Penzoline

I surely can't be the only computer enthusiast over here My rig, last update was a terabyte of HDD space some months ago, was a long time coming too, always running out of space. Most else was upgraded around september -10 Processor: AMD Phenom™ II X4 965 Processor (4 CPUs), ~3.4GHz w/Arctic Cooling Freezer 7 pro rev.2 Memory: 4096MB DDR3 RAM ~1600mhz Hard Drive: 640 GB + 1 TB Video Card: Asus ENGTX460 TOP DirectCU 1GB Monitor: Fujitsu Amilo 1920x1200 Sound Card: ASUS Xonar Essence ST Speakers/Headphones: Creative Gigaworks T20 Series II / Ultrasone HFI-580 / Creative Fatality Gaming Headset Keyboard: Logitech G15 Mouse: Logitech G500 Operating System: Windows 7 Ultimate 64-bit Motherboard: Asus M4A88T-V EVO Computer Case: Antec 902 And here's a pretty picture

Anticipation. Probably not a very good thing but oh well.

Listening to some Kaya Project for the first time

It's up.

Artist: Peter Candy of Koxbox Date: 2011-04-03 By: GagaISM I'm really stoked to present you with this first and only online interview with Peter Candy from Koxbox. Peter is a super nice guy and was more than willing to sit down and have a chat about his time with Koxbox. This is the result of an hour long interview I conducted with him just before his new project, the “SILO” collective's first party. I would also like to thank Bjørn Jacobsen of Cujorius One for proposing this interview. Hey Peter thank you for doing this interview with me. Let's start at the beginning of the Koxbox timeline. When and how did you first get started with electronic music? It all started when I first heard Kraftwerk back in 1978. Frank and me both played in a rock band and got interested in this new sound. We started out doing a series of parties we called ”Amnesia”. We held them in a place called Delta Bio located on a street called Læderstrædet in Copenhagen. The first party was in 1988. We had a bunch of foreign DJ's playing that night. It was a great deal of work. We had to rid the cinema of seats. But it turned out to be a big success. So we did another two after that. The music at those parties was primarily EBM like Front 242 and Nitzer Ebb. We really liked Front 242 and sold their T shirts here in Denmark. You formed Koxbox after shortly that. How did you meet up with Ian Ion and get to work in his studio? We didn't really know anything about making electronic music at that time. But we really wanted to make a record. We somehow got the opportunity to work with Ian Ion from The Overlords in his studio on Vesterbrogade 52. So we started out buying a lot of instruments for some money we had saved up at the time. This was around 1989. We also did some shows for a local radio station where we played a lot of this new Techno music. I made a compilation record called Cyberworld in 1992. It was basically a showcase of what was going on in Denmark around that time. We released it both on CD and Vinyl. I went to create to labels: Hard records which was EBM and Outloud for techno. We released the first Koxbox 12” (Acid vol. 3 & Birdy) on Outloud. Carsten, owner a local danish electronic music shop called Loud, had an assistant by the name of Ole who told me that Sven Väth was playing out track on the radio in Germany. He had placed it as number three or something like that. So I thought the obvious thing to do would be to get in contact with this guy. I called up Harthouse which was the label Sven was working for at that time. I barely got myself introduced before we were working on our first album. We traveled to Frankfurt a month after the phone call to sign the contracts. Harthouse was at that time distributed by Warner brothers which meant worldwide distribution. That did a lot to get out name out. A lot of people consider Koxbox one of the main pioneers of Goa and Psychedelic Trance. How did you end up with that sound? I don't really know how to explain this(...). But we had heard some stuff at that time. We only spent 20 days in the studio on Forever After. But Ian did have a lot to do with creating our sound, despite the short studio time. He had already worked on our 12” before that. He was an amazingly skilled producer and engineer. But we never thought of our music as “Goa Trance”. To us “Goa” was just a name of a city in India. What kind of parties did you play after the release of Forever After and what was the scene like back then? It was mostly trance parties. There was around the mid 90'es a fairly big and established scene here in Copenhagen. We also had a lot of luck to get gigs out of town. The first international concert was in Switzerland. We played Roskilde Roskilde around 1995. The white tent was totally packed. It was a huge experience to play there. An amazing rush. We went to the USA in 1996 to play at Burning Man. We where supposed to play at Peer 66 in San Francisco before that. It was a party arranged by the guy from Kode IV. But he apparently didn't have the permission to host a party there like he claimed to. So he was arrested by the police before we even had the chance to play. So packed our stuff and we went down to Nevada to perform at Burning Man. The festival was already pretty big at the time and some crazy stuff happened there. A guy drove over a tent with his car and killed someone. There was a war going on between the regular music fans and the electronic part of the festival. Some of the people from the regular scene hired a plane, filled it with shit, flew over our part of the festival and dumped it. A nice way to tell us our music was “shit” (laughs). We did a live recording of that show but Blue Room ended up