Jon Cocco

Thanks for the links! With some research, I think I'll purchase the album on Amazon MP3. I'm glad they made it available there. From what I've heard so far, it sounds beautiful in a relaxed, background, meditative type of way. Very subtle and moving. I hope to download it (legally) soon. Yagya: Rigning ... longer samples / order new (thank you Nurbs): http://microsites.sendingorbs.com/so011/ Samples / Order MP3 http://www.amazon.com/Rigning/dp/B001R9AQAM/ref=sr_1_1?ie=UTF8&s=dmusic&qid=1261068908&sr=8-1

Where are you all listening to this album? I went to saikosounds and psyshop, but the only thing I found on either site was this group's previous album on saikosounds (which sounds really nice btw). Can someone please post sample links so people interested know where to sample and/or order the album after reading the review? Update: I found it at discogs but over-priced. Shouldn't saikosounds sell this? Where else is it available?

E-mantra - Arcana Suntrip Records 2009 01. Praying Forest (Short) 02. Shamanistic Rituals 03. Last Encounter 04. War of The Hierophants 05. Approaching Nibiru 06. Dansul Ielelor 07. Ninive Under The Stars 08. Beyond The Boreas Arcana is one of the rare, dark Suntrip albums since Ka-Sol's Fairy Tales (2006). Darker not so much in the horror inspired Goa but a more otherworldly, atmospheric, and tonal sense. The artist seems more interested in creating an atmospheric world rather than individualizing melodic leads amongst layered backdrops. The result is unlike anything I have ever heard, one that you will really like or not, or like me- enjoy and appreciate to a degree, while admiring or maybe even finding less enjoyable to other degrees. Some of this album fails to engage my attention, and yet some parts I find terrific, novel, and fascinating. Some of the work on this album is superb. Opinions vary and words can only describe. 1. Praying Forest (Short Version) starts the album off with heavy, interesting atmospheric. The voice sample around 0:43 sounds like a super villain from a strong horror or Sci-Fi film, creating an evil vibe not present to this extent, anywhere else on the album. A beat appears within the first minute and occasional sounds arrive, repeat. Little seems to stand out in the first several minutes, until a clashing sound enters. It's fairly catchy, and remains in the background as more twisting sounds arrive. Unlike Pleiadian's and most space Goa however, which released strong leads into the swirling, elegant atmosphere, this song lacks a main melody. The reoccurring bass line and beat soon grow tiresome. A transition takes place around the third minute; breaking up the monotonous beat a little. But when it returns around 3:47, not much has changed musically, save for little tweaks, certain sounds rise up like little waves. But unlike artist Ethereal, who is known for creating elegantly flowing (rising up/down) Goa sounds like waves around an oceanic atmosphere, the sounds here are not so capturing, primarily because they seldom develop like melodies. Several minutes go by and at 5:34, the beat fades to accommodate a spacey transition. This area, from 5:40 to 6:10 is pretty good, catchy. The sounds are more alive, animated, more of what the song needs as opposed to relying on heavy atmosphere and textures with an often repetitive beat and bass line. Yet another artist who created a hypnotic vibe around a fairly repetitive beat and bass line is Filteria with the massive Earthrise track from 2009's Daze Of Our Lives album. This song however is too repetitive, uninteresting; it lacks the magic often built on a foundation, though several good ideas arrive later on when the song is almost over. I'm not why the E-mantra released this number as the first impression opening, let alone the album. It's mediocre. B- 02. Shamanistic Rituals begins with a voice sample in space. It sounds a bit awkward, considering the atmosphere (we're in space). With all of the alien backdrops, I thought we were on another planet or galaxy void of people. Aside from the otherwise cool (minus suspect voice) opening, the beat picks up and is enhanced with numerous details. Again, the atmosphere is great. The song introduces some decent sound fusions within the first several minutes, upping the intensity, but they don't develop much. A howling dog or wolf appears at 3:50 which takes away from the track in my opinion. Again, the general music was producing this other-worldly feel until the sound effect arrived. Directly after the howl is a gripping synth, and another. Unfortunately, the howling dog appears several more times; it's distracting, and just as the song's heating up. The melodic elements, sound work is catchier than the opening. Various, attractive sound fusions build atmospheric Goa islands, thicker sound spaces without the fun of a soaring Psy-rhythm lead often present in Psy/Goa albums. Around 6:25 introduces an aggressively enhancing sound, a transition, and a sweet little build up. From 6:45 to 7:39, I'm hooked in anticipation. Suddenly the beat returns, not a climactic rush, but similarly to before, and here is the problem. The artists had a chance to evolve the track, but they basically continued it, thus producing the buildup as a short lift rather than a fun transition into something more interesting, exciting. That said, the song does improve to some degree; it has some really nice elements, sounds that enhance the more open rhythm and textures, but the last third is basically a rearrangement of the first two. I can only imagine how magical this song could have been if the Goa work was even a third as developed and present as the wonderful atmosphere. Good track. B 03. Last Encounter has a short introduction, which is fine. The crisp and metallic melodic elements stand out; they're gripping. A voice sample around 1:57 is catchy too, making us feel as if we're in or around a space ship. Suddenly at 2:16, a sweet Goa melody/sound sentence appears. It's great. Two delicious sound/melody sentences take place here, a fast, tasty one, and a core, intensely supporting one. Both are complimented by creatively great drum work, adding strength, variety, and sound diversity to an album in need of it after the first two tracks. The drums leave around 4:25, and we reach a less intense zone in space. At this point, the core beat changes up, and one of the album's greatest strengths arrives, it's mid-tempo work. From around 4:40 to 5:30, the entire track shifts from atmospheric up-tempo, to smart and gripping Psy/Goa mid-tempo. This part is contagious; it's so catchy! I would love to hear more of it, developed. At around 5:40, the beat picks up, returning the music to its up-tempo opening with more energy and refreshment than at least before the solid transition. An elegant melody arrives towards the end. The sound is similar to Goasia's beautiful Sunrise track, but the execution involves less notes and support, so it feels less a leading current than a stand out melodic element. Nonetheless, a strong harmony is produced, elevating the album to higher ground in Goa space, similar in concept to what I've heard from artist Cybernetica on his spacey, tasty Nanospheric album. I wish that the album began on this track because it's great, and a clean slate relief after the first two nearly lifeless numbers. Great work! B+ / A- 04. War of The Hierophants starts out similarly to old school Pleiadians, sound- not melody wise. Not much takes place past the load of sounds, atmosphere in the first several minutes. I don't want to say they're filler, but they're nothing to build a portfolio around. Then something happens, OMG… from 3:58 to 5:00 is one of the catchiest moments IMO in New Skool Goatrance. The song's up-tempo speed is tweaked and shifts to mid-tempo. But it's not just that, but the synth leading choice, and how the artist enhances, echoes, and utilizes it. The result is a psychedelically irresistible treat that outdoes the other tweaked (mid-tempo?) segments on the album to date. I love this part and find so catchy and gripping, which now raises a huge question. Why can't the uptempo (synth leads) work be this catchy? After 5:00, the music returns to its up-tempo formula, but its new elements lack the dynamic progression, arrangement, and capability or catchiness that made Pleiadians, Filteria, and many other Goa artist tracks, for instance, grow even catchier in the final third. The final third of this track is okay; it's filler to me in comparison to the stylish, kinetic mid-tempo part. This is a solid song due to an awesome segment where the song basically goes into innovative metamorphosis in the middle third. That part I'd give an A, but the overall track I find solid, nothing spectacular. B+ / A- 05. Approaching Nibiru increases the intensity. The beat releases right away. Hi-hats enhance alien sounds, backdrop. The song enters a fairly interesting transition around 1:30. The atmosphere is generally eerie, cool, as if wind is moving through a funnel or filter. The effect's good. Some Goa sound enter within the first third too, though they seem to develop more around 3:15. The song improves when an echoed, psychedelic, rising up tune at 3:35 gains status, followed by another around 3:50. Other sounds in the distance are effective, and the rough tune/sound enhances the track for several minutes. Also catchy is distant cheering (without the sound of people per say) around 2:49, earlier on. Tweaked details like these are cool, unlike the obvious, howling dogs in the less stellar second track. I'm more engaged by the work here. The song basks in background textures and atmosphere until 5:44, when an inspirational melody lead (to some degree) enters. Thick atmosphere enriches this driving tune, soon supported by others. The rhythm is quite hypnotic and effective in this number, but it seems to lack something to make it stand out more among all the strong backdrop. This is a pretty good song, but nothing spectacular. B- 06. Dansul Ielelor is one of, if not, the best uptempo track on the album. This is due to strong melody/sound work that develops with numerous supports, and an occasionally revisiting rhythm, like a chorus. Both compliment the atmosphere. The emotive tune early on is gripping, soon coming together by psychedelic and catchy, melodic synth work. The melody that enters around 3:00 is good too, if a bit simple, but quickly altered, arranged with newer sounds, and strengthened by even more melodic supports. The first two thirds of the song are interesting; they build nicely; the last is strong too. Here, the energy picks up, enhancing the song. New sounds enter; they're great and confirm the amount of time and work invested in the song, with more addictive results I might add (the arriving Psy-melody around 5:50 being just one example). I wish that the uptempo tracks on this album had more sound/melody work (energy and excitement) invested around the great atmosphere and backdrops as existent on this song, for instance. This is one of the most enjoyable songs on the album. Great work! A- / A 07. Ninive Under The Stars has a continuously hooking, addictive sound, thanks to an impact effect that doubles the beat at times. The number is built on a strong foundation, and includes moving, atmospheric elements. The beat is joined with catchy, a metallic (that impact) sound, and soon supported by a powerful beat. The interlude in the middle is perfectly timed and mixed. For instance, it enhances the song by letting the music return with elements that are more interesting, that support the mid-tempo feel. Thee song goes in one direction, like Radical Distortion's Dying Earth (mid-tempo gem) on 2009's Psychedelic Dreams album. This number may seem uneventful for some, but is well done throughout. The sounds are nicely selected and brought together around drums and atmospheric elements, making the end result pretty powerful, contemplative, and driving. Background melody work around 1:40 sounds inspired by Khetzal class Corolle album; it's ethnic, Indian influenced possibly, and deliciously crafted nonetheless. The atmospheric interlude from around 4:07 to 5:00 is effective too, letting the song chill before returning. This song further develops with determination and fluidity; showcasing another side of the artist that's strong and deserving to produce more songs that are slower. Ninive Under The Stars is darkly rich, determined, powerful and engaging from beginning to end. A- / A 08. Beyond The Boreas ends the album with a second mid-tempo number. Personally I enjoyed the previous track more and feel that the album may have sounded even better had this come before Ninive Under The Stars. But some enjoy this more than that. Nonetheless, this is solid and refreshing. Think of the psychedelic work in Filteria's track, Float Away and Disappear, only without the elegant, arguably offbeat opening and closing, and well that song had a catchier center-third IMO. Beyond the Boreas maintains a spacey atmosphere, subtle harmony, contemplation, and visuals via soundscapes. The artist's mid-tempo work is musical and great from what I've heard throughout this album. I simply wish there was more of it, and more development of melodies, arrangement, etc. That said, the melody/sound work is given time to develop to some degree, and is complimented by ambient notes. The song tells a story and is more focused on its musical element than atmosphere. The sounds work is catchy, and enhanced around 5:12. The psychedelic rhythm is coupled with numerous, altered and echoed sound sentences. The ambient notes in the last minute are very well done too. I simply wish more harmony and emotion, to this level, took place. But many listeners seem to enjoy this song just the way it is. This is a smart and enjoyable mid-tempo number. Great work. B+ / A- CONCLUSION Arcana has some incredible strengths that sneak up when least expected at times. But its weaknesses leave much to be desired. I love atmosphere, the floating textures, and especially the immersive and tweaked (from uptempo) interlude-esque transitions that take place numerous times throughout the album. These are so interesting, more than the overall tracks (at times) themselves to me, in that they stand out and feel less repetitive. I miss that the songs lack memorable synth leads, tunes that brought to success virtually all known Goa artist today. Moreover, Arcana has a general bass line and beat that adds to this uptempo repetitive, especially in the first two, and occasional other tracks. As if intended to emphasize hypnosis, this approach generally works best when the sound/melody keeps my attention. Here the artist develops these massive, psychedelic foundations that are impressive. However I feel that he forgot to add the fun melody synths that compliment them. There is some memorable melody/sound work, but not enough to recommend the album for its melodies, synth leads, etc., despite there being a ton of melodic ingredients, like bits and pieces, soundscapes to accent and accentuate the moving atmosphere. Just listen to Tandu's Multimoods album, also dark, but infectious, but not half as atmospheric. That said, some will really like the cranked up, atmospherically detailed worlds here. But on the first two tracks, I can't help but feel an emptiness, a desire for a catchier synth (or synths) to hook onto. Some listeners may be put off for this lack of ingredient, while others may love the atmospheric, innovative approach to moving soundscape textures over an album that also emphasizes more fully realized melodies, not that there isn't any. They often appear already developed, sounding good albeit simple in nature before exiting. Hmmm... Arcana is one of the most unconventional releases in Goa Trance -- not just the second wave we call new school (skool) Goa. it's bound to draw some mixed reactions around its ingenuity and triumphs. To me, all the atmosphere and floating textures in the world cannot replace an album that has, but also seriously lacks memorable melodies to boot. Trust me, there's some on Tracks 2, 3, and 7, and a few segments on other tracks here and there. If the synth leads were as engaging as the atmosphere, developed soundscape/textures, and MID-TEMPO (!!!) segments and tracks, Arcana could have been a masterpiece (in my mind). The up-tempo work (roughly two thirds of the album) could have used more energy too (a few more buildups, climaxes, surprises (!!!), focal melodies, etc.). That said, I LOVE the tweaked tempo segments, e.g., Track 3 and can't deny the album is innovative and interesting in some ways due to its unconventional approach. I like that the artist/label released something different! The album improves as it progresses. It reaches Dansul Ielelor, a terrific uptempo track with memorable synths among the soundscapes and atmosphere (So I know there's potential for more). The album ends with two solid mid-tempo gems. To sum up the album, melody (synth) leads take a backseat to strong atmosphere, floating textures (soundscapes), though I'm glossing over a ton of development and creativity with that "sum" up. Suntrip Records released a handful of Goa albums in 2009, and I would listen to (and have enjoyed) Filteria's DoOL over E-mantra's Arcana. But to be fair, atmospheric and abstract lovers of Goa Trance will find something to explore and sink their teeth into here. It would be cool if next time, the artist produced more synth leads drenched in atmosphere (the backdrops that take a front seat here in concept, too) in addition to the mid-tempo elements that are catchy and fun! Think Pleiadian's I.F.O. meets Tandu - Multimoods in concept, but through the innovative sound, atmosphere and labyrinthine vision of E-Mantra (Update: Pathfinder though a pretty good follow up to Arcana musically speaking, did not seem to fully realize this desire. As I put "out there" in 2009… a sequel that keeps the wonderful atmosphere, floating textures, soundscapes (without getting too busy or overcrowded or too high pitched and similar SYNTH sounding like Nemesis (2014) -- an otherwise great album at times), and adds some infectious synth leads here and there. Not always, but at times to really enhance the album as worked great on Pleiadian's IFO, Tandu's Multimoods, Cosmosis's Cosmologyp-- songs and albums we love and memorable because of those tunes now considered classic. Imagine that with the memorizing backdrops of E-Mantra! Favorite tracks - 2, 3, 4, 5, 6, 7, 8. B+ / A- Samples / Buy http://www.suntriprecords.com/release/cat/SUNCD17/ http://www.suntriprecords.com/releases/ http://www.psyshop.com/shop/CDs/sut/sut1cd017.html

