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  1. This is an excellent release! No fillers, only strong psychedelic old school tracks. You need to get this.
    3 points
  2. Well I don't mean to crash the party but I'm less impressed with this album, and I'm not going to hesitate to point out what I think is great (and not great) about it. I agree there's some great (excellent / superb) work, and I'd never call this a bad or average album. Almost any track will work on dance floors, though some are much stronger than others and I say keep to your winning horses. Let go of the routine and capitalize on your greatest marbles! That's what establishes super albums and I often intend my reviews to double as feedback, though like you all I'm sharing my honest, open thoughts. That said-- 1. Apex begins with a digitized synth, and a plesent albeit simplistic in structure and arrangement Goa sound that is easily topped, thanks to a superior synth at 1:48 >>> my favourite part. So far, so good... that is until 2:55 where the track gets repetitive. An interlude soon arrives, igniting the second albeit repetitive synthetic part, and it's here that the music grows conventional, inspired. The music improves at 5:00 but just for a moment until the artist transitions the music one final time.. It's not the change I was hoping. I'd describe the next 3-4 minutes as a Full On Club Trance. Ahhhh!!!!! It's so TYPICAL sounding and completely takes me out of the song. Actually it's not until the FINAL MINUTE that a healthier balance of Goa and Trance return to the cool feel earlier in the fifth minute. This track could have been great, but it chooses to take an extremely LAXY, FORMULAIC approach. Apex starts promising before devolving into formulaic, typical-sounding Club Trance where it completely loses my interest. C 2. Astral Traveler is a big improvement from before. This track has a heart and soul that I didn't see at first, and is my wife's favourite song on the album due to the terrific ending! The first third is a bit similar sounding (predictable/routine arrangement >>> could have been better). The development into ACT 2 is very nice thanks to ambient notes, Goa elements, catchier synths, and more. Also, ACT 3 is incredibly euphoric, warm, and uplifting in a positive way! Improved sound/melody work, FEELS (!!!), multiple key changes providing storytelling and substance is just part of it. Although it took an ACT to warm up where we were going (ACT 1 could have been stronger in that regard), the song beautiful, well done! I find this so much more enjoyable and engaging than Apex, and sadly, the one track that follows. B+ / A- 3. Dreamland is typical and formulaic, routine sounding CLUB TRANCE (the fuck??!) with a touch of Goa so slight in the middle that I hardly cared for fear the last act would undue ACT 2 via Apex. The overall sound and direction here is so predictable, with a very been-there / done-that feel throughout. The song offers nothing new, as if the label requested a more commercial, by-the-numbers dance number. Just why??! This artist is so much more creative, intelligent, and talented than this! I can't help but feel the desperation to appeal to a wider audience, preferably not in a redundant way. People like fun, danceable tracks that don't sound like stereo typical Club Trance! I acknowledge the very catchy, little echoed beeping melody accent in the last minute. Where was that the whole time? Aside from that, Dreamland is generic, Full on Club Trance and the most commercial sounding track I've ever heard from Artifact303. C- 4. Solar Warden has some very catchy sound/melody (Goa-Trance) work in ACT 2. Unfortunately, the overall structure and arrangement of ACT 3 reverts back to a less pure Goa sound a la Trance-friendly motions. I wish the artist committed and further developed the purer, melody-licious tunes of ACT 2 into ACT 3. B- 5. Unidentified stands out as a favorite to me. It has a smart, catchy tune that gets stuck in my head (so simple, works wonders!) and is wildly danceable. ACT 2 could have been stronger, more fun and memorable. It's not bad by any means, and I realize you don't want the lead to grow tiresome, but at least make ACT 2 more interesting and engaging (is my constructive feedback). The in-my-face main synth in the 4th into 5th minute felt routine, repetitive, and formulaic compared to everything else. Fortunately, the artist brings back the best part back with added growth and development in ACT 3, and I'm hooked all over again. Honestly ACT 2 could have been shorter (tighter in that sense) and ACT 3 with its wonderful growth and signature synth star return could have been meatier, a little longer, but what are you going to do? This is a strong Trancey dance number despite a weaker ACT 2. It's shows that-- however simple, one can make a fantastic track with the right sounds, mixing, and arrangement (ingredients). Well done! A- / A 6. Summer Storm begins fresh, zippy and quite Goa-esque! It reminds me of one of Artifact303's best tracks-- Leviathan Dance after the second minute. That nighttime sound is so sleek and sexy. Then at around 3:30 the music sounds juvenile with its sound effects and beat. Get that out of there and replace it with something powerful! The part that soon follows is far catchier and the Goa rhythm develops into something more intense, rhythmic, and psychedelic. Cue climactic lead and this is doing things right despite the somewhat simplistic arrangement. I like the edgy Goa sound in ACT 3, as it incorporates some of the sleek, sexy feel from ACT 1. At this point I'm confused because this album can't seem to make up its mind with whether it wants to sound contrived, repetitive, and afraid to take risks, or create and develop greatness onto of greatness. B+ 7. Open Your Eyes is sleek. It covers less ground, with