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Lots of social factors come at play when you try to figure out how "the scene" came to its current standards. 90s was a period without internet, or at least the social media was non-existing. You'd just do your thing, with no need for constant attention seeking or self-promotion. You'd sit in whatever psyhole you had there, compose, play at a party and the feedback would occur the natural way, via real human contact. These days you need following, likes and what not - it's all virtual though. And hey! You can also buy the likes, psyscene is under capitalistic law like it or not. All that's been said is affecting us all. Social media is giving us access to infinite amount of information and what kinda happened is our minds are focused on trillion things at once trying to swim through the pool of data. The consumption mode is on when it comes to psytrance, too. So many artists, so much music! As a reflection of a sort, haste & desire for recognition have unfortunately become major driving forces for many musicians. The social media driven world shows no mercy, it's just the state of things for the time being. Patience, vision and focus. I reckon the amount of these qualities has dropped significantly and hence understand the frustration of many. Only thing that might, just might, ease the pain is the fact new Sab Kuch Milegator album is only one track away...

I write this more relative to any music not just trance. It is true that for vinyl some specific issues need care and attention, this includes not having overly wide (stereo) low frequencies below 300Hz, it does not have to be mono though, it just must not have a too wide bass which can end up causing groove tracking issues and skipping. Harshness in the upper mid range can very easily sound like nasty scratchy distortion on vinyl so sibilance and harsh frequencies in the upper mids must not be out of control. There must not be excessive highs above 13kHz. The ideal for a vinyl cut would be 24 bit masters at the sample rate of the artists DAW mix project. Cutting very heavily limited files is likely to have detrimental issues for the fidelity of a vinyl cut. It can be done but speak to the lathe engineer and present any such limited file/s to him or her to in advance and let it be known it is the only version you can get hold of. End results are not easy to predict but at least the lathe engineer knows about this issue and may be able to mitigate against a very poor sounding cut. Mastering for vinyl, as in a mastering engineer producing quality controlled pre masters can be done digitally, there are no technical reasons why it must be analogue. Of course analogue has its own sonic properties which may be desirable for a digital or vinyl release but this has no relationship to a rule that analogue eq/compression must be used for vinyl. Notwithstanding the lathe itself which is of course analogue by nature. As with most professional mastering a combination of both is highly likely but this is because the use of analogue and digital mastering tools tends to produce the most pleasing end result for many styles of music. Contrary to popular belief 16 bit digital has a wider dynamic range than the vinyl format can reproduce. Vinyl is not more dynamic than 16 bit audio. The difference is that the ideal for a good sounding vinyl cut is not using a file with extremely restricted dynamics which is often the case for a digital release. It is easily possible to create a digital release which has or even exceeds the dynamics of a vinyl release. It is just that virtually no one does it, because it would likely be 8dB-14dB (very approximately) lower in volume compared to todays releases. That would leave DJ's scratching their heads and the bigger psy labels would not release such material unless they had a complete reverse of philosophy that greater dynamics is better. So it is just likely that the audio that is committed to vinyl is more dynamic in itself. I would be surprised if an average non brick wall limited psy trance track mix has dynamics exceeding 12dB. (unless of course there is some ambient intro section faded in from zero) But average dynamics from the loudest power sections to ambient break downs, the dynamics are not very wide. Once they have been limited a dynamic range of 8dB would be a surprise. Modern music mixes tend not to have wide dynamic ranges, every channel will often have some compression going on, especially the backbone rhythm sections drums and bass. The exception of course would be acoustic forms of music. The theoretical dynamic range of 16 bit audio is around 96dB, audibly more if dithered correctly from a 24 bit depth source. Vinyl dynamic range is roughly between 65 and 80dB (rare) and is a moving target as the vinyl wears introducing greater noise and of course crackling. The top end can also soften quite quickly with multiple plays as the friction of the needle in the groove erodes the groove. I totally understand why people enjoy the sound of vinyl, much less or non limited mixes, different audio processing, softer top end and upper mids, easier on the ears and the feel of vinyl in your hands. But it is not that vinyl is inherently of greater fidelity as a format.