Shpongle - Ineffable Mysteries From Shpongleland 2009 Track list 1. Electroplasm 2. Shpongolese Spoken Here 3. Nothing is something Worth Doing 4. Ineffable Mysteries 5. I Am You 6. Invisible Man in A Fluorescent Suit 7. No Turn Un-Stoned 8. Walking Backwards Through the Comic Mirror Finally. A downtempo album that is up there with Solar Field's Movements. Ineffable Mysteries From Shpongleland is better, more in spirit with the essence of Shpongle than the previous album, which sounded like a great albeit rehash in some ways (to many people) than the previous two masterpieces. So how does the fourth album compare to the others? 1. Electroplasm is an engaging opening vehicle. Wow. Ethnic inspired, dark, groovy, intricate. It goes from dark and moody to ethnic, moving, and intelligent/driving, and back to dark, wickedly musical. Superb track. A 2. Shpongolese Spoken Here is great, though takes some time to pick up. It's continuously changing, smooth yet twisted transistions. Great guitar work - beautiful. The song becomes more peaceful as it progresses, finds itself towards the final third. The opening is more powerful IMO. That's fine though; this is great and adds substance, beauty whereas the last was more driving and devilishly ethnic. A- 3. Nothing is something Worth Doing as in meditating, being still I presume. Beautiful acoustic, drums, and infectiously incoherent vocal work, progression, drums. The introduction is attractive and leads us into this colorful like poetry, as if we just sat back to relax and fell through are carpet into another land. A- 4. Ineffable Mysteries is wonderful. The introducing sounds like a cross between a circus or zoo is in the background, and then that sense of scenery joins a mysterious, floating roller coaster track into the colorful, fairly dark unknown. The feeling throughout this album is GREAT. The male vocal work around 1:44 is alright, and gets quite catchy around 2:00. A low pitched, circus like melody soon arrives with several supports, complimented by an en elegant, ethnic Psy score. The song never falls into circus sounding cheese like a track or two did, going for the circus sound on Talpa's 2008 album. Entering flute work sounds great with the developing, psychedelic harmonies. Ambient and other instrumental work gives the song a nature edge to its electronic element. An sweet, little psy-interlude in the mid-fourth minute is cool albeit short before the track introduces a new wave of experimental, wild yet flowing musical scores, instruments, and bang-a-ranged, stylish vocals. The song is eventful and interesting from start to finish, even if it overloads the senses to compensate from having a clearer vision. The result is a track filled with sights and scenery, that develops- layers flow seamlessly into one another with the core, psychedelic, and groovy, animated artwork and foundation. Ambient notes towards the end produce a heartfelt degree of emotion. Great/excellent track. A- 5. I Am You is another strong track, one with lyrics, vocals. Having a vocal track is smart for numerous reasons. While I'm glad they limited dialogue to one track (there are some in Track 7), the musical overtones are far from mainstream in the generic sense. The lyrics work, exist mainly in the middle third. Although a few later samples sound more random (giddy maybe to spice it up), the overall song strong. It seems to attempt being two things however (singing piece and musical evolution without lyrics), and in that I appreciate that, probably more than had the song been lyric full. A- 6. Invisible Man In A Fluorescent Suit is one huge, musically rich and absorbing, emotive and suddenly powerful, climactic buildup. FIlled with colors, wonderful textures, strings, and more; this is one of the most engaging and emotive track I've heard all year. A floating transition or what appears to be an interlude begins at 5:23, but soon develops into a healthy, musically deepening evolution of the song. Coupled with uolifting melody/sound work towards the end, the song is fortunately not one-dimensional (the great albeit linear first five minutes). Another great, if not excellent track. The awakening feelings are beautiful, and the mind that is conscious of them. A- 7. No Turn Un-Stoned is another great track. The female vocals are good with the bouncy bass line and acoustic/ambient backdrop. I think some will have preferred this track to have no lyrics, but the female vocals and lyrics I find, give the track a fairy tale/escapist edge less present in the others. The music is wonderful, sounds trip-hop almost if not for all the Psy-art that continuously swims throughout its sea of sound. A- 8. Walking Backwards Through The Cosmic Mirror is magical. Remember the last track on Younger Brother 2? Well this sounds nothing like that, aside from the building emotion drive at its core spine. The song gets better, more thoughtful, developing, surreal, and infectious as it progresses. A major hook is soon after the three-minute mark. Water droplets appear, soon joined by an electric guitar that is barely heard thus not distracting from the PSY sound in the front. This small detail factors into the mix, fades, and a catchy beat is triggered off, instigating what appears to be a Goa aggressive melody/sound at the five-minute area forward. This part is super. The song is fierce and aggressive while remaining smooth and sleek; the voice samples compliment until the 6:30 forward coming down peace blanket. Excellent, intelligent, and memorable closing. A In conclusion, Ineffable Mysteries From Shpongleland involves more work, magic, and innovation than the previous Shpongle album, which I enjoyed but found good/great overall, not excellent/superb. The album does have a more worldly edge than previous Shpongle albums, and I love it. They haven't eliminated the Psy work or it wouldn't be Shpongle. This is definitely a trippy album, more than on first listen. I admit one or two tracks seem more World at times than Psy/Chill, but the innovation and musical element is more intricate, imaginative, and infectious than most World albums out there. Furthermore, Shpongle always had an ethnic edge present on previous albums; numerous innovations have been created in the open field. At times the album sounds like a cross between an awesome, new Younger Brother release and Shpongle. The only track I'm not in love with is I Am You; the voices (that begin around halfway through) make the song feel less spacey and surreal than surrounding tracks. Although the dialogue is conscious aware; I appreciate that. That said, my mind is less present in the unlimited, surreal world because of the singing. I really do not mind such vocals on one track though, accompanied by delicious melodies and numerous other tasty musical elements and emotion. Ineffable Mysteries From Shpongleland is a contender for best album of 2009. It snuck up on me. I didn't know about its existence until November, 2009, and what a surprise. This is awesome to many (because some people will always be disappointed) Shpongle fans, and I'm thankful to Simon and Raja Ram for pushing the envelope once again and releasing a wonderful, passionately produced album. I'm really sorry that a few people are not in love with this release. I find it beautiful and a step up from the previous Shpongle album in so many ways. The album is harmonious, spiritual, floating, psychedelic, innovative, artistic, infectious, and fun. This may be my most favorite Shpongle album. Ever. Highly Recommended. Favorite tracks - 1, 2, 3, 4, 5, 6, 8. A- Samples http://www.psyshop.com/shop/CDs/twi/twi1cd036.html http://www.saikosounds.com/english/display_release.asp?id=8236