fewer ideas, ACT 1 grows too similar sounding to me despite it being fairly catchy in sound. A new technologic synth improves ACT 2 followed by more variety, though a more elegant/tasty synth could have complimented the more aggressive, rough synths, approach. The song climaxes towards the end with an energetic, strong synths, though again, I find the arrangement, sound selection and overall direction repetitive and lacking to what we've come to go-- WOW, that's catchy and different! This gets predictable towards the end (arrangement, complimentary elements-wise), but it'll certainly be effective on dance floors. B 8. Secret Space starts great. Early on is exciting and the ambient notes convey feels, helping to flesh out a story. Although the excitement / ACT 1 seems to run out of steam, the song is pushed up by a healthy ACT 2 that develops the music. I can't predict where the music is going unlike numerous prior tracks and I love that, even if the artist repeats some elements with greater rhythm and complimentary ingredients, e.g., a Pleiadian synth that skips and is soon accentuated by clear, piano-esque notes, playing a distinct melody that enhances the complexity of the whole. For the album's emphasis on Trance-friendly style, this is a strong track! B+ / A- 9. The Devine Plan is a fairly progressive, gentle, uplifting morning Trance number. The song is peaceful and the conscious aware samples attract me. Having said that, it's a bit formulaic, contrived sounding via sounds, arrangement, and overall direction. Still it's not bad but not as memorable as it could have been. ACT 3 is very nice, providing a warmer (euphoric) climax. The song's grown on me despite being fairly structurally/sound-wise predictable and risk-free like much of the album. I do appreciate the non-banger approach though after the previous four digits B- / B 10. Wisdom Bringers is pleasant, harmless. It has a nice sound, beat, a touch of ethnic/world influence. The artist could have closed things with a stronger downtempo track, or one more akin to the Goa style more prevalent in BACK TO SPACE, but he took a risk here to include this, as it is unexpected and different-- and hey, at least he didn't put it in the middle of the album a la debut! The song isn't bad. It's not that memorable either and sounds like it would maybe be better suited on a downtempo compilation. Decent, fairly good overall. I believe he can make stronger, more imaginative, fun/entertaining down (and mid) tempo ones too that better compliment the stylistic vision of the album. That said, it's nice (I enjoy it more without the voices to be honest) and appreciate the slight Psy/Goa touches in the second half. B- COONCLUSION An arguably solid album that is too formulaic (and/or Club Trancey-ish in sound, structure and arrangement at times while maintaining some strong Trance (and Goa influenced Trance) songs and elements, as well as a few super dance-floor bangers to boot. Though friendly for dance floors and almost entirely RISK-FREE, I miss the purer, punchier, less linear Goa approach that BACK TO SPACE had. I really loved the debut album despite some shortcomings-- its few weaker first half (Tracks 2, 3, 4). Similar to the debut, TO THE STARS improves in the second half, though its style, sound, and the way numerous songs are structured and composited (the overall direction) is definitely more mainstream friendly (and predictable sounding at times) for dance floors. There are things-- elements, melodies, moments- almost entire songs I really like/love here (praised above). There are Goa elements/Goa songs(!), and I simply wish the artist didn't limit his mind to more contrived structures, arrangements, and synths at times, as that reduces how expansive, imaginative, and well-- ground-breakingly CATCHY the album could have been while also being fun, danceable, and mainstream friendly! What we have is something good- sometimes great, and occasionally too rudimentary and routine (going through the motions) to my ears and mind. But there's greatness nonetheless including some of the best dance songs I've heard all yar. In the end, it's a bit of a mixed bag. I love strong songs and when I don't land on one, I get bored quick. But oh.. oh.. those moments and tracks I cannot deny. Give it a listen and decide for yourself. HIGHLIGHTS: 2, 5, 6, 8 B / B+
    2 points
  3. maybe not good content but some content.. https://www.aeap.se/tmp/psynews-1-16.wav https://www.aeap.se/tmp/psynews-2-16.wav
    2 points
  4. Process recently had a baby and might be sitting this out but I've spoken highly of this festival to him and if Pete's playing, maybe he'll be tempted enough to join in. He isn't nearly as anti-trance as others, just finds it kinda limited and enjoys doing other things.
    2 points
  5. Man, I haven't logged in months and the very first topic that I see is EP stating he's leaving the scene. It's like I've been transported back to 2003. Or 2005. Or 2008. Or every year cause that's what EP does. Biggest drama queen of our scene.
    2 points
  6. great post i read all of it, very interesting. the ARP could be a source for his basslines definitely, as it has that raw organic flavor to it. and the Eventide DSP4000 and the Eventide Harmonizer H3000 is definitely what made his tracks sound so damn good (on top of his skills ofc) aswell as that TC electronic Finalizer. Which Im not sure exactly what it does tbh, except making it sound even better. Maybe something like a Crystalizer/Vitalizer with compression/limiting? Anyway this is hugely interesting and I love diving into the technicals of these legends, to perhaps gain some inside knowledge. Keep hunting
    1 point
  7. yep it was badboll i suppose that kick circulated around that place ^^ me and a friend made some tunes in reason back then, using this kick, good times.