shelving it. They had too many records coming out at the time and had to slow down. So we only made 20 test-pressings. I had two, but recently sold one of my copies to a Japanese guy for 500 euro. I won't part with the last one (smiles). I have considered releasing it officially though and spoke to the guy who used to run Blue Room. But nothing is certain right now. I might wait for a while and see what happens. You worked at a local record store in Copenhagen called Candy Records back in those days. What kind of shop was that? Candy Records was started by a guy named Jan in 1987. I worked there for 7 years. That was where I met Bjørn Jacobsen (Cujorius One, Tenka etc.). He came into the shop and had a big ”Koxbox” logo drawn on his school bag. So we started talking. We sold all kinds of music there. Both new stuff and second hand. Koxbox created one track (Midnight Till The End ) and used two more for Refn's 1996 cult film Pusher. How did you get involved with that project? There used to be a place in Copenhagen called “Alexandra” where “IN” is located today. It was a really great concert hall. They hosted a bunch of Techno parties in late 1995. I was there, when a guy suddenly came up to me, with a flyer saying that I was invited to a film shooting and that Koxbox was supposed to play in it. It was really strange because nobody had asked us. The producer behind the film, Henrik Danstrup, has today fled Denmark. He was a real hustler. He was the one setting it up. We are actually in the last scene of the film though it's very hard to see us. It was filmed in a place located beneath Lange Bro in Copenhagen. Did you already know Raja Ram from TIP at that point? We met Raja Ram for the first time in 1995. We managed to get Fuel On out on TIP before we signed to Blue Room. They begged us to sign with them for a whole year before we finally did it and made Dragon Tales. We had three labels interested in us at that point. Dragonfly, TIP and Blue Room. But Dragonfly almost didn't want to pay anything. So Blue Room ended up offering us the best contract. What did you do in the time between Forever After and Dragon Tales? We played a lot of gigs between Forever After and Dragon Tales. Both in Europe but also two times in Japan. We played a party located at the Fuji volcano. It was absolutely crazy. I almost felt that all my ambitions got fulfilled at that moment. I remember standing there having the feeling that it wouldn't get any bigger than that. The party was located two hours from central Tokyo and we had 700 people attending. We also played a huge gig in Holland. Someone from England had booked us for the party. It was held in a couple of huge sports facilities located next to Ajax stadium. There was three huge halls. The one we played in had room for 3000 people and it was packed. But there was an even bigger hall with room for 6000 people. They played Gabba there. People went completely crazy. I had never seen anything like it. It was pretty fantastic. What was the creation of Dragon Tales like? Creating Dragon Tales was a pain in the ass. It took us a lot of time and we had a bunch of arguments about couple of things. It took two or three months to finish it and it ended up costing us 200.000 danish crowns (about 38.2080 usd.). It was a difficult birth. But the equipment we used was state of the art at that time. Ian's studio was like a machine park. So we spent a lot of time on the production. Blue Room made a music video for your [Life Is....] single. There used to be a very short clip of it on Blue Room's homepage. What happened to that video? I have the master of the video on beta max. So I'm the one sitting on it. But I plan to get it copied and uploaded at some point. It was made by an Englishman who was very skilled at working with computer graphics. So Blue Room gave him some money to work on it. I remember him talking about a computer with 700 megabit ram coming out. So that should give you an idea of the technology available at the time. The video was part of the contract we made with Blue Room. It was also shown on MTV about 2 or 3 times. What happened after the release of Dragon Tales? Dragon Tales came out around the time when trance was peaking. There was trance music everywhere and a lot of it was pretty bad. We played a couple of times after the album got released. The last party I played at was at the Naboon festival in Portugal. I decided to leave the band after that. We actually agreed to stop Koxbox. But I think Ian and Frank got offers to play after that and thought they could do without me. It's not that we had that many artistic differences. We slowly drifted away from each other and ended up fighting over some money. I still talk to Ian every now and then. Me and Frank are not friends anymore. Have you been working on any music after you left Koxbox? No I actually haven't. We made a CD featuring all of us playing at the party tonight. We are currently working on a small label to release new music. We probably won't get it and up and running before after the summer. I have been working under the name Trope together with Troels. But we are now working on something else. Do you still listen to Trance music today? I primarily listen to Techno today. Trance i sort of a closed chapter for me. This is it Peter. Thanks a lot for the interview. I'm sure my fellow trancers at Psynews.org will enjoy it. Good luck with the party tonight! I can tell you that Peter's love for classic, heavy hitting EBM shined through in his set that night. Look out for upcoming SILO collective events at www.silocollective.dk.