OMG. That's ridiculous! That cover is a BIG EGO STATEMENT (saying LOOK AT US) from some of the most influential pioneers in electronica. The only thing missing is an Infected Mushroom cameo with DUVDEV jumping in the background. Or my intentionally bad LEAVE BARACK ALONE!!! here... http://www.youtube.com/watch?v=cUeziroemDw So is the album OFFICIALLY OUT yet, finally, after all of this time??

SynSUN - Full Power of Goa First impression: This album is great and easily one of 2009's strongest albums. IMO all tracks are no less than great except for the first two and Dancing Shiva, which are still in the ball park of good. Hoffman's Delivery (suddenly this track becomes superb in the third to fourth minute) and Deep (awesome, dark, edgier) are insanely well done. And I love Sun Downward, sounds like a remix of one of the song's on his first release (with the big red devil). Ambient Sun is great or great too, though it would have been cool to hear a downtempo track. The album is one of the best new-school Goa albums on the market. Could someone please open a review thread for this in the 2009 section? If Dimension 5: Re-Release was included in 2007 or whatever, this should be in 2009. I'm absorbed in school work and may not be able to start a thread, at least not before finals. But I'd love to write something and/or post a review later on when I get a chance. And I have no issues with the sound quality or whatever as few people mentioned above. The album sounds great, and the cover's creative and catchy. Recommended for fans of Goatrance. Second impression: Excellent release. A-

Where are you guys hearing this? If someone has a link to longer samples, please post. So far what I've heard sounds great. Psyshop samples http://www.psyshop.com/shop/CDs/twi/twi1cd036.html

It would be nice if new avatars wouldn't take days (sometimes) to replace old ones. Do mods have to approve first I wonder? My old photo stays all stretched out (to compensate for the size of the new avatar) for days sometimes until the new one replaces it. Updated: thanks.

Samples? See below. http://www.saikosounds.com/english/display_release.asp?id=7998

List your recommendations of 2009, as many as you want. I plan on updating my list as the year progresses, until the official "BEST OF" thread appears in early 2010. Chill / Downtempo 1. Solar Fields - Movements 2. Shpongle - Ineffable Mysteries From Shpongleland 3. Fire (compilation) 4. Water (compilation) Psytrance / Goa 1. Filteria - Daze of Our Lives 2. Radical Distortion - Psychedelic Dreams 3. Merr0w - Born Underwater 4. SynSUN - Full Power Of Goa [Re-Mastered - Re-Release] 5. Xamanist - Initiation 6. Psychoz - 2012 No Return 7. V/A - People Walk Funny 8. Afgin - Astral Experience 9. Infected Mushroom - Legend of the Black Schwarma

Not to sound like anyone's gaurdian but including samples in a review's end are a kind and convenient thing. http://www.saikosounds.com/english/display_release.asp?id=8152