i agree to everything in your first post in this thread, but have to disagree with most of this post. ime much of modern goa sounds worse on the dancefloor than at home. a few years ago i was looking forward to seeing cosmic dimension, skarma and morphic resonance live, but the livesets i've since heard from of all three of them were very disappointing. at home with good speakers or good headphones you can make out the details of the multilayered music, but at a party that's impossible and the music just turns into a giant mess. the same is often true for dj sets that focus on post-2012 newschool, so it's not just these producers. the problem is not compression or loudness; there is enough music that's limited even harder and still sounds good. it also can't be mixing; i've heard badly mixed oldschool sound good on the same system. neither can it be complexity per se; pleiadians sounded great at the same sound system where i left the dancefloor when cosmic dimension was playing. rather i think it's a peculiar combination of these things, where modern goa producers want to outdo past music by adding "more stuff", making the tracks harder to mix, leading to not quite perfect mixes that aren't optimised for loudness but are mastered to modern levels anyway. the result is ok when listened to on a good system, but in a real life environment where you neither have a perfect sound system nor perfect acoustics, maybe with levels in the red and with you not standing in the ideal listening position it all breaks down. goa can sound good on modern systems with modern, "competitive" mastering, but it has to abandon the idea that more elements always equal better, "more goa" sound. i'd definitely say quality over quantity when melodies are concened. not only for a story-telling but also from a mixing perspective. that brings us back to the definition of goa. would iconic, tracks that are minimalistic compared to modern goa, such as nmda - vitan, morphem - my plan or miranda - gnocchi still be released as goa trance today if we didn't know them already? vitan has kick and bass that are basically identical to early progressive and there are pretty much no leads playing for the first 2/3 of the track. most of it is kick and bass, percussion and a few strings/pads for atmosphere. then there is just a single true lead playing a single pattern at the end. my plan has at most one lead playing at the time, a few "drops" straight to kick and bass, and fx that talk to each other like in fullon. gnocchi again has "drops" to kick and bass, lengthy fx driven sections with no melodies at all, one bubbly lead that almost leaves the impression of fx rather than a melody (although it's playing a melody), one acidline and one "melodic" melody. both tracks rely heavily on atmosphere, as did a lot of early newschool, but most modern newschool doesn't. this atmosphere is possible because there are sections where you only have pads or long sweeps but it seems for modern goa everything has to be filled up with melodies. sometimes to the point where there's no room to the sounds to breathe. when there's no contrast between melodic climaxes and the rest of the track anymore (it doesn't have to be breakdowns. not needing lots of breakdowns is a plus imho), it all starts to sound the same, there is no room for storytelling or memorable moments. if it's that way for an entire set it really gets tiring. i don't think producers now are looking for the perfect kick and bass that much. at least the kicks on the tracks i mentioned (i'm not so sure about vitan) stand out more than the kick and bass in modern newschool. the kick in my plan even sounds much more like what we'd now call a fullon kick. btw: you've produced enough tracks to count as a producer imho

Okay, if it's a tread for requests/wishes to goa producers, then mine would be: - Learn some musical theory, goa is a melodic genre but not any random sequence of notes is actually a melody. - Use less layes, less notes. Quality over quanity. Use less elements, give them more room to breathe, polish them to make them sound really exciting instead of burying them in a super-busy mix. - Think more about the track stucture, breakdowns/buildups/climaxes, tension/release. A track must tell a story to be actually great - Try more new different sounds, there is a world beyond the cutoff and resonance knobs on a 303 emulation. There is FM synthesis, wavetable synthesis, additive synthesis, all of them are capable of making all sorts of unusual futuristic trippy sounds.

Yeah, tell that to party/festival organizers and/or label managers, not producers. Do you really think we enjoy having our work completely brickwalled just to please somebody's PA ? Be unique, and get crucified by the almighty Goa mafia who knows better, because "omG uR NoT gOa". Or try to stay within the genre's boundaries, and get crucified by the almighty Goa mafia who knows better, because "ur NOT uniQue omg". Your choice. See above. At the end of the day, a genre is....a genre for a reason. Uh-oh, what if I like higher-bpm goa and anything lower than 150 bores the shit out of me. Seriously, those "tips" are hysterical and a perfect summary of this scene as a whole.