    1 point
  8. What I’m trying out right now in order to somewhat replicate the Hallucinogen bass, is TAL-101, and Arturia’s emulation of the Juno-106 + Korg’s MS-20 plugin. It would be awesome if Arturia did a SH-101 emulation as well, which captured every nuance of it. I’m also trying out the Arturia ARP 2600 V plugin, since Simon used the ARP 2600 for something in his tracks. Maybe for bass? I managed to find this from the old Sphongle/Hallucinogen website from 2004 om wayback machine, which is really great since it contains the complete gear list used for his older albums, quite cool that both Hallucinogen and Infected Mushroom used the Behringer Intelligate for their Trancegate effect. Infected Mushroom even had a track named Intelligate. I see now that Hallucinogen preferred the Drawmer one: ” The Behringer Intelligate i would love to use more, but the inputs distort, no matter how i match them. Below that is the Alesis Quadraverb... The first FX unit i bought, and the one thing that i have absolutely definitely used on everything i have ever done. Iit is usually jammed on the ping-pong delay setting, occasionally with a phaser thrown in too. Next is the Drawmer Gate. This particular one used to belong to butterfly studios, and when they closed down, selling off all the gear, this was one of the few things that hadn't had coffee spilt down it! This is what i use for that 'chopped up stuttering effect', usually on vocals. A couple of the knobs are a bit crusty...maybe it's days are numbered...” "Perhaps you would like to know some of Simon Posford's secrets ? Simon himself gives you some very interesting anectodes about the gear he used on some tracks and the gear he likes to use. At the end of this section, I've made a glossary for those who don't know much about instrument terms. As I know a bit about musical and gear 'life', I'll try to make in the future a little history about the intruments in Simon's studio. You could see for yourself that Simon has some great and rare vintage gear.... You want to know more about the gear and how Simon uses it? So read carefully some of Simon's secrets For those who don't know well the technical terms, i made a glossary to help you. Perhaps a little gear history will follow... Most of the first Shpongle album was done with the gear you see on this photo. Simon used only the Kurzweil K2500, the Apple Mac G3, AKAI S3200 sampler and Roland SH101 to do the work with Raja. They recorded the flutes usually at dawn. On 'behind closed eyelids' they set the microphone up in the garden, at a distance, so it would pick up the birds singing too, and while Raja Ram was playing, two pheasants came and stood at his feet, blinking vacantly at him. On the track 'D.M.T.' they used the software called Vocal Writer for Mac. At the top of the stack is the Akai CD3000 sampler, which Simon borrowed from Raja Ram. It was drafted in for the new Shpongle album 'Tales of the Inexpressible', to cope with all the recycle files. The S3200 which has only 16Mb of RAM is below that and it was the one used in the first Shpongle album. The black machine below that is an Akai DR16 hard disk recorder. Since the sampler doesn't have much memory, Simon records a lot of stuff to the DR16. Oh yeah, another great view of the lab. So, let's go... You can see under the Mackie the ARP 2600 analog synthetizer. Simon love the Spring reverb of this gear and if you use it in stereo, it is completely out of phase. Simon used the ARP for the bass on 'Shamanix' and some of the riffs of 'Solstice'. He finds the envelopes of the ARP a bit too slow for the style of music he makes, so he often uses just parts of it, in combo with the MS20. Sometimes he uses the oscillators or sometimes the filter. The ARP is a patchable synth, so you can plug the modules as you want or with differents modules of other patchablesynth like the MS20... He likes the Ring Mod of the ARP a lot, too. The Korg MS20 and MS50 synth are on the right-corner of the photo. He likes to use them together too...apparently "I love the filters... you get a lowpass and a highpass... and they are both killer, in a cheap n squidgy kind of way!" Under the stack of CDs you find a Roland SH101, another analog synth. It gets used on just about every track he has ever done. Maybe not so much recently, but only because his MIDI-CV Gate converter is broken. Other broken gear is the Oscar, a rare and wonderful synth. He did the main distorted riff with it in the track 'Alpha Centauri'. Simon has a prophet 5 which is another synth waiting to get repaired.... On the right of the Mackie there is the FX rack, the things that process the sound of Simon Posford Here is Simon himself, explaining the use of them : "Starting from the top, the black out of focus unit is a TC M2000, which i never use because the knob is broken, so i can't change any parameters. A shame, because the reverbs are lovely. Below that is some Zoom rubbish which i don't use. I wish i had that little half rack thing they make. The Behringer Intelligate i would love to use more, but the inputs distort, no matter how i match them. Below that is the Alesis Quadraverb... The first FX unit i bought, and the one thing that i have absolutely definitely used on everything i have ever done. Iit is usually jammed on the ping-pong delay setting, occasionally with a phaser thrown in too. Next is the Drawmer Gate. This particular one used to belong to butterfly studios, and when they closed down, selling off all the gear, this was one of the few things that hadn't had coffee spilt down it! This is what i use for that 'chopped up stuttering effect', usually on vocals. A couple of the knobs are a bit crusty...maybe it's days are numbered... The Bel Flanger was another refugee from butterfly, but unfortunately this time the coffe stains were included. I don't use it much unless i need a flanger with a CV input. The Ensoniq DP4 was my second FX unit, and is also a great piece of gear... unfortunately the Flangers and Phasers are too distinctive, so i only use it for amp/distorted filter sounds, and short reverbs, on a kik drum, say.... i quite like the compressors, too. The Eventide DSP4000 