Just because this album doesn't have sweeping throughout the track uplifting oriental goa melodies and a-typical layers that often leave something to be desired, doesn't mean these fresh, reeking psychedelia with darker melodies and unusual twist tracks are empty by no means. Even in the non-literal way I find this "empty" comment quite mind bending as what I am witnessing in these tracks is a certain level of depth and quality control which I have not witnessed usually - that is to not say other neogoa releases are bad, nor do they majorly(usually) lack quality, but this compilation is upping the ante. To each their own but spewing things like empty towards this recording is just insulting (Especially considering the story how these tracks actually came to be, which shows.). That and about storytelling, the samples and intros are wondrous at doing just that. And I'm not even going to bother with how your post seems like a retaliation.

Hahahaha nice

Normality Is Easy gets mad psychedelic toward the end

I've been waiting this since 1997!

After hearing The Legend Of The Black Shawarma I find this completely plausible!

not all the worl had the money to pay artist from most developed economies.... don,t take it for sin No, but using soundcloud is a bit ridiculous as it is used for promotion/showcase by the artists. I'd imagine it's quite insulting for them.

Oh man I completely forgot about this, oh well. The new logo is pretty cool, definitely fits suntrip and it's not only a font anymore

Oh my god that is the coolest thing you could do! I love this track, the Half Life2 samples make it a classic imo. Thank you a lot!

I would love if more people took part of the review thread. http://www.psynews.org/forums/index.php?/topic/61143-va-erta-ale/

Not that I'm 100% against bumping but this one is ridiculously old. Make a new thread if you wish to continue this 'debate' very much like http://www.psynews.org/forums/index.php?/topic/60431-astral-projection-vs-mfg/ .

VINYL! of Air Born The big artwork is sweet!

I must mention that I am loving that album name haha. As for the music, well, I'm just hoping he can manage to deliver some of that quality he conveyed with Feelings(!!!) and Levitation Device and no fillers whatsoever. To be honest I would love to see Trip To The Sun featured on this album since the metaphysical release had really bad mastering, but I won't keep my hopes up. : (

Any German speaking read this yet? Thoughts?

The person you quoted...

