1998) was like Goa chapters in a horror film. It took risks and showcased a new approach to Goa. Qlippoth (2003) was more mature and provocative. Demagoguery of the Obscurants (2007) was a concept album reflecting the uncompromising, tragic [old world] vision of the elites (the dark ones via cabal) phases ending with Nuclear Winter. Years later, Xenomorph singles began appearing on Suntrip comps. Petrick's style was more contemporary, less hard edged, technical, more melodic and smooth. It was with Suntrip that I felt something powerful, raw, daring, and organic just did not cross-over that made this artist so brazen, unrestrained, and impressive. Fast forward to Netherworld (2024), the first main album by Xenomorph in 17 years. 1. Sinister Contours starts with a strong kick drum, dark atmosphere, sound bits and synths that remind me of Demagoguery of the Obscurants (2007) to some degree. I like the dark Goa (sound/melody) work, though structurally the beat and bass line feel a bit repetitive. The synth via transition in the third minute open the door for more creativity, grit, and development, the latter fairly simple programming-wise. The tone is good, and I like the contemporary, modern approach to dark Goa here. I like how the middle act breathes before introducing oriental sounds and samples, adding intrigue. This segments felt a bit repetitive to me when crossing the seventh minute, and could have benefitted from more complexity via mixing and variety in arrangement. The last act gets more interesting via end of the seventh minute, but I felt the repetition in ideas before and after. Even the last minute is less than stellar. I feel like the artist could have incorporated more, surprised us, and evolved the second into third act, as well as the second half of Act 3 more tightly. This is a solid song that lacks the power of the opening track, Prognosis on Demagoguery of the Obscurants (2007), and I like it. B 2. Dying Sun (Sol Aeternus Mix) is MUCH BETTER than Sinister Contours IMO, and my top, if not one of my top favourites here. I LOVE the ominous opening, the raspy samples (that somehow work with the), atmosphere and synths. I LOVE the space astronaut sound accent effects (end of first minute), and the sound/melody work is excellent. The song gets richer, more tasty and delectable as it progresses. This is a great example of duality, rather than pure dark-evil-- combining darkness with light. Then a key change at 3:30, and the song does possibly the most beautiful, transformational thing I've ever heard from this artist to date, completely elevating the journey into cosmic, transcendental realms of growth and development before sliding back into the dangerous void. Sure the beat and baseline are pretty standard, and I'm okay with that. It's everything on top of it that's riveting and so unexpectedly strong, evocative, and enjoyable! This (more balanced in duality) song is so innovative, catchy, and welcome from what I'm used to hearing from this artist. It's less hard hitting (beat-wise, synths, grit) than his other songs, and I'm okay with that. Even a transition in the fifth minute gifts us more jewels via sound/melody work. Maybe the second half of the last act could have emphasized more edgier synths, but I'm nitpicking. This is such a well done song. It's imaginative and beautifully helmed from start to finish. Excellent track! A- 3. War In Heaven is a return to harder hitting, darker content a la Sinister Contours. I notice some cross-over sounding synths early on that remind me of Demagoguery Of the Obscurants (2007). The sound/melody work is crisp and energetic, complimented by a voice sample, though somewhat simple in arrangement. The music improves. I love the blinking little synth effect at 4:03 (wish that reprised later) and how a voice sample transitions us to catchier elements. This has a jumpy (danceable) synths, and I love little dynamic progressions via 5:12. I'm a sucker for catchy transitions to new surprises, sound/melody work, good mixing, and like the nostalgic albeit contemporary synths approach. The last act brings everything together, like a dark albeit less dark (than previous albums) nod to his third album coupled with melodies had A Nightmare on Elm Street had a Goa song. That said, I feel as if the music is just a bit restrained in power, rawness, and delivery-- as if the artist is fairly reserved from unleashing more fiery power. I thought this delivered stronger than the opening, and I enjoyed the smooth, fluid production and delivery. B+ 4. Negative Time (-L Di/-Dt Mix) starts strong. We get a synth lead that breaks through like a tidal wave (beautiful effect) at 0:57 followed by more complexity. The first act is catchy, though repetition starts to sink in just before things shift at 2:40. We reach an interlude at 3:30 via voice sample that sounds like Lance Henriksen in one of his many intriguing character roles. I like how the tone grow darker in the fifth minute. The song's synths remind me of the third album to some degree. The third act merges fresh ideas and some really good melodies. The end of the sixth into seventh minute feature nice key changes, though the music here grew conventional. Nonetheless, I admire the dualistic rather than being dark-evil approach. I think there could have been more of a finale (climax) towards the end, as the final moments aren't as memorable. I like this song and found it better than Negative Time on the EP. B+ 5. No Beginning No End starts promising. I like the sound at 1:07, the dark undertone, the synth at 1:30 and the grittier sound at 2:35. This segment soon grows repetitive though until 3:18 where we transition to 3:30 (my favourite part) before more layers pile on. The forth and fifth minute's pile on and this is where I start to lose interest. The sound design sounds so conventional, repetitive, and uneventful. A voice sample transitions the third act, energy picks up via climax, but the arrangement sounds too similar and lackluster. More fire, grit, variety, complexity, evocative provocative feels and ideas would have been amazing here. The song feels like it needed more refinement, re-writing, or being replaced by something stronger. Is it me, or does this feel rushed? I'm not saying it's bad, but decent to FAIRLY good is the best thing I can say about it. B- 6. Nebula Of Souls starts great like a dark fantasy. I like the atmosphere, enchanting sounds and synths. The first act builds nicely. Little squiggly sounds mingle with soundscapes in ice-cold moving atmosphere. There's a recurrent synth that works. It grows delectably grittier, rougher, more aggressive, and less restrained as the song progresses. That said, the song follows one set path, direction, and conceptually, is pretty one-dimensional. But it packs