was given to me by Simon Holtom, when we started Twisted Records, in order to get the 'Lone Deranger' underway... i told him if he bought me an eventide, i would be his slave... it was pretty expensive, considering it is just an FX unit, and when you realise what you can achieve with plug-ins alone, but What a Gift!!! Stunning Reverbs...warm choruses and all kinds of buckety pitch effects, the question is what sound to choose.. The Orville, below that, is basically 2 DSP4000s in a box. Again far too expensive to purchase single-handedly, but when offered to me as an advance, i just couldn't refuse!! Next is the AMS Phaser, another Bargain from the Butterfly Basement... a distinctive sound, but a lovely one. Finally the 'Finaliser', from TC electronic i use on pretty much everything. When i record an instrument i compress it with that.... when i put anything in the computer i compress it, and my whole final mix gets put through it too. Although i always 'mix into it', i never finalise an already finished mix. I just wish i had the 24-bit version." That's it for the FX rack. You think Simon play a CD, a DAT or somethink like that during a live ? Enough of bullshit, here is Simon speaking about how his live are, the gear setup and how he uses them. "Although I can't speak for other artists, I prefer to take my DR16 hard disk recorder, (well actually I prefer the organiser to hire one, so I don't have to dismantle my studio every time, and get a hernia lugging the sodding thing to the airplane, where i get charged for overweight baggage... only to have my precious studio equipment bashed around by baggage handlers!) But the reality is that I often end up taking my own unit, as no-one can ever seem to find one... Then I wonder why it goes wrong 3 months later! In fact one time, Akai refused to fix it, as it was "full of beer and tobacco...and a 5 pence coin" (and of course the sweat of 2000 ravers!). Then with the DR16, I have 16 tracks of audio to mix live... so my gigs are more about 'live engineering/mixing' than 'live playing'. Since it is just me on stage, i don't really get time to play anything... although the mixing desk I like to use as an instrument in its own right... I like this way of working, 'cos if the Kik drum is too quiet, i just turn it up... or add more bass or whatever, so i have full control of the sound. Of course this is an absolute nightmare if the monitoring is bad. For example at Return to the Source in Brixton Academy, they gave me one mono monitor that sounded like a transistor radio... You can imagine what it is like trying to blend all the sounds involved in a tune, along with all their FX when you can't hear a thing!!! But this way of working also allows me to arrange a track live... With 16 tracks I can have complete control over the kik, bass, hats, perc, a load of riffs... Whatever I can fill up the 16 tracks with. Normally I have everything looping on all the tracks, and sometimes one track will contain diffrent riffs, depending where you are in the song... But still sometimes 16 tracks is not quite enough, so i will sync my laptop with midi timecode or midi clock, and use rebirth or something to generate a few more riffs that I can tweak live... But there is so much tweaking to do already, just to mix/engineer the track, that I don't have so much time to tweak the external synths... Another problem is that I have to load a new project from the Akai quite often, which takes a few seconds... when the machine is under studio conditions... so sometimes I will play a track off DAT while I reload the Akai, change the delay times, set up rebirth etc for the next few tracks... It is not ideal, but when there is just one of you on stage, it is much much harder to do a complete live set. Anyway, this should give you an idea of what i get upto during a live set..." I tried to explain as simply as possible some technical terms of the vocabulary used for the synthesizer. If you want more technical details ask me, but I won't answer you individually by email. You can also send me words that you would like me to explain. Analog synth : Analog synth use analog voltage signal in this circuit to generate a sound. Some analog synth electronic circuit are instable and so, the sound may be a bit different each time. Hear an analog synth is something that all synth lover sould make CV gate : CV, for 'Control Voltage', was used by old analog synths to communicate between each other. It's an analog signal and only the notes and the velocity were transfered. Actually there is CV gate/MIDI converter to transform the CV signal to a MIDI system. Very usefull for those who want to use their old analog synth with a computer for example. Envelop : Envelop is using to control amplitude of the sound. In an analog synth it's called ADSR (Attack, Decay, Sustain and Release). It can be use with a filter too. Filter : Another important thing for a syntheziser... As the name explain, a filter is something to let you filtering low or high frequencies, it's depend of which kind of filter you use. There are Low-pass filter (must current), High-pass filter (most current in Psy-trance music too), Band-pass filter and some other. M.I.D.I. : With M.I.D.I. (for Musical Instrument Digital Interface) you can communicate and transfert numeric data between instruments, computer or sequenceur. Certainly the most important thing in the musical industry. Oscillator (also called Generator) : This is an electronic circuit who generates a wave forms. Without that a synth couldn't make a sound. Most basic wave forms are square, saw, sin or triangle. A syntheziser can have more than one oscillator. Patchable syntheziser : In the first time of the analog area, each module of a synth could be connected as we wanted. For example, you could connect a filter of a synth to an oscillator of another synth... Nowadays, most of the synth are built-in in a way that you can't connect the different parts of the sound generator as you want. Ring Mod : It's something which can generate complex sound with two waveforms, by combining the sum and the difference of the frequency of the waves. Some synthezisers don't have