Interesting and much welcomed concept in pretty much stale Goa trance scene. Mario is known as someone who gives a lot of attention to all tiny details, especially in his live output. It's interesting to see his live jams being available in this format for sure. It's also a fitting release to Cronomi style and vibe, even tho many folks expected the full lenght album instead of improvisation records, so it would be great to see more defined and nonconfusing marketing approach in the future guys. Music is detailed, innovative, different and it deserves it. Best of luck to all involved, I will get the CD when this shitty Corona situation ends. P.S. - (P)Sara is rocking with the graphics, girl got the style

and on Digital: Yen Pox - New Dark Age....heard that they want to remaster it soon :))))))))))) i am thinking of buying this one. EDIT: wtf...i swear i am not drugged! that stuff belongs to "What music you have huyed today" daaaang. i am back from running...kind of stupid in head :((( can you admins move it or...just delete it...its ok...god will forgive you...and kiss you on the forehead <3

Yeah, I'll just probably get it anyway. Gotta support my favourite labels & artists in those weird times

Thanks for your feedback Antic! Pity you don't like it right off the bat. Then again it's not an ordinary goa album but a complete live concept where every track was recorded in 1 take, there's even more detail in the description as Mario added his thoughts on the entire process. I really recommend to keep listening though as there's a lot to be discovered in here! Good music just keeps on getting better

Very true. Simon Posford posted on his Instagram how his anxiety is causing a completely lack of creatively. that said Ott is working hard on his new album, and that excites me more than a new AP album. Now if they remastered properly for vinyl & reissued a deluxe version of Dancing Galaxy and Another World albums It might get the pulse going.

Since some people asked about the status of GoaD's CDs at the Bandcamp we have to post the annoucement here as well. Our whole production has been shut down till mid-April due to the Corona virus pandemic. We are not shipping any goods or items during that time and we want to act responsible towards our fans, artists or anyone else who might be affected by this situation. All orders and pre-orders were shipped prior to March 15th shut down. Full statement: And guys, don't forget!

We now have the opposite issue. Everyone lowered their bpm, because they read here that it would make them unique. The impact of this thread is shattering the fabric of spacetime. It sent gravitational waves rippling through space. Soon there will be intelligent lifeforms arriving, from the far reaches of the universe. And then the OP will have some explaining to do. btw love that stela of Akhenaten and his family, you have as your profile picture.

lol, this thread is a joke. The ‘expert’ chimes in with such sage advice as “be unique” and “lower your bpm”

The last track is Lumen - 3 to 1.

Fabián Arturo Jiménez Gally aka Farbo has made some very good album covers over the years, and some not so great as well. I picked out the ones I think holds up best visually, and thus it has nothing to do with the music on the album/compilations. Most of which I haven't heard.

Goa scene was also under capitalism. In the 90's to make trance you really needed money, I suspect studios were not built selling necklaces in Anjuna for 150 Rupees. A Mackie 24-8-2 was £3,500.00 - An ATARI 1040STE £400.00 (or an Amiga) A slightly lesser project 24 channel console (Soundtracs Topaz/Soundcraft Spirit 24/Studiomaster) £2,300.00 - Then you needed a few synths that could be £5,000.00 - a sampler with memory £2,600.00 Reverbs and delays £400.00 a go. - You needed to have some cash behind you to make decent trance. I suspect the outlay for some of the "bigger" artists project studios of the time was circa £20,000.00 - Today you could potentially make a superb track for £ 2,000.00 with a pc. 1/10th of the cost. I think a Roland JD-800 was £3,000.00 Now anyone with the inclination can make music the limit being only ideas and intention.

Yeah first of all @Kitrinos, my previous answer wasn't directed specifically at you, sorry if that wasn't clear 100% agreed, on principle, but I think it's a tad more complicated than that. Depending on the context (you're a newcomer or not, you can stand up for yourself or not, etc) your choices can be very limited, and it can sometimes simply boil down to "it's either this, or find somebody else who'll release your stuff / do it yourself"......and some people know it all too damn well. Or, even without reaching that far, labels usually try to maintain some kind of "consistency" (for a lack of a better word) across releases. We thankfully (or unfortunately, depending on your mindset) live in a day and age where you *can* pretty much do everything yourself, release distribution included; so you now decide to release your tracks independently, juuust like you want (headroom, plenty of dynamics, the whole shebang y'know). Great; but now you sound way "lower" than everybody else, and while some DJs will adjust accordingly (or, as I call it, "do their job" #madlad), the vast majority won't even bother. People on a dancefloor will wonder why everything turned so quiet, "vooooluuuuuuume" shouts will be heard, and the Riders of the Apocalypse will suddenly show up. Still, as I previously said, I 100% agree with you, and some really *do* care about it, of course -- I'm merely trying to point out that it's sometimes not as clear-cut as "stOp ovErComPreSsing sh1t!" Haha, I feel ya. Reminds me of my "day job" (software development) -- a metric shit-ton of advice like "can't you just modify this, it's so easy, like 2 lines of code to change! Why are you telling me it'll take a week to do?" Still, constructive feedback is always welcome. See @recursion loop's post for that (and most of his posts across the board, actually). Agreeing or not is besides the point here, but there is enough food for thought for somebody to digest if they so wish, compared to "its EZ, just be unique lol" (which is pretty fucking funny in itself coming from yet-another-dj mostly spinning the same shit as everybody else...see, being arrogant and patronizing works both ways, ain't that amazing ) Agreed 100% as well. As Kitrinos said though, most of the dudes producing here are doing this out of sheer passion and are not planning to make a career out of it (or at least I hope, for their sake), which is actually a blessing. You can truly do whatever you want, and if that means loading 150 emulations of a TB303 and tweaking knobs forever (*cough*cough*)...well, you do you ¯\_(ツ)_/¯. This won't affect your bottom line *at all*. Interesting topic nonetheless