V/A - Fire Altar Records 2009 01. Chronos - Anahata Fire ... 3:56 02. Asura - Crossroads Limiter ... 11:01 03. Tentura - Resonance ... 5:53 04. Aquascape - Phoenix Dance ... 6:49 05. Chronos - Deep Unity ... 10:43 06. Aes Dana - Inter [Dawn Edit] ... 6:49 07. Astral Waves & Astropilot - Karma Cleaner ... 9:42 08. Zymosis - Summer Twilight ... 7:06 09. Uth - Around The Sun In Seven Days ... 5:46 10. RA - Tears Of Fire ... 8:00 Fire is the third compilation in the Elemental Series by Altar Records which will be released throughout 2009 and 2010. Such compilations include Air (released), Water (released) Earth, and Either. The compilation begins with an ambient influenced downtempo number by Chronos and ends with a new downtempo track by RA. The compilation has a variety of psy influenced down and mid-tempo numbers. A full review ensues. 01. Chronos - Anahata Fire begins with what appears to be flute, as a beautiful wave of ambient permeate the senses, like a spiritual horizon approaching. The opening to this track is instantly satisfying, echoing an ethnic influenced epic, in the concept of Asura's opening gem from their Life2 album. The number is compiled with tribal drums, several foreign/female hymns, beautiful melody/sound elements, and an awakening, musical sound and backdrop that create a wonderful beginning to the journey that awaits. I can't say that there's anything wrong with this number, though it could have been a little longer. I'm hooked from the very start. I like album's that start strong and improve as they move forward. This is a beautiful opening track. A- 02. Asura - Crossroads Limiter follows up after a heavenly opening; the atmosphere is more provocative and creates a strong foundation for a more ambitious track. The song, not including the ambient intro, is comprised of three general parts with build up and/or transitions into each one. The first act begins around 1:27, and includes a suspenseful, quietly moving (like an observer through an arguably dark and/or imaginative world in the "what happened?" sense) intrigue. Complimented by strong, alerting the conscious sounds, such as at 2:46, eerie echoes ride through the delectable soundscapes and atmosphere like lost souls. This first or so part is enhanced by the most simple of well selected sounds around 4:35; it's powerful, and I'd love to hear more work by Asura like this. At this song's point, I can imagine a star ship slowly going over a destroyed alien battleship, or an abandoned, mysterious planet; the ship is exploring uncharted territory, or going deeper into Pandora's box without the evil/Hell essence, rather the brooding mystery. The intro included first part's 5:25 is excellent. Suddenly, what I'll refer to as the second part begins around 5:26. This next section is shorter, and includes a variety of sound changes from the previous section, though one with a foreign, female singing voice from 5:26 to 6:12. While the music is good, the female voice seems somewhat out of place here relative to all that preceded it. To compensate for her arrival, I imagined a woman suddenly appearing, like a Phoenix spirit and dancing around a fire. However this sudden entrance drastically affects the wonderful cosmos-driven arrangement and appeal. The voice doesn't correlate well with the overall set up, and although the her voice sounds nice, this element could have been put to greater use in a less space/psy ambient driven song. Simply put, I love the track around this somewhat catchy but offbeat part. Past this smaller second part, a transition with a brief female moment takes place, from 6:25 to 7:16. The last section begins... At this point I'm very curious as to where the song will go... A gripping ambient layer arrives into the atmosphere around 7:50. Suddenly the beat picks up, supported by a strong Psy-altered melody; more sounds enter the rhythm to great effect, until one quite elegant provides great emphasis at 9:00 forward, gripping work. This last part is fluid, flowing, epic, and ascending. Included is a beautiful evolution too. The song may have received a perfect grade from me had the female's voice not been present, offsetting the journey momentarily, for me at least. The rest of the song is heavenly, a reflection of love, light, and awakening from out of the darkness I infer. With few exceptions, this is one of Asura's finest works to date. Strong, ambitious track. A- 03. Tentura - Resonance isn't as ambitious or as epic as the previous number, but it's involved and elegantly driving nonetheless. The first two minutes create a smart build up; various pleasant sounds mix into more psychedelic and moving particles in the downtempo era, until a strong and healthy moment lifts the tasty sound design into the air at 3:01. The slower tempo transforms into mid-tempo, as numerous Hallucinogen/Twisted's L.S.D-esque sounds compliment a sweet atmosphere. A wonderful evolution takes place around 4:20; pushing the song forward with infectious psy-rhythm and energy. Unfortunately this part only lasts a minute and the song isn't that lengthy, yet it's filled with enough delight to warrant good/greatness. This is very well done number with a great finish. B+ 04. Aquascape - Phoenix Dance is the follow up since last I heard a track by them on Altar Record's Air compilation; my favorite song from that album. While that track by them was more like a Heaven's crescendo, a buildup to a celestial awakening, this focuses more on having a consistent, trekking across the lands feel. Numerous elements are creatively arranged, developed. They, along with a breezy atmosphere compliment the voyage. Aquascape's sound is more motivating, uplifting, and romantic rather than psychedelic or danceable as was the previous number to some degree. But I really like their style and sound. It's positive, warm, creative, and developing. That said, there's not any particular moment here where the song wows me. But that's okay. It's fluid, fresh sounding from beginning to end. The melody work is effective and the drifting atmosphere compliments it. Good, if not great track. B+ 05. Chronos - Deep Unity can be compared to some degree with Asura's epic here, in the sense it's the second most lengthy track on the album; it's comprised of several distinguishing parts, like chapters in a saga. The introduction is fairly subtle, save for a fantasy-like sound at 0:32 which opens the door to an absorbing world. Build up begins among a sea of ambient and atmosphere around the first minute. This moment is elongated until joining one of the most simple and catchy downtempo particles I've heard so far all year. At 3:37, this moment begins; an electricity-esque sound a la Space Cat's old school Goa material. This infectious, sleek little sound is so catchy. It enhances the less sharp melodies and sounds that are more in harmony, reflecting nature and/or beauty to the traveling concept. The song is energetically lifted after a short, atmospheric, and more sounds enter, creating a beautiful mixture that is complimented by the addictive, little electronic element that I like so much. The track's first five minutes are excellent, but where will it go from here? The vehicle soon arrives at a space station, or interlude of sorts. Like a fast, powerful space ship getting equipped with boosters, stronger weaponry, and various other enhancements, the beat is enhanced by other drums; the song picks up into mid-tempo and really blossoms with energy and brightness. The latter enters around 7:12 and sounds great. Gone are the thumping sound effects, rhythm that would excite a dance around a fire. Fortunately, the development that provided power and electricity earlier on returns in the eighth minute here, though it's rather encore, conclusive. The cool sound like a short melody sentence then leaves to compensate for a great musical evolution. Returning in the end is the tasty, little electricity sound. This song is so engaging from beginning to end, and one of the best tracks I have heard all year. Superb track. A 06. Aes Dana - Inter [Dawn Edit] was the one track that concerned me, because not since the artists work on the Memory Shell album have I been engaged. It appears that the kick or beat has been raised however when hearing numerous compilation tracks over the year(s). Applying that observation to this track; this retains its strong kick. The first minute offers some pleasent sounds, meditative water like a flowing stream in the background. Sustained notes sound nice around the quick tapping of hi-hats. There's a catchy ambient sound in the background around 1:04; it repeats, and these elements I wish were more developed by Aes Dana, as what's heard around 1:37 to 1:42, and again around 1:53. A slow beat emerges, giving the track a different feel in its first third. The beat shifts into mid-tempo great at 2:31 and a catchy sound/melody arrives to encounter it into the second act. Background elements blend well into the driving beat, and aside from having a nice backdrop and atmosphere, the song basically follows one direction throughout its second half, adding various little alterations and sounds as it progresses. My problem with this track isn't the track in general, but how it sounds in relation to the other tracks on this album, which had so much more evolution, imagination, involvement, unpredictable area(s), and overall result. While this is a pretty good song, and from an artist that once made me smile, the track isn't as strong as the previous songs so far on this compilation. B 07. Astral Waves & Astropilot - Karma Cleaner has a very pretty sound to it in the beginning; the extended intro flows into the second minute until a beat emerges around 1:35. Layers soon begin to delectably blend, updating their harmonies with more emphasis around the beat at 2:37. The song has a worldly influence, from oriental to tribal at times and possibly Indian. Incoherent and/or foreign words skip a la Shpongle. The song is really a pile of great sounds all poured, then carefully arranged, pinched and tweaked like a fine broth. A center interlude makes possible the return of a slowed down beat, or one less fast than the previous mid-tempo section. An atmospheric buildup takes place, and the best part is around 6:57, where the song soars high above the clouds. Gone are the fluid waves from earlier on that kept the vehicle closer to Earth. The beat changes up, and the combination of melodies and sounds that join it are beautiful. Towards the last third is a great sound, though not too highlighted, reminding me of a sweet sound from older Enigma; the potential crossover, from New Age to downtempo works well. The song is also comparable to track 4 due to its healthy, wind influenced feel. However this has more movement because of its various, quicker melody/sound work. Great work. B+ 08. Zymosis - Summer Twilight is the one song on this album; I thought I was initially listening to RA's number do to Zymosis's flute(s), and an electronic sound in the background that reminds me of a sound from a track on the RA - 9th album. Those sounds work well here nonetheless, similar in concept to what Chronos did in track 5, though such sounds were more effective there. This sounds influenced by RA initially; the music that shifts this attractive yet less original impression begins around 2:12; it's good. The song appears to be building up, going through numerous motions in speed, though the beat stays back early on like an observer, waiting to jump in around 3:30. It enters like and/or along with breaks; the fast paced beat work merges extremely well with the sounds, creating ore zest, style. The sound art flows into a subtle interlude, growing musically varied though this peaceful transformation where the beat appears to slow down. The song emerges as an evolved kind like a human shedding its skin to a more aware presence. The song is just as gripping as before. The fast piano work stands out; it's great; I really like piano and wish more artists took advantage of it in their music. The song has a clean finish. From what began as a RA sounding rendition surprisingly immersed my ears as a refreshing number. I'm glad to see the artist(s) possibly inspired, and turning something into their own. Another great track. B+ 09. Uth - Around The Sun In Seven Days starts out with a deep hymn as if in prayer, meditation. A warm ambient emerges to growing sounds, soon accompanied by a strong beat. Catchy strings compliment a subtle hymn, but the beat and altering, shifting backdrop works best so far. During its first three minutes, the downtempo song develops a fairly psychedelic combination of sounds around more acoustic instruments. It doesn't seem like a core rhythm has been formed yet, but one with a continuously changing in structure literature. It isn't until 3:23 that a tune arrives; the fairly rearranging textures change less to support this lead. It's pretty catchy. I just think more could have been done with it, as it grows fairly repetitive, though soon changes up to accommodate a higher, more uplifting (and catchy) ground. It soon leaves however, opening the path to entering atmosphere, a beat-free interlude around 5:00. Unfortunately, the song ends soon after. This track reminds me of the third in the sense it's simple in execution, buildup, and offers many subtle variations around its less subtle sounds as it builds up to something. That something here however nice and improving as it progresses, is short lived. It would have been cool to reach an area even more evocative and worth evaluating, as the song sounds really nice. It's just not that eventful. Overall this is my second least favorite track on the compilation after Aes Dana's. Nonetheless, it's a good song with many nice sounds and elements. B 10. RA - Tears Of Fire ends the album with a downtempo track. It offers the gradually progressive structure of previous tracks, however it's execution is so simple, yet gripping. The center interlude is mysterious and compassionate, like an angel reflecting a heart rather than a human with a soul; the song sounds free from form, easy to move into whichever area of celestial realms it desires. Aspect I enjoy includes the beat's emphasis, and the momentary chorus-like enhancement that leads up to that beat, such as from 2:24 to 2:26; these take place numerous times throughout the song. I like the enriching sound around 3:37, and how the song so seamlessly, gradually strengthens as it moves forward. The little piercing the air sound at 3:52 is good too. Some may find the track good, others great. I simply wish RA experimented a little more. The song retains the spirit many of us have come to love, and the song flows extremely well as one would expect from the artist(s). Simply put, it would be fun to hear something more innovative, while also being gripping too by them every once in a while; they end the album with a solid number nonetheless. Great track. B+ In conclusion, Fire is possibly Altar Record's best compilation to date. As with Water, the songs are consistently strong for the most part. The album peeks multiple times, ending with a solid number by RA. Surprisingly there are a handful of tracks that impress me more than RA's. Fire is one of the strongest Psy/Chill (down/mid-tempo) compilations of 2009. I couldn't say that for Air, though I said it for Water that was released earlier in 2009. Both Water and Fire, along with Solar Field's - Movements will be on my TOP 5 Chill Albums of 2009. Well done! Favorite tracks - 1, 2, 3, 4, 5, 7, 8, 10 B+ Samples / Order here Psyshop http://www.psyshop.com/shop/CDs/alr/alr1cd003.html Altar Records http://www.altar-records.com/fire.html http://www.altar-records.com/preorders.html

Okay I just found them, naturally here. The album sounds great, worth buying. http://www.phototropicrecords.com/

Oooo.. I like the cover.

So finally, after numerous delays and several years, it's out? I can't find it anywhere to sample. ?