Artist: Cujorius One Date: 2011-03-28 By: GagaISM 1) I would first of all thank you for taking your time to do this interview. It's been rather silent in the Cujo-camp for a while now (your last release was the “Cat In Bag, Bag In River” ep on soundmute from 2008) so this is a great opportunity to let your followers know what's going on + giving the ignorant a little history lesson. Let's start at the very beginning. How did you get involved in the world of electronic music and what motivated you to start producing on your own? Actually the London.Paris.Hangover.New York and Sunday To Fuck Up Your Monday, albums were released after the Cat In Bag, Bag in River EP. But unfortunately those two albums have missed the ears of many listeners. They have only been made available online so far, and promotion hasn't been too good and hasn't worked as supposed, so I meet a lot of people who ask me why it's been so quiet, but usually it's because they actually missed this supposedly double album release. which was released as two separate albums instead. But the Cujo Camp is quiet, things have been very hectic lately, and my day day job has taken more or less all my time. I still work with sounds and study sound, but it's like I don't feel like making any progressive, trance, techno sounds lately. They are still in my head, all the ideas, but my heart just doesn't follow when I produce it for more than 15 minutes lately. That's usually because I have thousands of other sound ideas in my head, that needs to be made for my day job, which is Computer Game and Film Sound Design. But to get back to the question: I got involved in the world of electronic music back in the beginning of the 90's. Being a metal fan back then as a kid, I started listening to Techno on MTV and at the few radio shows I could find. Being brought up in a non-Techno family in the 90's made it very difficult to get hold of any electronic music at all. So for a long period, i said i didn't like techno. the usual "it's the same over and over again" explanation of why, when people asked, but i actually kind of liked this whole electronic sound. When I got a little older, around 14 years old, I heard some Prodigy tracks on MTV, and that was like a kick into the world of electronic music, because that was a band I knew I could go to the local shop and buy. Before that I just didn't feel like asking for Techno in a shop, because in my experience when people asked for an introduction to something specific in a shop, they never got exactly what they wanted, so I wanted to find the style I wanted to listen to by myself. With those first Prodigy record purchases in 94-96, I found a record shop named Candy Records, in Copenhagen, which is now closed and another record shop has taken over. They sold Prodigy lp's, and I bought all the copies I could find. I started going to the shop every day after school- just looking at records, listening to records and buying some. Then one day, finding some old Koxbox releases there, I asked if I could listen to them, and the guy behind the counter, by the name of Peter, answered "yes of course. this was our first 12" release". The guy was Peter Candy himself, from Koxbox- and we started talking a lot, became quite good friends and starting hanging out as well. The years following: around 97/98 - I started producing music with some very simple tools like Rebirth, Fruity Loops, Fast Tracker etc. on PC and Amiga 500. Peter who had at that time just left Koxbox. started to visit my parents house and made some small tracks with me. I was 16-17, and Peter was 38-39, so it was quite a big change for me in my way of listening to electronic music. since I could see on his way of working and how he approached different issues, that I had been fighting with to learn. Then Peter and I drifted slightly apart. We both had things to do and we didn't hang out for a while. I started buying synths, a new computer, new equipment, starting from scratch. I didn't anybody who could teach me Midi, synths or anything back then - So I just bought the gear and got started. It was great, but a sloooow process. But who said that Rome was built in one day right? The first couple of tracks I made with my new equipment, which I consider being my first real tracks (though a lot of people disagree with that), because they heard earlier work of mine - where very twisted, and very poorly produced in terms of sound quality. But they contained many many nice sounds, which I enjoyed making. Back then I had: Access Virus B Clavia Nord Rack II (which I still have) Roland JP8000 - and a mackie mixer with a bunch of effects, reverb and so on. Later I bought an Akai s2000 sampler, Korg Z1, Korg Ms2000, Jomox Xbase, Emu E5000 sampler and a few other things. Some of which I still have, some which I have sold again. I switched the small Mackie Mixer with a fat ass StudioMaster p7 40 channel mixer. Working with that equipment was just fantastic. Sold the mixer and a few other things later, so now I run a minor setup, but with more quality parts, and a lot of audio programming instead of actual synthesis. From the beginning of the new millennium, with my first releases the “Insane Dreamer” EP and “Buffalo Killer” track on Leviathan records in 2001, I have gotten more and more into just sound, instead of music only. My passion for making a “sound", instead of a musical piece got bigger and bigger, and I started making sounds, which I later made music of, instead of making music and then creating the parts for it on the go. I developed a passion for weird setups. microphones and home made parts that I could just twist the most weird sounds out of. I still do that today. So from a little teenager doing sounds in the end of the 90's to now beginning of the 10's, I have come a pretty long way I’d say. - questions one ADD: my latest release is "EVI LL FUCK YOU UP" on soundmute records. 2010. 2) It's obvious that Peter Candy, with all his knowledge, must have had quite an influence on your early music career. But the music you have ended up creating (even in those early days) didn't sound much like Koxbox. Did you already have a clear vision of style and sound at that point? I became a big fan of Koxbox, and who doesn't love hanging out with the band they are a fan of? Peter helped me turn my interest in electronic music into something serious - that made my teenage head go "I wanna do that too" mindset. I didn't want to sound like Koxbox at all though. I was just inspired by sounds, the way of music, and the creative process. I loved listening to Koxbox, but I was way more interested in making that kick-drum snap! Which is still my main goal - all this beat making. 