OK, the truth is that DJSunborn put it in an arrogant and patronizing way, but I would like to focus more on my points, which I think are worth reflecting on. If that's your style, end of story. Of course you don't need to make your music slower! The point is: the scarcity of lower bpm tracks indicates too much homogeneity and the lack of variation in the genre, which cannot be a good thing. Goa trance, unlike other styles, is NOT bpm-dependent. Label owners should be blamed more than artists for brickwall mastering, for sure. But the artists, if they do care, can also do sth about it. It's THEIR music after all. As far as I know, (almost?) nobody's financial survival depends on producing goa trance. It is a hobby/creative activity that fulfils you (the artist) and that may allow you to have an extra income occasionally. That's how it is. If artists were primarily interested in making money, they wouldn't devote so much of their time in making this type of music. So, if you REALLY care (and you think your music is good enough), you should not allow others to dictate how to master your music. If I remember correctly, Dragon Twins had demanded dynamic mastering in the past. And also, some labels do care about it (e.g. Cronomi).

That's the norm with science. The knowledge is based upon current observations and more data could always change it. Only religion and politicians claim to know the "truth". The chances for mutations (in a meaningful manner) are very low. The specific virus has only one "fragment" of RNA to replicate, meaning that any mutation are statistically more probable to have a negative effect (on the virus) and make it less viable. While humanity is hiding in their homes planet earth is having a party. The truth is we are TOO many and no one will miss us.

Suntrip records 1. Personal Matrix 07:10 2. Wormhole 07:22 3. Big Crunch 09:54 4. Etnica - Microdrive (Hypnoxock Remix) 07:41 5. Gravitational Isolation 08:49 6. Heaven Can't Wait 08:58 7. Doubling Time 07:13 8. The Choice is Yours 07:20 9. Mutant Zone 08:01 Victor SolSona from Barcelona a.k.a. Hypnoxock releases his 6th album this month, a very well produced output with enough variety to please the fans of this genre. This album has more groove and more funk than usual and the overall production is noticeably stunning. It is on a very solid level musically and above all psychedelic and entertaining, quite subtle at times too. It deserves praise for the variety of ingredients used. The first tracks have very raw 303 lines, reminiscent of the old school sound, and tracks such as #5 Gravitational Isolation and #6 Heaven Can't Wait have signature melodies and a clubbish touch, or should I say similarities to proto-goa at a faster pace. If you are interested in the Etnica track remixed, it is nice and clean but very similar to the original. I'll have to select tracks #2 and #7 as the two strongest compositions. Wormhole is twisted, groovy and acidic, it made me wonder how modern Sandman could sound like, in the second half it has a strong goa trance build up. Doubling Time is possibly the most intense track of the album, I would say it sums up how the whole release sound like, psychedelic with many interesting twists, each new sound added has a purpose and fits in perfectly. Rating: 8/10. Listen / Buy: https://suntriprecords.bandcamp.com/album/beyond-the-wormhole

Well, I have only a few. But I like my collection, lol. Ofcours I do... Alot of amazing music in there. =))

First track I heard of Goa trance is "Koxbox - Point of no return" (opening track to their album Forever After). I was like 7ish back then, I was playing around with a cassette recorder trying to tune into various stations and record their broadcasts. I didn't know it was Koxbox back then, much like I didn't know it was MFG or AP, but that was just semantics, I was immediately hooked to the sound even at that age. The other kids thought I was nuts and I was being teased for liking "drug addict" music.