this." "Many of you are dreaming about it, and finally here it is, the complete equipment list of the Hallucinogen soundlab. For those who know a bit about musical instruments, you're going to go mad just by looking at the vintage gear and the most important thing which made the 'incredible twisted sound' of Simon, the effects unit. So, here are the photos of the Hallucinogen lab. By the way, the studio is currently near Stonehenge in the English countryside. It's certainly a great place for Simon to be inspired The workspace of the lab The keyboard is a Kurzweil K2500 and Simon uses it as the master keyboard. At the left of the photo you can see a PC which is connected to a Gina soundcard (under the table), and on the right it's a Mac running with a Korg12/12 soundcard. Both computers are Midi Timecode synced together. Simon uses Logic Audio Platinium as a sequencer/editor. In the background you can see Simon himself and some very great analog synths like Korg MS20, MS50 and Roland SH101. For more details go to the -Technical- section... The Sampler 'space center' On top-left corner you can see the Mackie speaker. On the rack unit you find the two sampler gear, an Akai CD3000 and a S3200. The black "box" in the middle of the photo is an Akai DR16, which is a 16 track HD digital recorder. Simon certainly uses it for the mastering of a track and/or during his live performance. I hope he'll give me some insight on this... Below is the DAT & CD-R machine, Fostex D-5 and Simon doesn't like it very much because it doesn't have S/PDIF out. Most of this materiel is used by Simon during live performances. On the right-hand side, you see a piece of the Mackie 32*8 analog desk For those who are lost in the technical terms, you will be able to find a complete glossary in the -Technical- section. The FX unit First pic is a better view of the Mackie... The computer below is a Mac, certainly used in Simon's live. Under the desk is a ARP 2600 without keyboard. Next the console, it's the fx rack, one of the most important things in a studio... You'll find the complete list of the Fx unit in the -Technical- section. For a complete list of the gear, more technical things and even more details about how Simon uses them, have a look at the -Technical- section of the -SoundLabs- menu. For those you wanted the complete Hallucinogen's equiment list, here it is. You can also find some good Simon's anectodes about the gear at the -Technical- section. The brain unit : Mac G3 266Mhz PC Pentium 800Mhz Korg 12/12 soundcard Gina soundcard Logic Audio Platinum Mackie 32*8 bus mixing desk Mackie HR824 monitor The keyboards unit : Kurzweil K2000 Korg MS20 Korg MS50 Roland SH101 Roland Juno106 ARP 2600 Oscar Prophet 5 The digital unit : Akai S3200 Akai CD3000 Akai DR16 Fostex D-5 Tascam mx2424 The effects unit : TC M2000 Zoom Behringer intelligate Alesis Quadraverb Drawmer Gate Bel Flanger Ensoniq DP/4 Eventide DSP4000 Eventide Harmonizer AMS dm 2-80 TC Electronic Smalltone Phase"
    1 point
  9. nearly sure he used his very very expensive eventide multi-fx box (H3000?) for all of his FX. im sure ive seen a video somewhere of him going on about how great that is. but i couldve dreamed it.
    1 point
  10. groom lake is my fav miranda track. i just checked its bpm, and if im not tapping all too off its 144.2. (after 200 taps) https://www.all8.com/tools/bpm.htm not sure what gear these guys used to make their kicks, but im sure you could remake them with kick 2. also you have to take into consideration the compression and eq that was applied; that very much could shape the sound alot but this kick was given to me by miranda back in mid 2000s; she was on a community i was also on and we chatted a bit, im sure she gave this kick to quite few people. https://www.aeap.se/tmp/child_kick.wav the kick on groom lake seems similar as this, but slightly longer; with a more pronounced pitch decay. (so basically just pitched down)
    1 point
  11. Just finished reading The Immortality Key by Brian C. Muraresku. If you've heard about or read the book The Road To Elysius by Gordon Wasson, Albert Hoffman and Carl Ruck, you'll be interested in this book. The book is a bit too long, so if you're not deeply interested in the subject you can do with Joe Rogan interviewing Brian or Jordan B Peterson interviewing him.
    1 point
  12. Drug Use for Grown Ups by Dr Carl Hart He talks about going to a Boom Festival in one of the chapters too. Good stuff (if interested in non fiction about drug usage)
    1 point
  13. Ah interesting. So in theory that leaves it open for this magnificent album, to be released on more platforms in the future? Perhaps remastered like: Cosmic Treasure Vol-1. Oh and the other album as well, Asynja! Imagine Groom Lake remastered…
    1 point
  14. Two track EP which reflects my love to old-school melodic full-on This one has a somewhat goa-ish vibe with some influences from Global Sect sound, somewhere in-between full-on and newschool goa And this one was intended to sound like a 2005-ish full-on track with all these Access Virus sounds and the necessary trancey melody Mastering by our forum guy Astralprojection (master@aeap.se) Beatport link https://www.beatport.com/release/approaching-a-black-hole-ep/3455518
    1 point
  15. Left hand Path is super good, full power acid
    1 point