Wow. I never knew of this before today. Is there samples on Phototropic's site? Beatsdigital has good samples where I heard it. The album sounds great; I thought SynSUN was falling from Goa until I heard this, though its an old release, sounds like a new gem to my ears; the style is colorful, fresh, and fun. Why is it not on saikosounds or psyshop? Samples http://www.beatsdigital.com/index.php?album_id=91148 The album sounds nothing like his newer stuff, unfortunately :; I just came across this 2008 release today. http://www.psyshop.com/shop/CDs/pho/pho1cd403.html OM (Open Mind) your current video babe sig appears to be crashing my browser. I can't navigate through page 1 without my page freezing, computer crashing.

Thanks you. This is the first time I have given a full A to a new school album. It's nice to see readers who follow my reviews over the years. After three main albums over 5 years, this artist was determined to produce an album that according to many people throughout the world and myself, is wonderful. So he should probably take a break after this, but not quit producing. Surprisingly, my favorite Suntrip Record's release to date remains RA - 9th; I just loved the down, mid, and uptempo variety on that album, though I gave 9th a lower score. Nonetheless, Daze of Our Lives is awesome, beautiful, superb. While Sky Input has an intensity and sheer sensation unmatched, Daze of our Lives is more fluid, mature, intelligent, evolved, and varied with sounds, melodies, and atmospheres. It's enjoyable to listen to from beginning to end, far more than previous Filteria albums I feel.

Xamanist - Initiation 2009 1 Machu Picchu ... 7:07 2 Dancing Samadhi ... 7:15 3 Truth And Beauty ... 7:28 4 Across The Universe ... 7:07 5 This Is A Warning ... 7:40 6 Intergalactic ... 7:46 7 I'm Just Amazed ... 8:21 8 White Magik ... 7:48 9 Atlantis ... 7:00 This is a thinking outside the box album, relative to the artist at least; I can't imagine him not becoming absorbed in his imagination in order to create this. That energy has taken time to grow on me however. I heard Initiation earlier in 2009 several times, and I wasn't sure what to think of it. I think that the far out/artistic style came across as more alien and experimental to me than instantly enjoyable and addictive, though I remember liking parts of it. Other parts I had to let grow on me until I heard this album the week I wrote this. Nonetheless, there appears to be a high amount of experimental work, innovation here; it's done in the broad spectrum of psy and trance and well, another possibly sub style could/may have emerged out of this, but experimental psy and/or psytrance will do for now. 1. Machu Picchu starts with a unique blend of ambient, atmopheric sounds. The Terrence McKenna sample I could do without, primarilly because I've heard him so many times in so many albums. The artist keeps him to a minimal in the very beginning here. Following samples are interesting and provoke attention. The beat soon kicks in and a mix of bizarre/strange sounds compose a structure. The album has many of these unique aspects that I can't say I love or hate; they just are and in a sense showcase the artists mystic/modern style. It makes good backdrop but it isn't until around 2:07, with a more ear friendly sound that hooks me. Suddenly all of the strange background textures make sense in a weird twisted kind of way; the song gets better, more psychedelic as it moves forward. I'm not completely captivated yet though. Cool track. B 2. Dancing Samadhi is another interesting track, darker, more tribal sounding but not/never becoming to tribal trance. The thumping, driving drums are good, combined with piano and/or various instruments. A sound around 1:32 is catchy; the bubbly song moves forward with a llittle attitude which I like. The laugh is cool too. What I don't care for is the melody/sound that begins around 1:53 and goes until 2:30 because I have heard this sound before, as if it's from another song, movie, or something. I believe to know that sound too well and wish the artist created and/or chose something else. The sounds that accompany it are really good though, creating a hauntingly playful, dynamic, and musical treat. B+ 3. Truth And Beauty has some beautiful melodies which go well with the ever changing backgrounds. The second half of the song sounds completely varied and different; both parts have very good sound/melody work and hooks. This is another solid number. B+ 4. Across The Universe starts great. Wow. Now this is more of what I like. The beginning is dark and haunting, atmospheric. The melodic elements are like angel particles, elegant bits sprinkled over the twisted screams and eerie atmosphere. The beat changes up; an interesting mix of sounds arrive around 2:00, and I'm not sure where this western-esque part is going, though the the rhythm is soon joined with a sound, creating emphasis to the darker elements, a smart move. A unique interlude hovers around 3:00. The howling effects are well placed, altered, distorted. As we reach the center, new formations of sounds mix with previous areas, some now removed, creating an intricate, non-linear approach that's gripping. I wasn't a big fan of the initial melody in the first two minutes. An excellent part is when the beat is enhanced around 4:25. The section past that is dark and/or intense and engaging too. Great track! A- 5. This Is A Warning is another vibrantly layered, well done song with a wonderful sound fusion around 5:45 forward. I love the part from 5:53 to 5:50 and how that moves with various other sounds. The computer/robotic sound effects a la Electrypnose (2008 release but different in style and effect) are catchy. They add sweet textures to the dynamic sound art like water in the ocean in the sense they seem inseparable and flow extremely well. Excellent work. A- 6. Intergalactic is like a deep sea, submerged exposition. Traveling deep underwater into uncharted territory. Various melodies remind me of when the boy became particles, and was separated to atoms in the air from the classic original Willy Wonka and the Chocolate Factory (1971) film. I'm referring to the melody work around 5:30 to 6:45, before it is barely audible and/or removed to accommodate new layers that strengthen the final third. This is a unique blend of explorative (experimental elements) psy music, delivered in an approach that rivals Eat Static's deep sea vehicle from their Back to Earth album in 2008. Interesting track. I enjoyed some of the others more but I like the creativity here. B+ 7. I'm Just Amazed is a burst of adrenaline; a higher octane, well textured and psychedelic, determined beast trekking across the baron lands. This is a pretty cool, dark, aggressive, and danceable psy influenced and/or psytrance number. The variation of sounds as it progresses prevents it from dipping into repetition, making this smarter, more interesting than many dance friendly stompers out there. Think Merr0w's Mind Blowing; that's what this track reminds me of in the sense it's strong and has a hard kick drum throughout. I think that a more uncompromising approach to having more energetic melodies would have enhanced this song for the better though. For instance, the part around 4:35 and again around 4:45 is really good; the part around 5:00 is great too, very climactic. But the wavering, lower sound/melody that enters around 5:15 is not nearly as effective to the driving rhythm of the whole. While some people may like this, I feel that this sound, though fairly short in duration, distracts (takes away) from the high octane energy and intensity of the song because it stands out so much, and seems out of place, as it goes higher/lower in pitch. I'm glad when it exits, and when the song continues. Otherwise than that part, the song is very well done. B+ 8. White Magik returns to more psychedelic, playful, computer background, wild/fun, unpredictable and CATCHY sound work. I really like the musical development from the first to second minute. The following is great too, building and developing, adding more layers, enhancing the rhythm with more delectable sounds. A voice sample arrives around 4:50; the interlude is interesting but I would let go of McKenna samples in the future, as they've been done so frequently in the past and kind of hit an exhaustion peek, in my opinion. That said, the rest of the track is good/great, offering a complex fusion reflecting an extremely creative, smart, and chaotic (in a good way), visual mind. A- 9. Atlantis is interesting, a deep sea follow up to various, previous work; it creates a psychedelically closing uptempo number that is driving, less upbeat, and well done in this regard. This is one of those tracks that some will love/like or not be sure what to think, as I was for years with BofFB - Twin Sharkfins album. I would recommend this artist to keep feeding his passion though, because he's very talented. Again, I'm not sure how to rate some of these though they seem to qualify greatness, so give me some breathing space with the grades. The intricacy and innovation of this alone appears solid and I'm hooked enough, intrigued to hear the album yet again. B+ In conclusion, this is a very musical release, given for free to those who want to hear it for themselves. I tried several times earlier in 2009; the unique/artistic style sounded so foreign to me initially that I wasn't sure what to think of it as a whole. I wasn't sure how to write a review, as this has happened to me before (took me years to finally review Hux Flux - Cryptic Crunch); I prefer not to give an album an A just for being innovative and different. So while it's subjective to say, I decided to do my best to compare the tracks to themselves in this style and to my ears. An album that occasionally comes to my mind when listening to this, though this is different in style/sound, is Talpa - The Art of Being Non in the sense this takes risks, gets playful, wild, musically inventive, twisted, humorous, driving, and unexpected/dark, and unpredictable, showcasing various moments of beauty around a psy influenced orchestra. This artist's passion and fun, his personality seems to really cross over into certain tracks and it's fun to be exposed to the creativity. A gripe is tha st once in a while, the track has a really tasty texture going and the artist experiments over that with sometimes great, and other times ( with a strange, low sound or two) not as delectable results. Such moments distract me from the exciting state I'm in, but in general many of the lower sounds are important in that they're often well utilized and compliment the medium/higher sounds. This is the type of album that one must hear to decide what he or she feels, as it's different from all albums I've heard. For me, some of the tracks are appear creative/unique for being such while others, to me at least, are both creative, gripping, and enjoyable throughout. But the artistic approach in tracks will likely cause difference in favorites, as no song has been watered down to sound general or mainstream. Initiation is an interesting release, and while I can't say people will like/love it right away, I can't help but feel that it's one of the most innovative and solid little gems to come a long in a while. This grade is subject to change (from me at least) but I want to bring attention to an album that deserves to be heard by more listeners, as this is one of the most unique and original releases that I have so far heard in 2009. Nonetheless, the album may take time to grow on the general listener as what happened with me. B+ The album is free to download and/or buy: see above links.