Exactly. I felt sick recently, well actually two weeks ago ... it was a strange kind of sickness, i felt like I had a flu but without the headache ... doctor let me at home for a week, no test was made. Well ... what can you say. But I'm not complaining. The only people I am genuinely worried about are my parents - they're 79 and both have pretty severe pre-conditions - mom had cancer, dad has a really (really, really) bad heart ... both of them are not gonna make it if they got sick with that new thing. We are trying our best not to have any contact - I am, however, the only person that can go shopping for them. Whenever I go to them and give them new groceries it's like we are exchanging hot potatoes ... it's all then wiped with a disinfectant cloth (I insisted on that). Guess that's all we can do. I really hope big time that I did not carry this to my parents as I was sick... this!! It is exactly the same here. You, sir, are one of the heroes of this time - kudos to you and please keep it up. That's also meant for @Aspartic Government-wise you and me are in the same boat anyway, both from Austria And I cannot stress your second paragraph enough - I am thinking the exact same thing! In fact I WANT to move to Asia after witnessing the ignorance and stupidity taking place around here. This Covid-19 will make us BIG touble and it's unclear whether Europe afterwards will still be around, honestly ... it's not gonna be the same at least, that's for sure. I am genuinely worried if this country or, say, the EU, can guarantee for my health and safety when I'm getting older ... granted, this is not sure either if I move to Asia, but the current handling of the crisis over there shows me that China is going to extraordinary efforts to stop this virus, which is remarkable to say the least and Europe is way, way behind on measures and mindset. Okay, the chinese government is very heavy on propaganda and we have to be very careful with the information they give, but having seen videos from "the zone" and what people do ... it's unthinkable here. For example, the little things: in China they realized the most common place to get infected is the elevator in people's own houses - sick people use it, you push the button, that's it, you get sick ... so they put up toothpicks besides the keypads - you take a toothpick, push the elevator button with it and throw the toothpick away. Who's doing that here?! And why not move to China ... at least you get a lot for your money there -- oh wait, *darnit*, this is gonna change !! --> which brings me to the last sentence: everybody, please consider that the Covid-19 sickness is only the tip of the iceberg, we are right now heading into the beginning of a financial crisis and into an uncertain future ...and when I really wanna move to Asia, I need to act pretty soon for afterwards I'll be too old to found an existence there!

It's like people finally start wiping their asses. Considering everything, it was fun to watch.

Arnold guide to genres

My dear, because this is the FIRST time we are doing it this way: 100% new for the label. I had no clue how to manage this unique download code, but I've got finally some help now. Plus the person who made the art work is stuck in Panama, so many things come togheter here We are working on it, and it seems doable Updates follow - thx for understanding and your patience, because in this time nothing is easy for no one Wim and I will come asap with an update - ask people to be patient and compasionate.

Since some people asked about the status of GoaD's CDs at the Bandcamp we have to post the annoucement here as well. Our whole production has been shut down till mid-April due to the Corona virus pandemic. We are not shipping any goods or items during that time and we want to act responsible towards our fans, artists or anyone else who might be affected by this situation. All orders and pre-orders were shipped prior to March 15th shut down. Full statement: And guys, don't forget!

It's way out of date, but... https://encyclopediadramatica.wiki/index.php/Psytrance

dumb posts

haha. i feel this. I think the whole world is going crazy though.

Fire: Earth: Water: Air:

There, fixed that for you.

RTP I think you should update the options. What if a new member is a travesti n-b?

I have played around in Logic Pro X trying to recreate the Gnocchi Kick/Bass/Snare/303 line. Too bad this forum don't allow uploading of audio files. Could that function be added? I would be a very useful feature for the music ID topics and in the music production section as well. Kinda crazy looking back in time on the gear used in the tracks, in the Miranda interview here on psynews she states that she used the Kurzweil K2000 RS. That thing must have been quite cumbersome to work with. Menu diving deluxe. A photo from google:

Group : Ulcerate Album : Stare Into Death And Be Still Style : Experimental Death Metal/Technical Death Metal

normally i can listen fine without dissecting the mix, but the balance of this one (it's also different for the different tracks in the video) reminded me so much of when i had worked on a track with headphones and switched over to monitors the first time, that my brain immediately went into mixing mode

finally for you all to see in full..... the greatest show and experience have ever witnessed! truly blessed to have been able to be part of it who else was there???

<3 Music IS the best therapy!!

