dhollmusik
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Posts posted by dhollmusik
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On 10/21/2019 at 10:06 AM, thanosp81 said:
I categorise by label mainly. My collection is still not than expansive (less than 2000 discs) so it still works as a system. And you know, sometimes you want to listen to some good Goa but with nothing particular in mind, so you go to the Dragonfly catalogue and you are sorted
That's quite an expansive collection! Assuming you mean more than a 1000. Is that all only psy/goa & downtempo? All full-length CD albums or also including vinyl-singles?
I thought I had a big collection: couple of hundred psy/goa cd's. I sort the comps via year with 95-97 and 05-07 being the most represented due to big love for old-school and darkpsy's golden age respectively. The albums I just sort via A-Z.
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comps:
1) Distance to Goa 4
2) Goa Head 3
3) Pulse 5
albums:
1) Beyond the Infinite
2) Dancing Galaxy
3) Self-Oscillation
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I did a mix set of vintage full-on back when it wasn't vintage, found it recently and uploaded for posterity. Don't remember most of the track-ID's so anyone who finds the set fun and knows who's who is welcome to feedback
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CD2 of this release, it's a fun listen:
https://www.discogs.com/Various-Alien-Airport-Episode-1-Paranormal-Activity/release/77837
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I've always had a soft spot for this bargain-bin comp mainstay: Airborne - Speed. It has 400 views after 8 years online so deffo counts as not well known
It's produced by one of those types who have a hundred aliases which they use to spam content on cheap comps. Normally the musik on such comps is substandard, but I would classify this one as very good...not among the classics or the greatest, but will fit nicely in a mix set amongst such:
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On 12/8/2018 at 12:22 AM, psytones said:
'Nuff said
I also got this recently. Not cheap but worth every penny. R.I.P. Zolod.
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On 9/19/2013 at 12:13 AM, aliendna99 said:
dont think its fair comparing new tech with 15+ year old tech. think it should be old school goa only in this thread, thats just my 2 cents though.
yeah, not fair on new school. To my ears, hardware-based electronic dance musik from mid-90's to early-00's sounds superior to DAW/VST efforts from today.
I would agree late-80's/early-90's sound dated & inferior tech-wise.
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#wonthelottery
1) buy up all goa trance cd's.
2) give nearest & dearest some*
3) buy a house.
...in that order.
*some cash, not goa cd's
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On 9/10/2019 at 4:45 PM, LeLotusBleu said:
I just discover 2 interesting Bandcamp pages that i want to share with you:
- First one the bandcamp page from Tromesa => https://tromesa.bandcamp.com/
I discovered this good Goa band thanks to Dat Rec releases , i mean Nowina on Mind Rewind & Bonanza on ZNA Retro Futuristic Compilation II.
I found this band to be pretty well underated & producing quite unique emotionnal Goa tunes, on their bandcamp page you'll find their 2 first albums (in digital only)
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- My second recent discovery on bandcamp is actually , a quite old page outhere but just found it randomly, it's about the Sub-Terranean label compilations. You'll find on it, nearly all their compilation in digital format only which means mainly for our purpose here, The Tantrance , Pulse & Goa Classix compilation series. If you're fan , there's also all their Trance & Rave compilations (Rave Mission, Cosmis Cubes, History of Trance...)
=>https://subterraneanrecords.bandcamp.com/
I discovered Tromesa thanks to Distance for Goa 10, bought the CD back when it first came out...almost 20 years ago? frak me, where does the time go? Got their album soon after.
Check out this killer track from Tromesa: it's unique. Jazz-psy? Fusion-goa? techhouse-freeform?
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The Omnipresence comp is very good, what I would call morning psy but I guess you can also call it melodic full-on. Here's a Transdriver:
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4 hours ago, recursion loop said:
I have mixed feelings on 5 billion stars but that Goblins track is awesome in every aspect.
I've only heard Goblins & Green Star. Impressed by both.
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56 minutes ago, recursion loop said:
Who is that lady?
from the Dune film:
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This minimal drop from techno is pretty nice...from 2:40: the percussive hi-hats dropping with the kick/bass make it still danceable without feeling deflating or anti-climactic:
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13 minutes ago, recursion loop said:
All in all I understand why progressive/minimal can be not appealing at all to someone. I listen to many different kinds of psy/goa/chill and prog is my favourite variety overall - but still there is too much of that generic stuff that relies on tried and tested patterns invented by someone else and doesn't add anything new or interesting. Ofc, if all you have is the kbbb, swooshes and occasional synth stabs, it may be very boring - but not necessary. Some people manage to pull off terrific composiitons of very few elements
I think it's way harder to write good minimal track because it requires actual composition talent. When all you need to do is to impress the listeners with all the acid/squelchy/trippy/SFX kind of stuff your synths can do things are way easier
Classic track, one of my all time favourites. 3:28 - goosebumps
Good post, and I do indeed prefer that track to the one you linked before, nice disco stylings.
