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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 9:17 2 Dying Sun (Sol Aeternus Mix) 8:03 3 War In Heaven 8:35 4 Negative Time (-L Di/-Dt Mix) 8:20 5 No Beginning No End 8:39 6 Nebula Of Souls 7:47 7 Subdimensional Anomaly 8:38 8 Abode Of The Damned 8:46 9 Netherverse 8:38 It's so interesting to read the comments here. Some really like it. Others find it a mixed bag or disappointing. I share many feelings on both sides. For me it began with the EP that I found monotonous, lacking the visceral, dynamic mixing and more ambitious, fiery approach, mixing, and storytelling associated with Mark Petrick's previous albums. To recap, Cassandra's Nightmare (1998) I (initially didn't like but) eventually warmed up to via Goa chapters in a horror film. The debut was overblown and bombastic, yet visionary and creative. It took risks and showcased a new approach to dark Goa. Qlippoth (2003) I found more mature, provocative, deep, dark (Evil-Dark) and sinister, as if the artist was tuning into and channeling darker energies associated with the lower vibrational realms, the dark occult [hidden knowledge]. Recently I was inspired to share more on that via Qlippoth Review thread here: https://www.psynews.org/forums/topic/6224-xenomorph-qlippoth-review/page/2/ I personally loved his third album, Demagoguery of the Obscurants (2007). Sure I had some criticisms. I did NOT like the metal-esque singing in one song that distracted me from the captivating, visionary music. I befriended sons of some of related people a long time ago, and yes there is a powerful, wealthy group of people affiliated with the occult via secret societies. IMHO Mark nailed the old world vision of the Elites (dark ones) down to the bookend track, Nuclear Winter. That said, since we're on the topic of dark inspirational albums (Inspiration like Love and Fear are not limited to third density consciousness spaces a la Earth's surface), I used to remote view with self-powered tools for protection when observing these spaces that inspired artists and creators like Clive Barker (Hellraiser, Hellhound) with the intent of producing a powerful horror film one day that shows the root of darkness (separation from oneness/light relative to duality, freewill, FEAR, trauma, etc.) and how [separation] relates to dark occult practices, seances, rituals, opening rings (windows to other worlds) right here on Earth, and much more via the power of BELIEVING and the MIND. We really attract what we believe so love yourself like your life depends on it. Anyway, fascinating stuff and I prefer to focus on the positive, higher dimensional spaces a la Telos, inner Earth illuminescent crystal cities of higher consciousness, light. That said, since we're talking Xenomorph, numerous beings in the LOWER spaces know when they're being remote viewed. They stick to one's projected consciousness during remote sessions like moths to a flame. People often remote view a nearby room, NOT the lower worlds, but I had intentions as stated. The music inspired me to break through in 2003, ironically the year Qlippoth (2003) released. I'd say (inside my mind when interacting via remote and paralyzed in fear to speak): "I LOVE YOU" as LOVE breaks fear paralysis as I shifted back in the room, awake as if never asleep, fully conscious and present, processing the experience. I stopped voluntarily remote viewing dark spaces two decades ago, as I began experiencing energetic forces similar to The Exorcism of Emily Rose (film) where energy would get aggressive and suffocating, pinning me to the ground when fully awake until I said (inside my mind via tools when paralyzed by fear and to speak out loud) with conviction: "You must leave now. You're NOT welcome here. I accept Jesus Christ as my lord and savior" (repeat). This weak output strengthens with repetition and intentional belief, and clears unwanted energy with until one can speak out-loud again, transforming the magnification of fear into empowerment. But I digress. I imagine Mark Petrick tapped inspirationally into darker realms just as Clive Barker and many more private figures have successfully done. And while I like his forth album Netherworld (2024) to some degree, and the way he incorporated touches of light in the darkness, I have constructive feedback and praise that I hope inspires an overall better, superior fifth album. Enough on the occult for now. Let's review this thing! 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), but I like it and am a bit undecided on the score. 