some of that rough edged rawness I miss. Again though, the structure and sound design grows repetitive, albeit more powerful and emphasized, and I feel like we needed this... something with more visceral and aggressive. Why not add this intensity to a more dynamic, varied, and elaborate storytelling chapter? Doing so could have produced an album selling super song. In Act 3 the synths fall to the back as slow ambient notes carry this across the finish line, and while I appreciate the change, I feel like this was an opportunity to incorporate something more exciting and revelatory to spruce up the finale which otherwise feels somewhat melancholy and anti-climactic, especially after the welcome, harder edged albeit predictable structure/drection. B 7. Subdimensional Anomaly opens with soft ambient, inviting us into the ominous fold. The bass line here actually stands out for once. I like the evocative feel, synths, key changes, especially the synth lead in the second minute. It's excellent and accentuated by soundscapes following a voice sample that initiates stronger energy. Now we're gliding across the dark terrain. The music is good, though a little more involvement via arrangement would have spiced up the forth minute. The second half maintains the catchy synths, coupled with another voice sample. This opens the door to those punchy synths that remind of of Mark's third album (works well here). The song's less intense approach is well placed. Another complimentary synth joins ambient notes in the last act, reflecting sadness and contemplation. I think the second half of Act 3 could have developed a little more, creating more intrigue like the song's first two acts, and I admire the artist's more pensive, thoughtful direction. B 8. Abode Of The Damned as with Dying Sun (Sol Aeternus Mix) showcases stronger storytelling throughout. The first act builds intrigue, acknowledging the underworld (the Great Below) conveniently excluded from modern academia, as it does not fit in with established associations, hence fiction-fantasy / folklore / conspiracy / advanced ancient civilizations, technology, Shiva, Krishna, etc. The first act is dynamic, offering a variety of tighter sound engineering. The second act has more grit and energy, a thumping beat. I love like the tone, evocative feels, gritty synths, distinguishing acts, and voice samples. But the second half of Act 3 could have stood out more, and the sound/melody work I found catchier in Dying Sun. All in all, this is easily one of the best songs on the album, and my favorite after Track 2. B+ / A- 9. Netherverse is an ambient-influenced downtempo number. The first half... we're floating in space, atmosphere. No beat. Not much happens. A synth arrives in the second minute as I start to grow impatient, hoping things are going to get going. A slow kick drum enters the third minute. It's okay albeit plodding. Again, I wait for this to turn into a powerful, downtempo gem, but the interlude in the forth minute leads to more of the same. There is a nice key change to the tune in the fifth and sixth minute (IMO the best part of the song), but other than that, not much happens. The song ends just as it begins to show potential in what could have been Act 2, but is rather the second half. I wish the artist developed this into a more powerful, memorable downtempo/Goa gem. In the end, it feels underwritten and underdeveloped. I was left wanting more. C+ CONCLUSION So few solid dark Goa albums seem to release now days that I want to savor what I like about this forth album until something better comes along. Its been 17 years since the last Xenomorph album. Mark's work has grown more contemporary since releasing via Suntrip. If you like this style coupled with some cross-over elements from his third album, you'll probably like this. I like it more than his Suntrip comp singles, and find numerous tracks ( 2, 3, 4, 5, 8 ) enjoyable, while others (5, 9) feel like write offs, fairly underwhelming. There are a few repetitive moments in numerous songs in that could have been tightened up. This is a dark Goa album that's less ambitious, less technical and meticulous, less hard-hitting and punctuated, less dynamic, less brazen, provocative, unpredictable, powerful, gritty, and risk-taking. Yet it has that all to some degree. It's smooth, very melodic (at times), danceable, to some degree conventional, and easy to digest. The album didn't exceed my expectations. Dying Sun (Sol Aeternus Mix) impressed me the most if had to choose one song. I like that Mark Petrick's style isn't saturated in the bleak, nihilistic dark/evil of his previous albums. Times have changed. We evolve. Well some of us anyway. That said, I feel like more work could have been invested in some of the tracks, including (more specifically) producing more edginess in the second half of Act 3's which feel similar (a bit repetitive) to the first half of Act 3's. This happens in a few non Act 3 places as stated, but around that, for the most part, the album is pretty solid. His previous albums felt more organic, raw, determined, rough, chaotic, explosive and unrestrained, and I miss that-- the powerful magnetism that one blew me away, the technical wizardry, the moments of dark surrealism, awe, and inspiration. Innovation. Netherworld (2024) showcases healthy, dualistic sound/melody designs, and plenty of good/great songs. It's just simpler where I wish it was more involved. The more mainstream friendly approach arguably feels more Xeno-lite (not to be misinterpreted with light). I would have loved more complex, catchy developmental arrangements, sound designs, variety in baselines, beats, textures, details, accents (well accents are generally simple). The praise: "work smarter, not harder" probably makes more sense after 17 years, but how can one not compare the 4th album to the third and second considering they represent some of the best dark Psy/Goa albums ever released? The artist set the bar so high that not even he can top it. My suggestion is give this a couple listens and decide for yourself. I like to listen to an album enough to be able to identify the songs to the point they form an identity to the names, but that's me. One way of seeing it... we could have NOT gotten a forth album at all, and now we have something to talk about, which at least brings more energy to the forums. Also thank you Mark Petrick and Suntrip Records for making a new Xenomorph album happen after all these years. While far from what I consider superb, there IS some superb work here, and plenty solid work in general for me to enjoy. Cheers Favourite tracks - 1, 2, 3, 4, 6, 7, 8 Least favourite - 5, 9 ... the latter could have been so much more satisfying with more time in development. B Stream the full album on Suntrip's YouTube