3) I remember discovering your music through the Tenka tracks you made together with Jesper 'Espark' Eskildsen back in 2002. It seemed at that point that a lot of people started disowning traditional Goa-Trance in favor of this new minimal style. Did you realize that you had become a key-player in new wave of Trance music totally different to what had been released before? That's true. in 2001 to 2003, Minimal Progressive was a really big thing, and Iboga was really kicking through in the international scene. I, and we, had no idea that the Tenka tracks we did would have such a big impact on the progressive scene. I still meet people today, who don't know who's behind Tenka, and when they find out they shake my hand. It's a really great, and still rather weird experience. But they are good tracks, that we are very proud of. It's just that we didn't quite get that it was "that" good back then, or people liked it "that" much. 4) You had a lot of tracks released on Compilations in those early years of the millennium and even worked for Leviathan Recordings at one point. Did you consciously work towards the creation of a full-length album or did you just happen to get signed unto Tim Larner's Zenon Records by chance? Yes. A deal was made with Leviathan to release an album, but they failed because of a lot of private business and the whole scene was going down on pirated copies of music and all that stuff. It was a big crisis. So Novatekk took over Leviathan, which was great and I helped them out doing a few things, and sorted out the money situation. I had them sign the old act from Moses (Bufo), and some other guys. they released a track of mine on Pulse (Draw The Dot). But something went wrong because of some discussions with Novatekk, as a label, and their at that time A&R TomTron. He was a nice guy, but we just didn't agree on everything and I was kicked out of Novatekk, who then one week later was declared bankrupt. That might be the explanation for them throwing people out and having such a short temper. But they where cool guys apart from that situation, and I was at that time also not too good with communication when i got angry. So we where all equally good when it came to saying stupid things to each other. I'm sorry about what happened back then I worked with Tim Larner before he released anything. We where trying to get him signed on Leviathan. We used to send tracks back and fourth back then and became quite close friends. Leviathan was dropped, and Tim released some tracks on a few labels, and started up Zenon. I released some tracks on Zenon and we made a deal to release "Creating A Second Sun" album on Zenon in 2004, and it was put out in 2005. Which in my perspective is a really good album, which I'm very satisfied with. I still listen to it once in a while. So Tim and I go way back. 5) Your sound had at this point become more complicated and techno-like compared to those early Tenka tracks. Was this a natural progression and consequence of your constantly evolving skills? It's a combination. Back then I really liked the track's of Adam Beyer, X-Dream, and many different Industrial acts, like NIN, DIVE and Dirk Ivens and things like that. I started listening to Noise like Einstürzende Neubaten and Sudcliffe Jugend. I didn't quite understand it, and perhaps didn't even like what they did, but they inspired me into doing my own noise, and when I did, I really liked "noise". I liked my own noise because I knew what was behind it. Since then i started to really get a different feeling on Noise acts. And my skills where constantly getting better. 6) I remember that you once said that you weren't to keen on "The Art of Mindfucking" when it was released. Did that have that something to do with this experimentation with a sharper and more gritty sound? Yea. When I was producing the last track, I was sitting in my studio thinking "thank god it's over soon". Sent it to the label and just thought "I like it, but now I want to do something different". Then after some time, I got more and more keen on it, and more and more people started booking me for live gigs because of that album. So I brought it back up a little later and listened to it again and started to enjoy it more and more. I guess I just remembered what I felt when I produced it. 7) Let's take a little trip back in time again. From what's been documented through compilations like Ayahuasca's Daneism comp and Leviathan's Undefined Emotional Frequencies and danish label's like Creamcrop and Iboga it seems like there was quite a lot going on in Denmark back then. How tight was the community and did you hang out with all these people? Well, the community was quite odd because Iboga where the first guys to put something out and have a little studio working together to make tracks. Creamcrop was different, because of their style, but was still one of the front figures on the morning scene here. Not everybody knew everybody and not everybody wanted to know everybody. It's not that the scene was snobbish or anything, but there was of course a naturally occurring hierarchy, which made small guys not meet big guys, and vise versa. But once I started having gigs, and met people around the world, it started to become more fun to play. I would play gigs where I always knew someone from somewhere 8) One thing some of you had in common back then was the minimalist approach to Trance. Do you think one could argue that there was a distinct danish sound at that point? A style consciously or unconsciously influenced by each other like with the early Goa scene? Definitely not consciously. I think the Danish mentality just for a time was focused on the same level of sound and style. It was the only thing around and the parties where like that. No wonder it went straight from that to basically Full-on stuff. Which in the beginning was horrible(!!!). When they started to get a better feel on the style, quality and so on, the Full-on stuff got way way better. And then it was OK again. My only problem, of course, was that Progressive, Minimal and Tech was basically completely forgotten. 9) What did you remember as the most defining or popular tracks of the minimal wave both nationally and internationally? Nationally there where all the older Iboga tracks, that really shook the world back then. Internationally the mid-euro guys like XV Kilist, Paste and Yumade etc really set a high standard. particularly Yumade, who were one of the key inspirations to making nice kick-drum's out of weird things. Zerotonine where pretty inspiring to the scene as well. In Denmark, the scene sort of split into two - and me myself was a pretty big part of it, but the guys from Genetic Spin, all the Ayahuasca guys, Frogacult, where all good. 10) Do you think that the listeners of Trance music tends to be a little less loyal towards the styles of yesterday compared to fans of House and Techno music? Not at all. I think people don't generally listen to the music of yesterday, but when they do they remember it. New people to the scene, usually don't dig older music unless it's what they became introduced to in the first place. Of course there is situations where it's not the case, but I think it's generally like that. 11) That tends to be the case yes. Do you still attend Trance parties around the world and here in Denmark? Sometimes yes. Usually only when I'm going because of a gig. Unfortunately. But when I'm out playing and have free time to walk around the party and have fun, I still do 12) We're, as you said, all shaped by the music we grow up with. If you should name some of the releases that really changed your perception of Trance music which ones would they be? Koxbox - Forever after Transwave - Phototropic Front 242 - Front By Front Miranda - phenomena Xenomorph - Cassandra's Nightmare Brighton Trash Department - Devil's Dyke EP Paps - Vibes From The Other Side 13) This leaves us at the end of one road and at the beginning of another one. Do you think there's a chance that you'll make another Cujorius One album at some point? For sure. I'll be working on a bunch in the future Plenty of ideas. I just need time and focus to produce them I can't wait for that to happen. Thanks a lot for the interview Cujo. It's been a pleasure doing this interview and I hope the good people hanging out at Psynews.org will enjoy it as well.