  16. The newsletter! Upcoming cds/vinyls etc Dear Suntrippers! You got this mail because you ordered music from Suntrip Records. If you dont want these info mails anymore, just reply with NO and we remove you from the list. For all the others: A short infomail this time! 1.) New VA Compilation! 2.) Upcoming releases (CD & Vinyl) 3.) 90s Classic Goa Trax ----------------------------------------------------------------- 1.) Suntrip is back with a pure goa-trance compilation! Big names such as Filteria, Mindsphere, Triquetra, Afgin & Merr0w are mixed with Suntrip newcomers Innerzone, Mini Spacer & Party Droid! But one thing they all have in common: they create smashing goa-trance! Samples - CD/digital-sales: https://suntriprecords.bandcamp.com/album/suntopia Artwork: Bart Van Hertum Mastering: Tim Schuldt Tracklist: 1. Mindsphere - Inside 2. Mini Spacer - The Call Of The Whales 3. InnerZone - Sea Of Tranquility 4. Merr0w - Cephalopod Awareness 5. Triquetra - A Large Cup Of Chaos, Please 6. Party Droid - Into The Night 7. Filteria - Bring Everything But Whistles 8. Afgin - Solar Lights The emotional, sensitive and hypnotic melodic part is covered by a deep trancy track by Mindsphere, a spiralling morning monster by Afgin & a hypnotic floater by Mini Spacer. The acidic part is done, once again, by the Triquetra brothers who probably eat 303 as breakfast! Also Merr0w comes with a hallucinogenic acidic stomper. The euphoric part is taken care of by the allmighty Filteria, and the Swedish newcomer Party Droid, who will surprise with powerful uplifting music, plus the Israeli dragonfly Innerzone, who knows exactly how to build atmospheres! Enjoy! 2.) We are working on a lot of new stuff! Which means, more goa-trance for all of you! The exact release schedule depends a bit on artists being ready, printing times etc, but we can already tell you our next album is the second full album of Afgin on Suntrip! We hope to have it ready by the end of sept/early october. After that will come the Battle Buddhas or Filteria (depending a bit on their production time). After that the Tim Schuldt retrodelic (with unreleased stuff) and a Classic Goa Trax 2CD compilation is planned for sure! And Nebula Meltdown, Triquetra and some others are working hard on new albums as well! The vinyl updates! We managed to make a deal to print Dimension 5 - Transdimensional (with special vinyl mastering) as 2xLP, and also... Ra-9th will get the same treatment! And last but not least, we hope to have a "best of" Filteria as well on 2xLP when he releases the album! The others will need some to release but they will come sooner or later! 3.) We keep releasing & re-releasing 90's Classic goa-trance music on our sublabel Classic Goa Trax! This music is available on our bandcamp of course but also on all other download and streaming sites https://classicgoatrax.bandcamp.com/ Our latest releases: CGT055 : Bypass Unit - Green Dreams & Tunnel Flotation CGT054 : Synsun - Sounds of Cosmic Lifeforms CGT053 : Underhead - Official Collection Remastered CGT052 : Tim Schuldt - Single Collection 2 CGT051 : XIS - Ambient Trip CGT050 : Bypass Unit - Dropz Of Obscure Eclipses CGT049 : Virtuart - Pyramids - Single Collection 1 Thanks for your support! And we are happy you still support this music even though there are no parties or festivals!
    1 point
  17. A question, in this tour of Hallucinogen's studio he talks briefly about his distressor units. He explains that he uses them on kick drums to get that "bock" or knocky type character to the kicks as he puts it. Can anyone recommend something similar in the plugin-realm? I've been experimenting a bit with different distortion units, such as Output Thermal. Which has a couple of different waveshaper algos, that kinda gets into the Hallucinogen kick territory. What other effects are there that I could look into? And btw what's the opinion on using a delay on the bass as he does in the video? I know it was very common in the 90's. Is it a thing in new school goa? I would assume that it goes against the whole kick/bass-alignment techniques of today. It sounds cool to my ears atleast and I haven't really been following the latest stuff lately. I mostly listen to Dimension-5, Hallucinogen, Miranda, Pleiadians/Etnica/ and a few other classics. If anyone has any old school kick drums to share that would be cool as well. For the vintage museum of archaeological goa trance artifacts.
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  18. It is a total different concept of course... Here we tried to go back to the Suntrip roots... Magical goa-trance in the old style made by todays artists and todays production Glad you like it!
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  19. Suntrip is back with a classic goa-trance compilation which was released today! Big names such as Filteria, Mindsphere, Triquetra, Afgin & Merr0w are mixed with Suntrip newcomers Innerzone, Mini Spacer & Party Droid! But one thing they all have in common: they create smashing goa-trance! After our concept compilations Gamma Draconis (old school guys making one more goa-track) and Carpe Noctem (melodic foresty goa) we felt the urge to go back to our roots. The best of melodic & acidic goa-trance! The emotional, sensitive and hypnotic melodic part is covered by a deep trancy track by Mindsphere, a spiralling morning monster by Afgin & a hypnotic floater by Mini Spacer. The acidic part is done, once again, by the Triquetra brothers who probably eat 303 as breakfast! Also Merr0w comes with a hallucinogenic acidic stomper. The euphoric part is taken care of by the allmighty Filteria, and the Swedish newcomer Party Droid, who will surprise with powerful uplifting music, plus the Israeli dragonfly Innerzone, who knows exactly how to build atmospheres! 1. Mindsphere - Inside 2. Mini Spacer - The Call Of The Whales 3. InnerZone - Sea Of Tranquility 4. Merr0w - Cephalopod Awareness 5. Triquetra - A Large Cup Of Chaos, Please 6. Party Droid - Into The Night 7. Filteria - Bring Everything But Whistles 8. Afgin - Solar Lights https://suntriprecords.bandcamp.com/album/suntopia
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  20. you could just import them if you like. either use them as is in your own projects, or take the kick or the hihat or whatever and use that.. or dont use it at all. sure you could post midi files here of your melodies. ill be willing to attempt something with your melodies
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  21. @Jon Cocco nice unbiased, objective review! you really nailed it tbh.
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  22. i have the projects, and could send midis or waves from both of them.
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  23. very good mastering and clean sound...i cant belive it, we made it from 001/100 to 005/100 in developement of a psynews track
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  24. It's not like this comes as any kind of a surprise to me.