Radical Distortion – Psychedelic Dreams Suntrip Records 01. Psychedelic Dreams 02. Spacecraft 03. Amorphia 04. The Dreamer (Orient Mix) 05. Transparant Joint 06. The Other World 07. Communication (Rmx) 08. A New Home 09. Star Dance 10. Dying Earth Psychedelic Dreams is the new Psychedelic Goa-Trance main album by Radical Distortion. It aims to top their previous album, 2006's Regenesis, which proved that these artists are extremely talented when it comes to producing Psy/Goa-Trance. A full review ensues. 01. Psychedelic Dreams begins the album with deep, euphoric ambient via intro. Voice samples indicate a story about a planet that's been destroyed; few people remain and are now faced with the challenges of surviving the aftermath. The set up is strong, creating a post apocalyptic world. A harmonious sound of beauty/sadness compliments the driving, fluid, and distorted Goa waves. The beat disappears around 4:45, and the haunting notes carry the wave into a catchy interlude. The song has a few sounds and/or inspirations that remind me of old Astral, MFG, and Miranda, only with a more modern edge, approach, and production. This is an intriguing opening and the ambient notes compliment it. Good track. B 02. Spacecraft follows up with more energy. A strong and fairly intense sound enters around 0:43. The beat soon kicks in and the vehicle takes off, collecting layers. A shuffling sound at 1:24 is well done and tightens the backdrop as more delectable sounds arrive. The first two minutes are pretty good. It's at 2:33 and again at 2:49 that a real pocket of emotion begins, followed by a cloud floating interlude, and then an arguably inspired Filteria-esque moment before take off. Past the peaceful center, various ingredients are soon added, complicating the broth. The energy returns more psychedelic than before and attempts some catchy alterations. The one from 5:08 to 5:12 is stylish, adding drive and rhythm emphasis. Another effect sounds like a pocket of wind, lifting the waves up into into its twisting turbulence. Such effects keep the song interesting and involving. Yet another buildup is soon formed, pulling back around 6:25 to accommodate an ominous backdrop. Suddenly the rhythm takes off; my favorite part is from 6:45 to 6:50, a climactic moment that is just wonderful. Radical Distortion likes to twist, distort, and make psychedelic so many sounds, and they do it well in this number while engaging the listener with more gentle sounds that accompany them. Although the song gets better as it progresses, I wish they invested just a little more energy into the climactic element and sound that takes place around 6:50. Otherwise the song is great, excellent, and also comes equipped with a really cool rhythmic variation (change up) in the last two minutes. Great song. B+ 03. Amorphia enters the beat within the opening, avoiding much of an introduction. The voice samples appear to be from a popular film; they're effective. The song involves numerous change ups, primarily one at 3:26 that's engaging, and sounds very different than the previous track. The sample work well in this number, adding to a sweet build up, climax at 4:49. Radical Distortion never seems to overdue their high energy. The climaxes never seem to achieve such highs as to off-set or cause drastic changes to the song’s fluid direction, and for this reason I find their work, such as in this track, so fluid. The second half changes gears, sound; it sounds fresher before fusing old rhymes with new. The song however appears less intricate than the previous number. But it remains catchy throughout. My favorite parts are the strong Goa hooks, such as the one around 1:00, another at 1:33, and an even different one at 2:17. These hooks let the liquid sound of Goa be manipulated, experimented with, and breath. They remind me of ideas present in old school classics: Cosmosis - Cosmology and Doof - Let's Turn On. This isn't the most groundbreaking track, but it's strong and the samples compliment it. B+ 04. The Dreamer (Orient Mix) is the first remix to my knowledge of the group's original, on 2008's VA - Opus Iridium compilation. Though similar in many ways to the original, this remix involves numerous changes. For starters, the artists changed (altered differently) and/or redid a powerful, skipping melody that began at 2:03 in the original; I greatly preferred the original in that area, and find that area redone here less juicy/infectious. Fortunately, other changes are good/great. The oriental influences is basically a combination of sounds/melodies that are integrated into the mix, creating more warmth and sound animations; the song is high octane nonetheless with more details this time around. The original I felt, was energetic, aggressive, and intense, but became somewhat repetitive and in that sense, got exhausting as it continued. This remix however provides a foreign influence that cleverly grows, supports the grittier textures. The result is a fresher, less repetitive, and more varied track overall. It's as if the number took a trip overseas and returned with more intellect, more to tell. The last third introduces newer sounds, also enhanced, like Goa braids wrapping themselves around the original's thinner tunnel. The song appears more crisp and psychedelic too, as if the general structure of layers were enhanced through various software filters. The only alteration I'm disappointed with, when compared to the original, is the first major sound change around 2:03. Otherwise, the little details are good/great, and the remix is better in my opinion, than the original's grittier but less involved picture. I do prefer newer tracks over remixes in general, but this is a solid one nonetheless. Great work. A- 05. Transparant Joint returns more psychedelic, possibly than any track I've heard on the album so far. Haunting sounds become more prominent around 1:33 and add mystery, edge; they create a dark component. Not much introduction is present which would have been nice. Unlike the previous track, which developed harmonious art around a work out on the dance floor, this one is more focused on being twisted, trippy. The song has an ominous tone a la BotFB, though different in style/sound. My issue is the evolution, or lack of, as the artists are determined to build, manipulate, and alter so many layers; the track doesn't seem more varied with ideas around its psychedelically distorted, driving. The song develops, but has but also lacks imagination when compared to some of the other songs. The part around 6:00 is superb for instance. Wow. It's impressive how mushrooms can grow on a tune so effectively! I simply wish more of these elements took place before this infectious part towards the very end. Previous songs seemed to have more substance, more to tell, while this is a great albeit linear number. It will likely grip some listeners with its sheer trip, Mad Hatter racing through darkness/Hell (figuratively speaking) approach. More moments such as the one around 6:00 would have been amazing, and possibly awarded a higher score from me. As it stands, the song is fun to listen to, and one of the most psychedelic number's of the year. B+ 06. The Other World begins with a strong, sustained note of ambient, followed by a powerful voice sample about a man wondering the fate of his people, and his own. I'm scratching my head trying to grasp the potential movie that this is from. The introduction is simply yet effective, tempting the mysteries unknown that lies beyond the opening gate to the dark path. The male’s voice echoes an abstract mind in a vast gateway to the abysmal unknown. The song continues the alien delicacy with momentum and an even wider range of sounds from those on the previous track. It develops into an arguably darker, more intense, and melodically varied/distorted trip to dark wonderland. While missing a potential opportunity to end on an amazing note, the song is nicely layered, creative and has solid character development. After the part in the previous song around 6:03, I was hoping for a more memorable ending. Nonetheless, the song is gripping from start to finish. Yet it could have gotten a higher score from me if it did more towards the end. Good, if not great track. B+ 07. Communication (Rmx) is a zippy, energetic, and startling remix from Suntrip's first compilation: Apsara. I actually favored the original of this remix from the 2005 compilation the least, though it was a good track. In comparison to the original, this is modernized and arguably just as good. For starters, the remix appears to be the least groundbreaking track on the album, not far from The Dreamer (Orient Mix), the latter being stronger. The good news is that the remix is fast, fluid, tasty, and risk free, though the latter shouldn't cause worries. This is a healthy, fun number with elements of beauty. My gripe is that the sounds/melodies in the original sounded more juicy; they sound squeezed via some of software filter here to compensate for having a more metallic, psychedelic sound. The changes appear to do little that impresses the original that I enjoy more in comparison. The remix is cool nonetheless; fans of the original will generally enjoy it. The space floating part from 4:45 to 5:15 is great, and considering the album has ten tracks, this one is almost like a bonus around the middle as opposed to the album's end. I just find the newer tracks so much more refreshing than the remixes, especially this one, so I'm glad that there's only two here, though they're cool. This is a good, psychedelic song. It's just nothing spectacular. B 08. A New Home grows from the same gorgeous flower that I find most present in the non remix tracks, i.e; the majority of the album. This number goes deep into the mind; sound particles emerge to confront bigger ones in a new world filled with intoxicating sounds and fusions, such as the one around 2:00, for starters. The sound combinations, distortions, skipping, alterations, and more within this song are excellent. The middle has a Pleiadian/Filteria-esque influence combined with Radical Distortion's that is wonderful. It's amazing how the marrying of just a few sounds can deliver such an infectious head rush of pleasure. The song's mixing work is articulately crafted; small details are recognized; dynamic approaches to psychedelic sentences elegantly shift sound currents into seemingly different rhythm and waves. The song gives the brain a workout, as its extremely danceable like virtually all songs so far. It devilishly moves forward, like a beautiful dolphin cutting through elegant waves, forming many of its own. There are numerous melodies, bursting flavors, and delectable psy sounds throughout this possible masterpiece. It's one of the reason's why I love Goa-Trance, the fluidity of a song's art in motion is beautiful to both listen to and experience. I haven't even gotten to the part around 3:23 yet, which is excellent. This is a smart, beautiful track. It raises the bar on what the artists can achieve. While I detect some Pleiadian/Filteria influence, a little inspiration can go a long way, and Radical Distortion adds several pre-existing ideas to their own with wondrous results. Awesome number. A- 09. Star Dance is an excellent Psychedelic Goa-Trance number with juicy, jumping out and attention grabbing Goa/melody work. Think Doof, Cosmosis, Dimension 5 (from the golden era); with strong and psychedelic backdrops, gorgeous textures, and a light, flavorful, and uprising atmosphere. The melody/sound work is so catchy on this one. It makes me miss the golden days of Goa, yet this song is a rebirth in a sense, to one of the most wild and artistic creations of the human heart, mind, and spirit. The only thing missing is possibly an ending (though this one is great) that leaves my jaw on the floor the way Filteria's Earthrise did. But that's a small gripe when compared to the whole, not a flaw. Excellent work. A- 10. Dying Earth begins with a strong wave of ambient, like a child running up a hill towards the fireball sunset, only to reach the top and witness the tragedy of an annihilated city. Through the eyes of a child, the over stretched horizons bring all types of weather, natural disaster, and brooding energy from death after man has has all but withered away entirely. Gone. Lost. Fading memories echo around a haunting, powerful rhythm and backdrop. A gritty and skipping sound/melody is accompanied soon by others, in addition to a strong beat. What appears to be synth piano notes slowly works itself into the engrossing atmosphere. Gothic sounds, whispers, echoes, and ghosts inhibit this wasteland in a superb retelling of the end of perceived times. This is an excellent track, downtempo or mid-tempo; both appear to share influences. The song develops, though remains on one powerful path. It's atmospheric, interesting, and rewarding. Superb track. A In conclusion, Psychedelic Dreams showcases some of the best work by RD to date. The album provides nine psychedelic goatrance songs; the tenth is a wonderful, chilled closing. The album is pretty psychedelic, and often involves catchy and distorted melodies/sounds, twisted rhythms, 303's, atmospheric elements, and more. There are some intriguing/alien introductions too. If I were to complain, I'd say that the remix of Communication, although is more psychedelic, is not as good as the original on the Apsara compilation. Furthermore, a track or two could have had an amazing ending, only to end reasonably well. Fortunately, the artists took risks to startle and twist the senses while provoking the mind. So many of the melody/sounds are distorted and tripped out that the general listener who likes his/her music more psychedelic than most psytrance albums should be pleased. The album starts good and gets better, more fun (with few exceptions) as it progresses. The track variety is good too; songs never sound alike, and often involve numerous approaches, structures (the way it should be). Voice samples are good too, and not overused. Compared to the previous three Psy/Goa albums by main artists that I have heard in 2009, I currently enjoy Psychedelic Dreams more than Merr0w - Born Underwater, but it didn't impress me to the degree Filteria's - Daze of Our Lives did, which is rare. Psychedelic Dreams is a psychedelic, imaginative, and enjoyable release, and one of the most solid Psy/Goa albums of 2009. Thank you Radical Distortion for taking the time to produce a strong album. Favorite tracks - 1, 2, 3, 4, 8, 9, 10 B+ Samples / Orders http://www.psyshop.com/shop/CDs/sut/sut1cd016.html http://www.saikosounds.com/english/display_release.asp?id=8168 http://www.suntriprecords.com/shop/ http://www.goastore.ch/product_info.php?products_id=3415&osCsid=da8af7a579d9607f42c63f78d5180c34 http://www.beatspace.com/dettagli/dettaglio.asp?id=5243 http://www.neptunwave.de/product_info.php?cPath=62&products_id=920 http://www.play.com/Music/CD/-/8/33/-/11630683/Psychedelic-Dreams/Product.html?searchtype=genre http://www.powerplaydirect.co.uk/asp/itemdetails.asp?prodID=1965538&currsec=mu