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 and thought through from start to finish. A- / A 3. War In Heaven is a return to being harder hitting and darker 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 little tidal wave of synth/melody at 0:57 that grabs my attention, followed by more complexity. The first act is catchy, though repetition starts to kick in just before things change/improv at 2:40 as if the artist was on top of it. We reach an interlude at 3:30 via voice sample that sounds like Lance Henriksen in one of his many intriguing, dark character roles before new development starts up. I like how the lighter synths grow darker in the fifth minute. The song reminds me of things the third album did well, synth wise, in the second act here. Anyway, the third act encompasses fresh ideas, and some really good sound/melody work. The end of the sixth into seventh minute has some nice key changes, though the song felt a bit more conventional here (for a bit, for me), yet again, I admire the dualistic over dark-evil approach. I think there could have been more of a finale (climax) towards the end, as the final moments sounded less memorable to me. Overall, I like this song and found it more interesting and immersive than Negative Time on the EP. It showcases some very good/great work. B+ 5. No Beginning No End's first act is fairly psychedelic. It starts promising, though grows monotonous. I like the sound at 1:07., the dark undertone, the synths via 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 arrangement/direction here is where I begin to lose interest. It all just feels so conventional, repetitive, and uneventful to me (more mindless than mindful), and I feel this is an example relative to complaints. I would have loved if more time, work, and energy (ingenuity) was invested in showcasing greater interest and storytelling. I don't know. Is it me or does the song feel rushed? A voice sample transitions us to the third act. Here the energy picks up via climax, but the arrangement and delivery of the climax feels similar, redundant, and lackluster. I'd love more variety, provocative ideas, evocative feels, tight mixing dynamics and creativity (what worked better on previous songs and albums). The song feels like it could have benefited from having a makeover in production, or being replaced by something stronger all together. I'm not saying it's bad, but 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, wetting our appetite. Little squiggly sounds mingle with soundscapes in ice-cold moving atmosphere. There's a recurrent synth that works well early on, to some degree, and grows delectably grittier, rougher, more aggressive, and somewhat less restrained as the song progresses via second act. Sure the song follows one set path and direction (conceptually one-dimensional), but it packs some of that rawness (rough edged) appeal I miss. That said, the structure and overall synths are repetitive, but I feel like we needed this... something with more visceral power and aggression. Now add this grit to a more dynamic, varied, and elaborate storytelling chapter, and it could have been a killer, super song. In Act 3 the synths fall to the back, as dark ambient notes carry slowly carry us to 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, especially after the welcome hard edged approach albeit predictable structure throughout. B 7. Subdimensional Anomaly slowly builds to the second minute where more storytelling engages. I really like the blending of elements, from numerous synths and soundscapes, to interludes, voice samples, and stronger, dark terrain. The mixing is good, though I wouldn't argue with anyone who feels these more exciting develops grow fairly repetitive. The second half maintains the catchy synths coupled with slower notes. I like the ambient notes in the last act, reflecting sadness, reflection, and contemplation. I think the song could have ended more memorably. Overall we get so little when it comes to solid, dark Goa anymore. I'll take what I can get. It would have been cool if the second half was as intriguing and satisfying as the first half, albeit with more power and excitement by the end, but 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 development IMO. The first half builds strong, acknowledging the underworld (the Great Below) that does not fit into modern academia, thus have been classified as fiction-fantasy / folklore / conspiracy, whereas we are inspired by the stories of higher truths, ancient civilizations, technology (including the pyramids whose insane energy comes out the tops), and eras that predate ours a la Shiva, Krishna, etc. The storytelling here feels homogenous, more substantiated and strong. I love the evocative feels, the gritty synths, and overall structure. The song feels more inspired if that makes sense, and in this somewhat simpler, contemporary style, to me this is easily one of the album's best songs. A- 9. Netherverse is an ambient-influenced downtempo number. The first half... we're floating in space, experimental atmosphere. The induction of a tune arrives in the second minute as I start to grow impatient, hoping things are going to heat up and grow more engaging. A slow kick drum enters the third minute along with synths mingling in the atmosphere... And again, I wait in hopes that the song will turn into a powerful, downtempo gem. Unfortunately, the interlude in the forth minute leads us to more of the same. There's a slow, attractive sound in the fifth-- I love the idea of concluding with a downtempo number. I just wish the song developed into something deeper, richer, more powerful, memorable and satisfying. The key change is nice towards the end, and the visionary approach, writing and direction-- the execution could have been so much more. The end result feels undercooked, underwritten, and