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  25. The Melodic Genius returns. So 17 years later, Khetzal, who scored a hit with the melodic Goa trance album "Corolle", returns with a new record! That's a long time by anyone's reckoning for a second album. Matthieu Chamoux is a melodic genius. He has a dynamic sense of melody, meaning that his melodies really move. He is able to make melodies sway, sweep, waltz, bounce, zoom off and develop. The development of these melodies is important: there is real storytelling structure in the songs, which speed up and slow down and change moods at points - this is derived from traditional symphonic structure or argument. "Corolle" was a hit, cited by a number as the best neo-Goa album, partly because of this melodic brilliance. It seemed to me that it stood directly in the line of classic 90s Goa from Astral Projection, TIP, Etnica et al. This was not only because it was not afraid to make big melodies, often with Oriental scales and motifs. In my estimation, it was also so good because it had a degree of simplicity: "Corolle" was just a bit less layeristic than most of the other neo-Goa from Filteria, Artifact 303, E-Mantra, et al. (Haha, I had to laugh when Morphic Resonance released "Perplexity" in 2018 - that can indeed be the response that excessive layerism can result in). "Corolle" was also not afraid to slow things down; quite a few of the tracks have modest bpms and are not shooting for high speed take off. To my way of thinking, this relative, I repeat relative, simplicity and slowness, along with the melodic genius, were the reasons for the success of "Corolle". Restraint, or at least some degree of restraint, is necessary for art: drama requires it. Hell for leather from bar 1 is a recipe for exhaustion, not for drama and intrigue. Restraint is often the mark of a master. So what about this 17 years later second album? Well, it is definitely Khetzal. A similar melodic sensibility is on display, similar Oriental motifs, similar restraint. Similar, but not the same. This album does not have as much of a consistent Oriental vibe as "Corolle" did. It is not as restrained and goes a little faster and more layeristic generally. Is it as good? Hard to say. I wouldn't say it is as memorable or as outstanding as the first album, but that does not mean it is not as good. "Admonition" is a strange title for the first track of an album, suggesting that things did not start off so well for the composer. Whatever, it has an atmospheric start, and soon becomes quite mystic and wondrous due to background choirs and drones - a building beginning. "Ziggurat" is percussive and grows into a psychedelic monster with spinning melodies with oriental drones in the background - nice! I must make mention of the background drones that set off the main melody so well in "Grey Kitty in the Box" (weird title - Matthieu got a present of a kitten?). "Gather Your Herds" is a real head-nodder of a track with a highly memorable whistling main theme. The melody in the next track "Acide Formique" is quite similar - a kind of continuity. "Pavane" as the title suggests is a real bouncy dancey track with an addictive bassline and some cool percussive breaks - this track sounds a lot like Filteria in that the melodies seem to multiply and fly off or fizzle out in a drizzle of wiggles. Really an extraordinarily psychedelic track which even has sounds like lasers in a Star Wars movie and what sounds a lot like a violin or viola gypsy-style main theme - very, very, very nice! Khetzal outdoes himself in this track which is a masterwork and arguably the best track he has thus far composed. "A World of Outmoded Ideas" is quite fast and busy - lots of fractal pixillations here and babbling long melodic lines. The main melodic theme which works with stabs does not work so well for me - it is just a little too chintzy and bright sounding for this listener. This track is sort of like a sped up Astral Projection. "Didge Voices" slows things down a little and offers a haunting Arabic melody with a flute sound from the get go. This main melody owes a lot to music and film - it could easily be from "Lawrence of Arabia" or any number of other classic films with its combination of yearning and minor key gloom. What a great track. "Ealitas Ex Nihilo" is a nice closer going a bit slower than most of the other tracks on the album. Nothing too special or outstanding on offer here, though it does have an epic sensibility. So Khetzal has created another fine album, albeit not as restrained as the first record. I'm not sure that this works better for the album as a whole, but it has helped him create some of his best melodies thus far, particularly on "Pavane" and "Didge Voices". This album was not as immediately memorable as the first album for me. Nevertheless, it is a superb work that may just have more staying power; only time will tell. Seeing as "Corolle" got a vinyl release (at last!), Suntrip are obligated to give this a vinyl release too. C'mon Suntrip: you can do it. ~*~
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  26. A new pictured vinyl from Space Tribe on diggersfactory https://www.diggersfactory.com/fr/vinyl/243955/space-tribe-space-between-atoms
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  27. yep, there was a common theme in swe between for example richi m, antiloop, miranda, earthbound, pinocchio. it was a cool time when the radio actually played this type of stuff.
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  28. Thanks for the answers! Listening to Radiant Expanse, another great journey, thanks!
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  29. Why the name change from Dat Records to Dat Universe?
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  30. Yep, Etnica played after Prana. But I could hardly stand up at the time, 6 am-ish, so I stumbled to my tent. Jan from X-dream played some really old school stuff if I remember correctly, like Age of Love.
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  31. Now I'm just waiting for them to announce that Process will be playing a live producer set
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  32. Yeah I saw that too. I seriously have no idea how they (or who) managed to persuade Pete Martin to play. I was under the impression that he said something like 20 years ago that he'll "never ever touch anything trance ever again" (or somethng along those lines). Let's see what my finances looke like next year, this is so tempting since Pete is among my favourite oldschool artists.