Infected Mushroom - Legend Of The Black Shawarma 2009 Tracklist: 1. Poquito Mas – 3:39 2. Sa'eed – 7:03 3. End of the Road – 6:47 4. Smashing the Opponent" (Vocals: Jonathan Davis) – 4:10 5. Can't Stop – 7:23 6. Herbert the Pervert – 7:17 7. Killing Time (Vocals: Perry Farrell) – 3:04 8. Project 100 – 9:38 9. Franks – 8:05 10. Slowly – 9:00 11. The Legend of the Black Shawarma - 7:12 12. Riders on the Storm (Infected Mushroom Rmx) - 4:29 I've been listening to Infected Mushroom since their first three albums and consider all of them excellent. I remember when 2003's Converting Vegetarians introduced singing on the experimental CD; the singing didn't bother me. I generally liked it, and it didn't seem to split fans until the group began singing to their beloved psytrance style via 2004's IM The Supervisor. While few of my friends (crowds in general) seemed to like the loud, opening track on IM the Supervisor, numerous fans were outraged. I was one that didn't like the singing on IM...Supervisor save for Muse Breaks (RMX) with the female voice. But I stayed because I love their psytrance work around the singing. But I couldn't get into the singing, the cheesy lyrics, etc. The group toured for some time, attracting new fans; more people now know of psytrance because of them, though so much know the psy/goa many older fans are familiar with. IM had evolved but not in the way I had wanted them to. 2006 saw the release of Vicious Delicious, an album where singing affected roughly half to two-thirds of the album. Gone were the female vocals collaboration (Dagan/Eisen/Duvdevani) that made part of IM the Supervisor pleasant, yet less dance friendly. On Vicious, Duvdev's lyrical work was generally melancholy, and at other times uninspired (Artillery) where they attempted rap rock. The group didn't seem to know what direction they were going in. Fortunately, the psytrance tracks were solid, a handful were lyric-free and well received. Heavyweight, few others, and Duvdev got to sing. But singing style was generally sentimental, downer tracks that lacked IM's cutting edge psychedelic sound to accompany them. In a sense, IM had compromised their individual voice (not voice literally but focus) because Duvdev was searching to establish a new ground to IM: psytrance with singing. Nonetheless, singing can accompany better music, arrangement, lyrics, and voice; it can be altered, tweaked, collaborated, lessoned, fun, catchy, and not existent to. The group went back to the cutting board and returned in September, 2009 with The Legend of the Black Shawarma[/i]. They've returned more to their roots in the psy sense, lyric wise, and made dramatic changes to their psy rock. The songs aren't as sentimental; singing and vocal work is better written, arranged, produced, and at times collaborated. Furthermore, there's a rough third of the album dedicated to all new psytrance tracks without singing or lyrics. A track per track review ensures... 1. Poquito Mas is a short introductory track. The foreign melody/work coupled with the chopped up voices is good. A rising melody around 2:00 works too, but the repeating, aggressive "I'm gonna push you.. until you gonna get it.." lyrics grow tired, fast. The last 30 seconds see a more industrial/metal tone to presumably provide strength while compensating for the repetition. Musically the song is pretty good. Lyrics and arrangement are lackluster and do nothing for me. It's the music that works, though it's clear that the group was creating a quick, mainstream friendly entrance. IM has done better. C+ 2. Sa'eed is much better both musically, and vocal/lyric wise. The song lifts off around 1:36, confirming the climax work that more or less kicked ass in Vicious Delicious. The delivery of the dialogue works here, though the robotic voice around 2:30 is so-so; the song's high octane energy and drive work well around its dynamics. With dialogue, "I feel ashame" I initially prayed that the album wouldn't get too self- mushy, for lack of better words. The lift off at 4:85 is solid and compliments the track. Overall, and I can't believe I'm saying this... but while I don't love the dialogue, I do like the altered voice work, primarily the energy put into it. The song develops nicely and is catchy from beginning to end. Older fans will be split, but I like it. B+ 3. End of the Road begins with a quick, thumping beat. It's lyric-free for around three minutes until a very short, altered bit arrives. IM has enhanced their voice almost to near robot a la X-Dream but differently. A monster buildup takes place from around 3:16 to 3:40 and right before the climax explosion, the music stops and all we hear is a little laugh. I have to admit that this anti-climax felt like a slap in the face initially, but I later admired the unpredictable shift to a more delectable psy-bubble concoction. There is very little dialogue here and the super altered bits work just fine. Musically, it's good but I'm not blown away. B 4. Smashing the Opponent" (Vocals: Jonathan Davis) sees the team up of IM with KORN's lead singer. Hmmm... Interesting. This should make more people aware of the group, in the US at least. I'm not sure how big KORN is outside of the US. Musically the song is good. The lyrics seem a bit downer though but what would one expect from most songs with KORN's lead singer? Nonetheless it seems written by IM. The "I want to sing" dialogue I don't mind.. but I can't understand all of it. There is a really catchy part after the chorus here, beginning from around 1:40 to 1:56 which is great, so catchy, at least I think so. Good work overall. B 5. Can't Stop is one of those songs that starts off really good musically. However, the lyrics will make or break this song for numerous listeners, although such lyrics are heavily altered, intended to compliment the music like a sound effect. Unfortunately the dialogue, what is being said, grows tired. IM alters, repeats "Can't stop.. Can't stop..." to the point of near exhaustion into the final third. The altered lyric to music idea is good, but the meaning (can't stop making bad decisions) makes hardly an impact. Why would many people want to have their bad habits reinforced? Furthermore, such dialogue becomes the main focus of the number. The guitar work grows repetitive too, more or less reducing the full effect of what IM is capable of. Overall I don't like this song at all but anything they play in front of crowds will get an energy reaction. However I doubt many will recite back this number's theme in retrospect. C+ 6. Herbert the Pervert is the first track without vocals or singing. It gets better past the mediocre guitar; the climax take off around 2:10 distracts some of it; this part is great. A strong, musical evolution around 2:40 arrives. The song shifts through various emotions, degrees of energy. Again, I'm not a fan of the guitar here, though it sounds good, more attractive from around 2:50 to 3:03. I like how the song is similar to the adrenaline, take off concept present in Change the Formality from 2006's Vicious Delicious. Whereas they let the movement breath without vocals as they unnecessarily did on a segment of Change the Formality, some listeners will be put off with the fast, recycling guitars, and how they're generally delivered with the intent to enhance the climax. This isn't the best non-lyric psytrance song on the album. Overall I like it, though depending on the guitars, opinions may heavily vary with this number. B+ 7. Killing Time (Vocals: Perry Farrell) is the second major collaboration track since Smashing the Opponent. It's evident to me that IM made these tracks to accommodate what they lacked on Vicious Delicious, and that is having good singers who can hit the more sensitive notes without sounding whiny. The music is well done; the lyrics are more thoughtful and while the track isn't anything spectacular, I appreciate that. The song is short too; it doesn't take up much time to older fans who are looking forward to the next psytrance track and to IM's advantage, this on is radio play friendly. Good track. B 8. Project 100 builds up in it's first minute like a great Juno Reactor song, one echoing importance, proclamation. Chopped up, dynamic vocal effects enhance the number around 2:12. Soon a piano arrives, deepening the song with feeling. The percussion/guitar work is pretty good here, emphasizing anger or determined energy of the driving rhythm. A fresh sound, that which sounds of importance arrives around 3:55 and is joined by relatively fast paced hymns. The song sounds as if telling an epic story across countries, time; it is grounded in the realm of interludes, feeling, and thought with bursts of strength, mainly in the first and last third. A beautiful interlude with a guitar takes place from around 5:30 to 6:00; the guitar work sounds manual, less programmed and repetitive than some of the other guitar/synth work on the album. This segment follows a evolutionary motivating and dynamic final third which develops towards the last two minutes into a less epic, however bubbly, intricate, and delectable fusion of psychedelia. The song is passionately produced, skillfully executed, at times emotive, and fun to listen to. Great track! A- 9. Franks is currently my favorite track on the album along with numbers 8, 10, and 12 (amongst others). This gets better as it progresses, starting good and/or great. Combining beauty with aggression, light with dark; the thing is passionately produced, dynamic, emotive, powerful, and one of the most solid songs Infected Mushroom has produced. The first two thirds are great, excellent, but the last third is superb. Franks is one of the best psytrance songs of 2009. Excellent work. A- / A 10. Slowly follows the previous gem with less provocative sections, more of a fun, psychedelically playful and danceable response. This has many markings of a great song, from the continuously tweaking, catchy mixing alterations layering, tasty melody/sound work, character (slowly, less slowly, faster) development, feeling, dynamic twists, turns, high energy, pickup, buildup, climax, and that's only the first half of the song! Many of the reasons why we love (okay, for some of us like) Infected Mushroom are right here. The part around 6:47 to 7:15 oozes with feeling. I love it. Soon after the number gets more psychedelic and tasty. One day I hope we get a wonderful, new album with all super lyric-free psytrance songs from IM, or included if they cleverly decide to pack it in a double album. Another great/excellent track! A- 11. The Legend of the Black Shawarma starts out strong, deeply emotional, great. Soon, fast paced rhythm kicks in, though this part develops the foundation to upcoming singing where the general style/sound will drastically change, it's good. Those moments really begin around the halfway point. Until then there are some cool echoing vocals around 3:12 vaguely reminiscent of a darker track (to some degree) on B.P. Empire. Lyrics are thoughtful, less absorbed in self. More people can relate to life, death, which is the theme of the song. Good track. B 12. Riders on the Storm (Infected Mushroom Rmx) is one of the best lyric/vocal tracks the group has produced to date. I'm happy to see that they didn't cover this song, but cleverly remixed a great track, bringing it to exceptionally modern highs. I really enjoy listening to this song; it provides another dimension, another mood that compliments the album, and smartly placed as a key note to end the album on. Great work and remix! A- In conclusion, this may not cure one's love/hate relationship of the group, but both the vocal and non-vocal tracks are an improvement from Vicious Delicious. The lyrics could have been better at times. Track 1 gets repetitive fast, but in general the arrangement, delivery, and alterations of lyrics make this a serious improvement in IM's vocal department. That said, these artists are producers and could incorporate a beautiful, female voice on a track if they wanted to. Aside from the lyric work, the psy and psytrance work is excellent. There is a certain, fast guitar sound that comes and goes in a few tracks that's generally less dynamic. It's repetitive and could have been improved or omitted altogether with few exceptions. Some of the guitar work is good, more thoughtful, mainly in the later parts of the album where its presence seems less, and I'm fine with that. The album flows the best that an IM album has flowed in a while. I couldn't say that about their last album which was more of a compilation. I'd often skip tracks around songs I just did not enjoy. Energy, thoughts, music, mixing, and delivery is much better throughout this strangely titled album. I hope IM writes even less "self focused" tracks in the future, tracks that more people can relate to, with good messages of fearlessness, freedom, awakening -- because the music itself is excellent. They can reach more audiences if they sing about more important events, themes, topics. For the first time I didn't cringe when hearing Duvdev sing; Sa'eed is well done for instance, though I'm sure older fans will be mixed. Work by Jonathan Davis and Perry Ferrell is good too. I simply wish that various songs were less about the artist (I, Me) because the Killing Time, the self titled track for instance and Riders is relatable, thoughtful, stimulating, and catchy. The song's about our presence on the planet (Why are we here?), continuous challenges in life, the unescapable death we all face -- are universally known topics worth exploring and making great songs about. To the contrary, I'm less interested in hearing a song about a guy who cannot stop making bad decisions, which (cool alterations aside intended to enhance the lyrics to the music) the track Can't Stop focuses such self titled lyrics to tired repetition. The song could be far more powerful if the artists wrote dialogue that people care about, as opposed to one mans illness. I don't exactly rock out to "Can't stop making bad decisions." I prefer "Can't Stop" alone... because I can relate that to Can't stop: dancing, moving forward, goals in life, etc. So, IM has room for improvement, awareness, etc. Overall, this is a mature album, and a healthy return to lyric free psytrance work, mainly in the second half of the album. The psy work gradually gets better as the album progresses. Tracks 6, 8, 9, and 10 are the vocal free numbers. Riders on the Storm (Infected Mushroom Remix) ends Shawarma with a IM slightly speeding up the original classic rock song by The Doors, and remixing, providing it with a great backdrop. For a psy rock song, it's great. Those who stayed with IM through their innovations and still like them should listen to this album, and choose the songs they like the most. I'd rather see Erez and Duvdev go in this direction than whatever they were doing (vocal-wise) in 2006's release. Legend of the Black Shawarma will grow; it is one of the most creative and solid releases of 2009, the best lyric and non-lyric work I've heard by them since Converting Vegetarians - Other Side (2003) and Vicious (2006) respectively. It's more emotive too, without getting cheesy (IMO for the most part) either, fortunately. Solid release. To old school fans of IM: I suggest old school fans listen to the extended samples before buying the album. I do like this album, not all of it, and considering we only get an IM album once every 2-3 years, I'm enjoying the parts I like. That said, I did not like their singing tracks in the past with exception to 2003's experimental CD on Converting Vegetarians, and a few tracks I here I'm not in love with. Furthermore, I cannot look at some of these lyric based tracks as psytrance, so I won't. It is electronica after all. The more I accept that, the more I generally enjoy the album. There is a part of me that thinks that Infected Mushroom must be like: "These old school fans should learn to evolve, experiment, move on from the past." That said, to each their own. I really do like their non rock psytrance tracks the most without singing because I am free to imagine and experience the song in any way I desire. Favorite tracks: 2, 4, 6, 7, 8, 9, 10, 12 B+ Samples http://www.amazon.com/Legend-Of-The-Black-Shawarma/dp/B002N8TJGS/ref=sr_1_10?ie=UTF8&s=dmusicqid=1252425214&sr=1-10 http://www.saikosounds.com/english/display_release.asp?id=8158