Here's the latest that I've gotten over some time

Hello there Though I must ask, what is mosbunal?

V/A - Erta Alé Cronomi Records 2011 1. NK-47 - Snufkin Is Gone 3:56 2. Subra - Nervous Machine 7:04 3. Portamento - An Expert On Humans 8:54 4. M-Run feat. DJ Inada - Kapala 10:59 5. Lapsus - Holocron 8:21 6. M-Run - Goat Man 10:40 7. GoaMech - Synthesized Not Yet 11:25 8. E-Mantra - Perihelion 8:46 9. New Born - We Are Nothing But Dust 7:42 Why? I just did my first listen and as everyone knows if you are quickly enthused about something and talk about it, it's going to sound like you are hyperbolic about it. You usually seem simply over-enthused and think it is the greatest thing in the world and later it turns out how it is not this, but then there's a thing called an experience. You can't relive something 100% accurately and if that something is so good that it completely engulfs you, it is worth sharing and this is why I am writing this now. When? This compilation is something special. It is the culmination of neo-goatrance. Suntrip gave it a new life, metaphysical continued it, phototropic picked off where metaphysical left. Kagdila also has been along on the ride and then new labels like Dimensional and Lookinglook that are starting to release new goatrance. And with all of this DAT Records has been able to release unreleased old goatrance for the pure old schoolers. Cronomi on the other hand has successfully made something that has been left alone for so long. Their compilations Freshly Cut Tomato and People Walk Funny gave a glimpse of the darker, purely psychedelic side of modern goatrance, then they released Artha which is generally considered somewhat of a hallucinogen right now with his completely different take on neogoa. Then there was a darker compilation from Suntrip called Temple Of Chaos that also successfully sparked some darker goatrance though not completely. So, up until now, most of what has been released has been danceable, trippy at times, ultra-melodic and brighter, uplifting goatrance mostly which some like to call fluffy goatrance. Where? All of this has been leading to this point in time where a new evolution has come across. Right here, right now. This compilation is raving psychedelic goatrance. I could say it's dark neogoa, but this is not how I honestly feel about it. It is different than simply dark. While I was listening to this, tons and tons of emotions were sparked. I felt shocked, joyous, happy, full of inspiration and energy. I was traveling through Motherships, Space, Alien Cities, Area 51 type twisted research facilities. I was in utter disbelief at times at what was I witnessing. The ride it gave me was wondrous, magical, almost enlightening. What this is, is 100% true soul successor to what once made goatrance so amazing in the 90s. Yes, eastern melodies and trippy fun grooves came from there as well, but the darker side, up until now, has mostly been untouched. The richness of this compilation is palpable in this aspect. Think of Cydonia or X-Dream with their dark and aggressive tracks modernized. The soul and direction is what they had. The quality of the tracks is utterly astounding. The sounds, melodies, leads, atmospheres, basslines, details are all immensely rich, psychedelic, twisted and the production is huge. The mastering here I cannot for the life of me ever begin to complain about. And a tiny thing that also completely shocked me that I find worth sharing were the samples. The samples used are freaking AMAZING. Ridiculous. Full review Please use samples provided in links to buy it to get a better idea along with my words. CLICK FOR SAMPLES NK-47 - Snufkin Is Gone NK-47 starts this wicked, twisted compilation with a considerably long intro. Usually intro's are around 1-2 minutes but here we approach a whopping 3.57! I very often think intros are really good and too short for what they offer. They always seem to have a strong, strong storytelling aspect to them and this is no different. An echoing caveish noise with water moving through in a river, organs arrive that make the mood absolutely sinister. Samples arrive "oh god, so alone" and a answer to that. Then sounds that remind of harmonica arrives that just further make the atmosphere twisted and spoooky. Some swirling effects and sparkles fly around in the atmosphere. "You delivering his package isn't that weird?" "It's not weird at all". Bassline is is dim, crystalic melodies move around and then it comes to a twisted chilling end. I Personally love this. It creates such an immense atmosphere, so much storytelling. I enjoy this so much I'd love a whole album with a style like this. And it is weird to think this is made by a guy who made just simply melodic neogoa ala UAF style. Subra - Nervous Machine Subra aka Mike A aka Cronomi's owner is back again and boy am I glad. He has that superB unique sound signature in whatever he touches. It's completely unique too as the kind of sound did not exist in the 90s at least as far as I know. Acid leads, sinister atmosphere, some chordish sounds lift this track off, big pumping bassline arrives, sparkles floating around like glowing flies. "The nervous system is a complex network of nerve cells and nerve fibers spread throughout the body." triggers the track forward at a steady speed. Constant acid lead, lots of different dark, twisted layers, some samples continue to push this track steadily. 