I think goa generally follows the same direction as other kinds of psytrance, it becomes mostly a music for dancefloors with home listeners put out of the equation. Hence the loudness and compression, hence the focus on the basslines and the unfiication of the kick/bass sound, hence the simplified musical structure and more homogenized sound, less breakdowns, no long intros. Also when you have to devote most of your time to make a perfect sounding kick-bass combo, there is not so much creative energy left to make rest of the track memorable. I may be wrong since I'm not a producer myself and my knowldedge of production and mixing is quite supeficial, but this is the impression I'm getting from newer releases in whatever psy genres.

Remember it's not usually what you say but how you say it that is offensive. He original post comes across as a little aggressive I think. I must admit that from about 2010 until 2019 I had given up on the music in this scene completely. Everything was so boring to me, and that's why I went back to exploring my pre-Goa interests like drum n bass, Goa, house & IDM. such a long break was great as there was much amazing work being done in other genres, and last year I started again to check the music in this scene and I must thank Global Sect & Zenon for making be dig deeper. The sound I miss most was the crossover over of Industrial & EBM. Project by Tim Schuldt, Xenomoroh, early Sandman. Really also the experimental styles on va's like Tantrance 6 as well as the early Boshke Beats/Horns n Hoofs sounds. but I can accept these styles are not being made for various reasons, and just listen to the styles that get me feeling. as a producer of music for advertising & short films now, there is nothing more I hate than people who are fans but not involved in project giving unwanted advice. it's fine to tell a musician to experiment & make whatever you want, but if you want to earn anything or make a career you also have to consider what the majority want and not what the minority crave. it might be selling out, but sometimes you have to sellout to also finance the real side of your passion as well. Anyway what a diatribe haha.

Of course things change with age. In this scene I find I am finally enjoying the minimal/progressive sounds lot more. Only Iboga Tech & Zenon tickle that aspect for me. Early Suntrip also was just really not for me but the last 2 years they somehow have slipped nicely in to my listening. Forest always interested me, and Parvati for me have been really the only label from their first release until now. I never like Hi Tech sound, but Alice-D in 2019 has grabbed me with their experimental style of this. The albums during that time for me have started telling really nice details. Especially Dark Whisper with the ethnic vibes just makes me smile. I also went from casual heavy metal to a big interest in Black Metal the last 18 months. It's eased a bit now, but am going to be at the Inferno Metal Festival in Norway this year. Seeing Mayhem perform in Oslo is just too awesome to miss, and their new album really was a return to glory. My 7 year old son is being in to what is popular at school, so hip hop style for him. I just cannot click with it, but we meet halfway with drum & bass as well as my old collection of classic house/Detroit techno vinyl from the 90's. It's super cute watching him dance to those tunes.

I have to say the scene is so much better now genre & quality wise Han say between 2000-20010. I really thought it was dead that decade except for a few of the labels like Parvati, Mistress Of Evil & Rockdenashi Productionz pushing the envelope. now with Global Sect, Suntrip, Parvati, Zenon, Iboga Tech, Alice-D & Ultimae there is so much quality variation and new sounds it's a buffet of psychedelic and progressive gems.

Parasense first album Apple. Definitely!

It’s Dutch and it says: "Wij kunnen vloeiend spreken omdat we meeluisteren naar onze eigen stem. Onze stem word naar de hersens teruggemeld zodat we hem kunnen controleren." Which translates into English as: "We can speak fluently because we are listening in on our own voice. Our voice is being sent back to the brain, so we can check it." [Thanks to Gijsje Geelen and Filip Kalas for the translation.] I am Dutch myself. I am trying to figure out who is being sampled here. I wanted to know who’s voice it is.

Not really a man of words when a subjective topic such as music comes up, but I've been waiting for this release (and Galactic Aviator's remaster) for quite some time now, and I can say that the wait was absolutely worth it. Galactic Aviator was a release where I felt utterly frustrated not having access to any audio stems or mixdown to re-EQ / tweak, even though I absolutely adored the album (I usually don't ever listen to Goa anymore but that one is a regular I go back to), so the remaster is truly a gift, and a very efficient / clean one at that. Regarding Hypnotic Mirage in itself, the sound progression is very noticeable, the groove is more punchy and the kicks sharper, but GoaD's style is left pretty much untouched, and I am glad for that (I won't lie when I say that Ander's style is what I originally aimed for, and failed at spectacularly , when I started producing), this is the kind of stuff that I dig: hypnotic / tunnel vision-like / melodic-free / cheese-free sonic shenanigans. Hats off to him & Neogoa Recs !

2 new Astral Projection tracks samples from their 2020 new For All Mankind album!!

Still. Mindblowing.