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  33. Indeed, that is his title and it stays even while he leaves the scene
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  34. (However, you could try to influence it a little, maybe by providing good content.) Good Content: "From 2002 to 2020 I am running to this tune now - and I thank everybody in this universe for it - for the running, and for the tune:"
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  35. looks and sounds marvelous. love it
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  36. Just got this in the mail today and Im on the Slinky Wizard track
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  37. It's called reactions and you can't command what people give you. (However, you could try to influence it a little, maybe by providing good content.) You also can't see who gives what reaction. That's why we keep this feature as slim as possible. And to prevent abuse, negative reactions that decrease your status points are not possible. So nobody can downvote anyone. However, it's currently still possible to react on every post with a "sad smiley". And while that is peculiar, it's no reason for me to turn it off. I would, however, limit the amount of reactions people can give each day if that feature was used for spamming continuously. And yeah, you can give a cry smiley on that one now
    1 point
  38. No need to be so dark all the time
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  39. 1 point
  40. I also remember hearing from people who went to AP events around that time, either in Sweden or Denmark. About the added live drums. I also thought it sounded a bit experimental, and not really in line with the spacey electronic vibe. That’s the whole purpose for me with this style of Goa. The spacey otherwordly effect, created with synthetic sounds. So I would probably be totally taken out of the zone as well. But hey can’t blame them for experimenting atleast, they seem to have been pioneering/testing the field a bit. Prior to Infected Mushrooms full-on rockband approach some years later.
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  41. Artifact303's debut album has been a long time nr. 1 in my list of all time goa albums. But this second one might take the spot now. Initially I wanted to compare both albums, but this has no use whatsoever. From The Stars is faster, more energetic, more aggressive, just more in-your-face. A different approach. All tracks have a pumping energy and a spiral/tunnel-like vibe that draws you into the music of each track. That's an effort only the best achieve. I simply love this album! Artifact303 remains the king. Hail to the king!
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  42. i come back to this album a few times here and there, and always struck by the very high sound quality. alot of it reminds me of what filteria is doing on daze. but the 90s version ^^ referring only to the sound itself. and the music is just all types of different journeys into the depths of the brain/cosmos. really one of the better albums there are of that time.
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  43. well, it might have worked well for many but i found it very distracting as i was planning on dancing journeys into their originals, and each "unknown" added element such as the drums took me out of the zone each time best i remember it anyway. i dont recall a third person. the hallucinogen party must have been in that same timeframe. i have to be honest i dont remember if it was a pure hallucinogen event or if there were other acts playing aswell before simon. but orion rings a kinda strong bell, so its very likely it was the same event. that was one of the nights i was most "gone" so sadly i dont have the best recollection of the evening, but the simon set was incredible, his live versions are sooo good. three standouts that i do have some memory of is shamanix, loin sleeps tonight and gamma goblins. i think the venue was rathter small, and some sort of balkony that you could walk up to that had seats iirc? kinda werid and shady venue. haha, yeah, christiania after every visit to cph was a must and before too many times just walking distance from the ferries. (rip) on one of the visits to amager, the line was so long that by the time the show started the shrooms were already wearing off and standing in line isnt exactly top notch setting :p disclaimer: im not promoting drugs only recalling some memories. drugs do fuck u up.
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  44. 1 point
  45. for me has to be shpongle red rocks 2019 nothing has come remotley close
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  46. Yes indeed I agree, I also remember Born Into a New Life beeing kinda dark for the era, not particularly dark by todays standards. Still a very solid futuristic scifi vibe.
    1 point
  47. Thank you, good job. For not be off topic my favorite 3 tracks from album: - Solar Warden - just killer morning sound - Unidentified - very strange alien track. It looks like classic modern goa but when i hear synths with deep attention it looks like very experimental sound imo. I very want test it on dancefloor. - Secret Space - i understand why some guys very like it and some dont like. Its just special cosmic style of goa (my favorite). All other tracks cool too, i think this music not classic goa in many moments, but level of Artifact303 skill very high and i enjoy all tracks. It was very interestring and long adventure work with this album. I hope we will continue work with Zsolt in future.
    1 point
  48. Apex goes to some strange territory in the end. But the first part.. Secret space starts kind of amazingly. But when the kick and bass drops all I can hear is software sound. I wish I didn't. But, that's just my opinion. Don't be mad. The music sounds pretty much similar to his other stuff, except I think this album is a bit softer and more easy to listen to than Back to space, but in this case i don't think that's a great thing. Back to space has a different, more cocky and near perfect sound, and the music is easily as good as this.. So I suppose I'm just a bit disappointed. But, nonetheless its a good album that I hope many other people will like. It's a great intro to new school goa trance. Sad just that it's not more an outro. I half expected him to be like "ok guys. This is what you want. New school goa is over. This is the finale." Again, don't be mad just my opinion. 3.5/5
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  49. Reading Mona Lisa Overdrive have read Count Zero last will be Neuromancer in between have read enough books, this way works for me shaping the idea along with Movies - illustrations - videogames - own intuition and of course Music (Youth's album title rings the bell??!) Focusing Sci-fi this time Asimov- Robots of Dawn, Spinrad- Agents of Chaos, Besher- Rim, Tom Clancys- Net force and Net force breaking point (almost irrelevant both), Thanasis Vempos- Five cracks on the Grid, A Clarke- Profiles of the future, Alfred Bester- Tiger tiger, Murdoch- Rise of the Robots and Williamson- Hell Cyberpunk thriller (both videogame novelizations), S Baxter- Ring, Orwell- 1984, going to read Bernard Lenteric- L'Ange Gabriel, Do Androids Dream, probably few others mentioned in this thread
    1 point
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