3:37 takes a small break and makes you float around peacefully, the sample arrives yet again and then bassline comes back. Acid once again knobbed to hell and back, literally. This is so sinister and dark. A twisted melody arrives at 5:14. 6:34 the melody disappears and we float again towards the end. Trippy, pumping, drilling track. This is why I want a full length from Subra. Portamento - An Expert On Humans Next up comes a new track from Portamento. His sound has generally been a tad darker than others but I have had no real opinion on him yet. Again the track is greeted with a lengthy intro. Some scary sounds are heard in the background whilst walking towards a lost temple in the middle of a dense jungle. Something like dubstep reminiscent sounds come up at 0:40. 0:55 introduces these metallic alien growls, actually a really fitting and funny, though it doesn't really break any atmosphere, sample from Futurama arrives. It's as if the temple was in fact modern and alien on the inside as the jungly feel is a little lost by now. 2:26 acid farts! Young lady I'm an expert on humans (Referring to the male character 'fry' as a lady). 2:38 nasty growly acid farts prowl through like a strong current. Absolutely magnificent acid leads arrive at 3:08, atmospheric alien pads as well. 3:32 makes gives another tasty acid lead, melody starts growing at 3:50 and then when it finally arrives at 3:58 we are on for a ride. Absolutely mad twisted psychedelia atmosphere! 4:51 break time, we get a small rest before the re-incarnation of atmosphere and sample use again "is there a human doctor around" 5:34 growling acid that seems confined wanting to break out continues the ride. Acid lines and farts come back once again and it never stops being tasty. A melody arrives and starts to evolve around 7:32 where it just keeps messing with your head with all the sounds just flying everywhere. Powerful balls to the walls track. Re-reading what I wrote I think acid fart sounds so wrong when I refer to it being as tasty as well, but what can you do. It literally is acid farting by the way it sounds. Oh well. M-Run feat. DJ Inada - Kapala Here comes a debut from M-run with the help of DJ Inada. Track feels already like a heavy spaceship floating through space, some bouncing effects arrive, tiny star-like sparkles in the background. A BIG bouncing bassline arrives and the spaceship just turned on it's engines. Tasty acid bounces and - what is this; pleadian-esque synths? It can't be! I am in love with these sounds! Some inwards synths, a completely spaced out melody arrives at 2:50ish. Metallic Pleiadian birds floating around and 3:17 HOLY SHIT BLASTOFF! This absolutely insane magnifico power so twisted and psychedelic. 3:47 some calmness and off again at 4:00 with even more power. Warp speed please! This is no ordinary spaceship this is a mothership that carries state of the art machinery. It calms a little to show there's so many simply cool layers and texturing on this track! Track picks off a little again and 5:11 again just simple rowling power with fan-tastic effects! 5:27 calmness, a great sample "mystical, spiritual... do I sound mystical or spiritual to you?" Bassline is back and we are on the road once again. Some tiny melodies again growing like unknown alien species. I find myself completely engulfed in the atmosphere. 7:32 Pumping power lift off once again. Just utter rollercoaster. Some more calmness to establish mood arrives as it was planned. We are arriving at our destination and 8:58 is just showing how sinister and alien the location is going to be. Some more madness ensues. Track slows down and leaves the listener wondering what would happen next. I really enjoy the fact this track takes constantly breaks, it bring a nice contrast to the production. Lapsus - Holocron "You will take us to the holocron!" Best sample ever? Maybe! It's fucking close if it's not though! It is SICKLY GOOD. The way it brings out such angry power coupled with the soundscape and editing. It makes my stomach turn just thinking how GOOD it is. This is lapsus, better known for his unique take on immensely aggressive goatrance. Baby of Filteria and Pleiadians if you could say that, at least the style reminds of such. The sound is absolutely unique though and this track is a complete and utter ride through dark sonic voyage of a futuristic location that houses a strong religion that is dedicated to gods of destruction. It's just simply sweeping through everything in its path with the rattling synths. A massive whirlwind, tornado, never stopping. The melodies are amazing and the bassline is so pumping and dark and the final melody at 6:50 is a complete head twister. This will rip through dancefloors no doubt. M-Run - Goat Man Here we have M-Run once again showing his talent. Bizarre alien sweeping, atmospheric futuristic halls. The doors are transparent and show captives but these aren't humans.. they're ALIENS! Sickly good bassline arrives at 1:10. We are walking through the halls of Area51 ala 2150. SuperB synths arrive. 