The creator of that Psytrance-is-shit video is Loud, and his album is funnily enough listed on Discogs as being prog, and even has some minimal drops. But as you say it's possible to do minimal stuff well, like here from 6:30:
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3 minutes ago, recursion loop said:
Okay, that's pretty much me when I see people going mad about some generic neo-goa "so many layers, so much acid, truly psychedelic" and such
To each their own
haha, well you may also have a point there.
To each their own is the best response, to be fair
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42 minutes ago, Oopie said:
My internal computer can't process this phenomenon. I'd say there are quite many people, if we'd like to talk about the big masses in this case, who simply only understand and enjoy the most primitive part of the track - kick + bass? All the psychedelic sweeps is just unnecessary garbage for them...
Yet it's kinda understandable - K, B & PsyFX combo usually isn't that deep, musically interesting concept that it'd move the hearts of many, yet it serves as the perfect easy flowing fuel for one's drug filled dance rituals.
i agree with your observation: for instance techno already had the monopoly on the kick+bass+fx combi. It looks like what modern psy is doing is adding the build-up style of dubstep-drops (which were in vogue a few years ago) with the minimal-techno beat-drops which are still in fashion, then adding the odd 'psychedelic' factory-sound, or corny voice samples referencing drugs that no one takes anymore.
I know I've linked this before, but it's still so bang-on:
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43 minutes ago, recursion loop said:
17:00-18:09 very cool. Massive melody in the breakdown followed by the riser effect creating the tension which you expect to be released into the same melody playing over the beat - but you get something entirely different at 18:09. Some element of unpredictability ... well, it would be so it the same trick hadn't been already used in countless other tracks, but still it gives the track good flow.
34:00-35:05 hate all that mantra crap but the groove after the breakdown sounds massive.
38:30-39:40. They have that arpeggiated melody rising up in the breakdown but yet again you get something entirely different when the beat starts palying. Essentially the same thing as 18:09. Good one.
I love progressive because it when it's made right it delivers the energy in the right way. It doesn't try to kill your ears with billions of notes and layers all the time, like some other goa/psy varieties do. Instead of that it creates tension and release via the interplay of intense parts and more empty/relaxed sections, and it creates anticipation and surprize by introducing the main theme not when you expect it to happen. This is what makes it really interesting
One of the very best examples ever
2:48 they start building the tension and then fool with your expectations at 3:42; 4:59-5:09 Wow, this is massive!!! 5:10 fooled again... 5:51-6:05 ha! fooled again... but things start coming together ... 6:20 onwards: OH FUCKYEAH!!!!!
Tl;dr I do like these drops and I perfectly understand why people go mad on the floor.
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53 minutes ago, Agneton said:
Ace Ventura is far from the worst example of this kind of minimal drop-infested culture. Go check the average Brazil psytrance-festival video on youtube for a truely horrific experience :p promo-videos posted by artists only feature the drop-points because that's the (only) part where people go wild.
Example:
Edit: Missing the times where drops were called climaxes.jesus wept, that is far removed from psychedelic trance. Even the lazy Terence McKenna samples sound so out of place. And with the promo video highlighting only the photogenic girls...I don't wanna sound snobbish but it does all seem quite superficial, i.e. existing or occurring at or on the surface / appearing to be true or real [psychedelic] only until examined more closely.
Psychedelic means to dissolve the mind while expanding the consciousness. In music (rock, trance etc) it usually signifies multi-layered elements, trippy otherworldy cosmic hypnotic vibes, progressive structures (progressive as in like prog-rock, for some reason 'progressive' means entirely the opposite in EDM, where it more denotes something minimal).
I suppose that's what most people think psy-trance is now. Just like how progressive in electronic dance musik has come to mean the opposite of what it meant in rock, now we've got psychedelic coming to mean the opposite of what it meant at the advent of psychedelic goa trance.
At the very least, it's interesting to observe.
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7 hours ago, Tsotsi said:
Personally I like the 35:00 drop. From someone that still goes to clubs, the "progressive goa" are pretty funky, they just sort of come out from underneath rather than above. Kinda takes you by surprise. Definitely a techno thing, especially those damn sweeps. I haven't heard a modern techno track that doesn't have a sound effect that just sounds like a high pitched smoke machine.
#cocaine&ket
indeed...prog is lost in the K-Hole
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What is the minimal drop? Thanks to the timestamp-comments under the following video (I personally couldn't stomach watching more than a minute of this thing):
39:15 - holy shit
35:00 omg
Why does the drop at 18:00 sound so amazing
So what happens at these drops? A very digital-sounding pitch/filter-sweep upwards, sometimes lasting forever, and when finally the beat comes in at the drop, all we've got is a flat plastic-sounding kick and bass. It's such a massive deflater, yet people seem to love it.
What happened to the drop signifying when things go all-out crazy?
This trend of the minimal drop has long infested techno, and nowadays it's very dominant in mainstream psy. Why do people love it so?
#iblamecocaine
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1 hour ago, Penzoline said:
Whole comp is almost legendary quality. It's a travesty the tracks are butchered like that. I'd pay for it again for remaster. Anyone got the source files?
the cd will arrive soon, if i can improve the sound with my studio racks i'll re-upload it on soundcloud as downloadable wav...assuming it's ok to do that from a rights-perspective. Ezel-Ebed is no more so i'm not sure who the rights-owners are. The youtube-bots don't flag anything either (the full comp is on youtube, doesn't seem to have any auto-track-id's).