under-developed. I was left wanting more and while not bad per say, wished the overall song was more memorable in a good/great way. C+ / B- CONCLUSION Where to start... On one hand, we get so few solid dark Goa albums now days that I want to savor what I like about this album until something better arrives. On the other hand, its been 17 years since Mark's released an album, and while I like it to some degree, it did NOT exceed my expectations. For me the album feels fairly underwhelming and at worst (at times) lazy compared to his previous albums, though it does showcase some very good/great work. The simpler, less ambitious programming/mixing aspects include less riches via details, textures, lure and mythos... less unpredictable, powerful, gritty, aggressive, and daring (risk-taking) work, lighter on development, buildups, climaxes, holy shit (wow) moments, etc. I like that Mark incorporated more duality in his songs rather than each song being saturated in DARK/EVIL tension to the degree of his first three albums. I don't mind that, as much as I wish the songs had more work invested in the sound engineering, storytelling development, mixing, and arrangement department. Maybe I wouldn't be so critical if he wasn't so gosh darn talented and great. A couple songs REALLY stand out over others, but that's normal I suppose. His other albums IMO felt more organic, tighter, sharper, more intelligent, chaotic and wild-- with greater moments of awe and satisfaction. I miss the buildups via impact effects and RAWNESS of his third album, and I'm glad this wasn't a direct repeat. It's smoother, more modern and contemporary, but in doing so, loses some ingenuity, appeal. Sometime I feel like it's a bit too lite, as if the artist compromised with the label's suggestions or requests. Don't get me wrong, the world needs less darkness. I love the idea of incorporating more light in the darkness via duality as he did here without being cheesy as he is not, and I would have loved more dynamic mixing, variety in baselines, beats, etc., as some feels too auto-programmed. The artist's general style in synth (sound selection) and mixing is fluid and easy on the ears, and I'm sure dance floors. Songs like Dying Sun and Abode of the Damned really stand out, and felt like more time was invested in making those strong examples in this refined, updated style. Some of the others (more or less) however feel a bit underwritten, underdeveloped, and/or less ambitious and daring than they could have been, and considering the expectations associated with a legend like Mark Petrick. On the plus side, I can play Dying Sun and numerous other songs are dance-friendly, easy to get into. I find some of the work here refreshing, great. But is it me, or does this album sound more mainstream-friendly and a bit conventional in that senses to some degree? I see both sides: Those who like it and those who don't. I find myself somewhere in the middle, liking it while acknowledging its shortcomings. I know he's capable of producing more memorable songs with greater lasting appeal, complexity, imagination, power, etc. Maybe being older now, he has less interest investing as many hundreds of hours into production, and if so, who could blame him? Work smarter, not harder. Being that its been 17 years, my expectations were higher and yet this has an is growing on me. The contemporary approach here is just simpler-- less dark, less wild, less fiery, less dynamic, less textured, less riveting to the degree we're used to. But it's still there. It's Goa. It's dark. And if this was another artist maybe some of us would be easier in our analysis. Netherworld (2024) sounds ALMOST a bit too refined and clean (opposite of raw) for its own good, and the last song feels unfinished, like it was on its second or third (out of four or five) re-writes. The album lacks the OOMPH, punch, and explosiveness. Yet I enjoy what works -- the dark, apocalyptic sound/melody approach I find irresistible at times. And parts do sound a bit repetitive, and could have used more refining. Sigh... I'm such a fan of dark Goa with catchy melodies, and haven't heard a new dark Goa album in some time. The album feels a bit rushed to me in places, like it could have benefited from more time in development, and yet much of the album feels complete. Anyway, these have been my back-and-forth conflicting perspectives building up to writing this. One way of looking at it-- we could have NOT gotten a forth album at all, and now we have something to talk about, which at least brings more curiosity and liveliness to the forums This is far from a bad album IMO, and I totally see the polarizing (like and/or don't like) reactions! But man I really like/love and also do not like/love a good amount of this! Favorite tracks - 1, 2, 3, 4, 7, 8 B Stream the full album playlist on Suntrip's YouTube page attached

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

It was just my first impression. I haven't even listened to the full album yet but the sound of it threw me off. I'll give it a few more listens 🙂

vinyl experts, anyone know it? ->

OUT NOW! Available in both physical and digital formats on our Bandcamp page 😊

Looks epic!