2:00 sweeping acid leads. Twisted knobs turning 2:35 you just can't stop moving soon you will find something to run for... sample... 3:05 twisted mad psychedelia rip your head apart this synth work beats so many classics, fuck me it's so GOOD. This track makes me smile so much it's just so fucking good! The atmosphere is so perfect, the power is palpable - absolutely pure. The samples are so magnificent. This track actually brought tears to my eye. It's so fucking good. This is just so goddamn good. I love it from the bottom of my heart. I CANNOT stress this enough. PERFECTION. AND IT LAST ELEVEN FREAKING MINUTES!!! AND THEN THERE'S 7:18 THAT TRANSCENDS EVERY SPIRIT ON EARTH TO THE GARDEN OF EDEN WHERE EVERYONE GETS EVERYTHING THEY EVER WANTED AND THE WORLD BECOMES WHOLE. This is actually me being in ecstasy. How many tracks have done this to me? None. Ok, a couple have done things extreeeeeeemely similar(que Sky Technology - Reactor Of Life, Merr0w - Citrus Circus, Pleiadins - Maia.) but this just takes it one step further. M-Run have my babies. GoaMech - Synthesized Not Yet First things first. This name is badass. Goamech, it sounds like an epic destructive anime mech in the spirit of Gundams. Though that is to give more of the general idea, as I doubt many of you ever heard of Vanquish. Just dub this track on and you know what I mean by GoaMech sounding badass. Track starts with epic futuristic atmosphere with some nodding towards old school type of sound especially with those claps. Huge twisted maddening atmosphere and groovy melodies continue with twirling acid and other tiny layers that just add up to a big whole. At 8.45 comes a break where from at 8:55 we get such a twisted sinister melody that is just hampering all the good willed. The futurism and badassery is so apparent. This is pure psychedelia in goatrance clothes. E-Mantra - Perihelion Suddenly, gripping dense gloomy atmosphere fills every inch of the space. Star-like tiny details start floating and sweeping around. Bassline thumps a journey moving at a steady pace till 3:25 where a melody appears that intensifies the dark void of space. It is so deep that I would actually say it brings a layer of spirituality. 5:20 another melody much more sinister this time arrives. The track then continues the ride towards the end where a more hopeful melody sinks in for a small period and then echoiy empty sounds take us till the very end. Nothing overly major happens through this ride but what a ride it is. This track is all about pure atmosphere, groove and those it has, loads and loads. New Born - We Are Nothing But Dust Old school styled acid bassline with groovy tweaking is greeted. Growling metallic synths amidst the soundscape and the hihats arrive. Really cool echoing melodies continue and then comes a growing melody that is constantly upping the ante little by little. Break comes, twirly acid melodies everywhere. Then a soothing but trippy melody arrives and takes off at 3:55 where it shows a little bit of upliftingness. Additional joyous playful melody arrives at 4:35 which continues till the very end - leaving the compilation with more of a happy accomplished feeling rather than something sinister and dark. In my opinion this is a revolution when it comes to Goatrance. This experience I had was amazing and unique. In the bright sunshine filled scene, this acid drenched infested trip is like from another planet and, hopefully, changes things. Thank you to all of the artists who contributed and thanks to Cronomi for getting this released. And please, people, check it. I cannot stress this enough. Do it. Some label thoughts on this compilation. Where to get it and samples? http://beatspace.com/dettagli/dettaglio.aspx?id=6137 http://www.psyshop.com/shop/CDs/crm/crm1cd004.html http://www.goastore.ch/product_info.php?products_id=4324 http://www.saikosounds.com/english/display_release.asp?id=8713 Also you can private message DJ Inada aka HappyHorse if you want to order directly from the label and please do so as it 100% supports the label! http://www.psynews.org/forums/index.php?/user/4387-happyhorse/ Discogs Details http://www.discogs.com/Various-Erta-Al%C3%A9/release/2776370

This is mostly (90% of the time) true for me as well but this album did it the other way around to my surprise.