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On 5/3/2015 at 11:59 PM, ma05683 said:
a friend of mine played in a festival after a Aphid's Moon dj set back at 2007(Aphid played ,after the Dragonfly's album, stuff)
he started his set with X dream-STOP (the track from The Independence Trance Revival cd)
i was side by sound engineer console
with the intro of the track(from the very first sound effect of the track ) the enginner and his assistant gone FREAK (they were afraid about the speakers lollllll)
and at the end they minimise a little the output sound
in my opinion back then the sound of X dream's track was more painful(and better ,more heavier) for system than Aphid's modern tracks
i wait for any opinion on that
On 5/4/2015 at 1:10 AM, Padmapani said:you do have higher peaks with tracks that aren't mastered as loud, but are played at the same perceived loudness. that's the one reason for the loudness war with electronic music. if a track is compressed to death, you can turn up the volume more without the engineer getting worked up (or the speakers blowing out at smaller parties).
Oh I missed these comments earlier. Yes, I think this explains why 'brickwall' mastering has become so ubiquitous in the digital-era. It can truly be stressful for those on mixer/engineer duties at parties if he's constantly battling different loudness and wild peaks. Even the impact of the kick can be very different. Back in the day this didn't bother us on the dancefloor so much, we even welcomed different kick-impacts, it changed the vibe (and change was good). I guess ravers nowadays want a more consistent experience, or at least the crews do
It would be nice to have two CD/LP/digital-releases, like how Tim Schuldt did with FTANNG: one for big PA's (brickwall) and one for audio-philes for home listening (maximum DR). But that likely means extra costs, the mastering studio may treat this as two jobs for example. And if there were two versions: would it really significantly increase sales?
...looks like we're stuck with the brickwall.
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On 7/11/2017 at 10:27 AM, recursion loop said:
All in all for me this track is the pinnacle of modern goa, arguably as good as People Can Fly
Oh my...fine stuff! Great example of what can be done if the artist is brave enough: there's progression here, build-up, excitement, energy and euphoria at the climax. amazing what a key-change can do haha
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Agree with all the criticism, bullet-pointed here for convenience:
- no adventure in the composition, you've heard the first 2 minutes then you've heard it all already.
- too many elements fighting for space, just sounds like a wall of sound. Even if you can fixate on something, it doesn't really take you anywhere.
- the mixing/mastering makes the above issue even worse by squashing this space.
How did it come to this? I blame these things specifically:
1) computer screens. The modern producer spends too much time in front of one. His senses are focussed on seeing, not hearing. Back when Goa was made on hardware, the producer only had tiny screens. He was working with an array of knobs, sliders and keys. The senses used were very tactile: combining hand-to-ear coordination rather than eye-to-ear. Would a guitarist play his instrument with more soul if he could play a software version?
2) the loudness wars. It's ruined a lot of music, not just Goa. Check this video out from 2006: it demonstrates how the loudness war ruined the seminal Dire Straits album, which originally came out in 1986 to demonstrate & promote optimal dynamic range from CD audio. Dynamic Range which has subsequently been crushed by cash-grabbing 'remasters'.
3) the drugs don't work anymore, or rather they've changed. There's less psychedelics in the scene, more narcotics (uppers/downers).
4) emphasing the kick: old-school often had low-frequency kickdrums with the envelope starting a little soft, which sat nicely in the mix, allowing the other elements centre-stage. New-school often has higher-frequency sharp-attack kicks, which have a harder presence and a higher volume, this doesn't encourage focus on the other elements (presuming the other elements are worth focussing on).
I've tried a lot of modern goa, from different labels. The only artist who stands out so far is Astrancer, unfortunately his work has also suffered from the loudness wars. Ra's 9th is ok, but that samey metallic kick sure does get tiring. There's still a lot to try out, some highly-rated Suntrip CD's I haven't spun yet so hopefully I'll be taken on a better ride, but I had to turn off that Epoch Of The Terrans comp as it was just numbing to listen to. Putting on an old Goa Head directly after was truly soothing to the ears.
More I think about it, the more I see Forest-Psy as the spiritual successor to old-school: tells trippy stories, weird surprising stuff can happen, decent quality control of CD releases with the loudness wars thankfully not being able to destroy all the elements (because the producers tend to mix their individual tracks with awareness of space). Some forest-psy pieces are works of art, just like some old-school, and will be enjoyed decades from now (just like any good music regardless of genre).
Disclaimer: as I mentioned in another thread the above is from the perspective of home-listening. I understand and respect the argument that this new-school sound works well at big parties. I do still party myself, tho' rare when compared with my youngling days from late-90's/early-00's. The only recent festival gig which really got me dancing like old times was Goa Gil's monster-set at Ozora 2017.
At least there's light in the dark...
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Full On Old School
in General Psytrance
Posted
yeah it kinda does. once you hit 40 things like a couple years ago is recent history