I can kind of see where you're coming from a bit more now. Some tracks do have pretty generic kicks and basslines. Doesn't bother me though since there's still so much personality everywhere else, and I like the modern production. Abode of the Damned is fantastic. Negative Time gives me MFG vibes with the relentless energy, big spacey sounds and euphoric climax.

Central Rishon Kaledioscope Retox just the best trance there is. sadly alot has disappeared from youtube over the years.

i can kinda see where you get MFG from here i guess? But unfortunately the kick+bass ruins it for me after a few more listens now, i think its not my cup of tea at least. the sounds are way too simple (the music is decent, but sounds not so much). and i absolutely hate the kickdrum and especially the bassline. damn near sounds like 'init patch' of any virtual analog VST, with unison and lots of stereo imaging whats the 2nd best track from the album in your opinion?

i think it sounds very good, probably the best so far tbh! the key changes around 5:50 mark and onwards are very nice, again reminds me of something that i cant put my finger on right now.. oh yes now i remember. similar key and key changes are in this track aswell, by solarforce. ( -https://www.youtube.com/watch?v=04jXxZhzxfA- ) can you give a bit more information about the samples you used? and from what synths they were sourced? for such things as kick, bassline, hihats, leads etc. would be interesting to learn where you found all the samples at that time (98).

87bpm Recorded this one on 4/20. Took a while to put this one together, a few months tweaking sounds and effects, it's a live hardware jam recorded straight from the mixer, I didn't even do any post processing on this one even though I guess it could use a little boost but anyways I liked it enough as is, might master it later. It's pretty long again meant to be more of a journey, if you don't like long intros skip to about 4 mins in I guess. Hope you enjoy ☮️🕉️

Indeed. A solid release 9/10

Well that was fun Check out A1ON's DJ-set here: https://www.twitch.tv/videos/2125187677

Well that was fun Check out A1ON's DJ-set here: https://www.twitch.tv/videos/2125187677

Vinyl is SOLD. CD is still available.

Yes, I tried this many years ago, I searched from 2000 to 2003 for all the songs with this name, Serenity, but I couldn't find this id! There are two options, either it has not yet been uploaded to the discogs database by a contributor, or it exists, but under a different name than Serenity! We'll see, there are songs that I found after 15 years, and that makes me feel like it's something obscure, I hope it's not an unreleased song.

A10N is Live in 2h. https://www.twitch.tv/space_toilet_radio Party on ❤️

It's on live now https://www.twitch.tv/space_toilet_radio/

https://facebook.com/events/s/rise-and-thrive/449128434443589/

https://facebook.com/events/s/rise-and-thrive/449128434443589/

Interesting to see how tastes can differ, I listened to all the tracks and like this one better than most posted before, though it does sound a bit empty, but the sounds and melodies sound more mature than most tracks before in my opinion. The melody at 3:30 sounds simple but very good, and I like the last part of the track.

Okay, I'll be honest here. This next track is quite terrible. Finished in mid-January 1999 after I took about a month off making music, this one tries a bit too hard to sound like the classic Hallucinogen track LSD (and fails at it quite spectacularly). In any case, the remaining 3 tracks are much better than this, and maybe you can find something positive about this track because I sure can't 😅 P.S. that track title is quite facepalm-worthy too.

Yeah, listening the the album now, track 2 is impressive. Track 6 however, getting praise in the reviews but I found that melody in the second half a bit out of tune, sounds like it doesn't fit right, too bad because the track itself sounds very interesting. Track 8 is one of the best. It's a very good album, though I agree that in some tracks, sequences are too repetitive. I agree with a comment above regarding samples, Xenomorph has always been a master at this, the samples are always well chosen and positioned a the right moments. Regarding the mention of Filteria, I am glad Xenomorph is just a better artist in my opinion, he makes tracks that sound more coherent and harmonic, with vision.

Sounds very nice hope we find out. Sound feels familiar