Penta - Give Me Five! 2009 Auraquake Records 1. Downturn 2. Are We Done Yet? 3. Robot Poetry 4. Jingle Bells 5. Pumpkin 6. Feeling Faster 7. We're From The Future 8. Wonderful Feeling 9. Ibiza Calling (Azorsky Remix) Pentafiles I consider great, and Funraiser IMO is a good album with some great tracks or vice versa. I consider Horn Please good if not great too, though different than his earlier work. The sensation, style factor seemed more present with Horn Please. The artist had enough good and great, cool concept and atmospheric work to carry the less substance filled tracks to the finish line. I was entertained with Horn Please (it made my top 10 for that year I believe). While the album wasn't what I considered deep by a long shot, I really liked that album. If the artist's music became even more mindless, less catchy however, I wasn't sure how I'd react. Around 6 months after the release of Horn Please, Portuguese Abduction arrrived. I bought this too and added it to my collection but noticed a considerable depreciation with Portuguese Abduction; although in the same general fast-paced style, much of the work sounded inferior in comparison to Horn Please. The magic was gone, not that Horn Please was magical to me but it was strong and delectable, better than most day psytrance being released today. Aside from a few tracks: Andes (!!!) and Time Jump that I'd generally recommend to dark psytrance fans, I found Portuguese Abduction lazy, rehashed, and disappointing overall. Penta had managed to make a bunch of cool sounds around a bass line and beat; songs could have been titled anything, as hardly any seemed to have healthy story, plot, or character/theme development. Even Time Jump didn't do a whole lot outside of its signature, catchy voice samples along with various layers that complimented it in those moments. Portuguese Abduction was forgettable, a step down compared to Horn Please. Outside of Andes (which I find great), the general album is vapid and wears thin fast IMO. I heard it just the other day. Whereas Penta's earlier albums I can let play, hearing the tracks back-to-back and not skipping around to compensate for the filler material, sound effects over a decent meat and potatoes meal to sink my teeth into. In conclusion, Give Me Five! isn't bad but it's not what I consider great either. Song's are psy/sensation driven and many are decent, few are what I consider really good or great though. A couple tracks may work in nicely on the dance floor; it's just less captivating and rich, less dark/intense than Horn Please. That said, we've had very few dark psytrance albums in 2009 that I know of, and while 2012: There Is No Return wins my dark psytrance vote of 2009 to date, this is better than a good amount of the dark psy being released this same year. It's just nothing spectacular. Some tracks feel as if more work could have been invested to raise them to greatness. Ideas race by like Horn Please but IMO this isn't as strong. Production is great, though this artist, artistically speaking has produced more imaginative (and infectious) music before. I give him credit for doing something different with the last track, electro/psy, non-trance remix. I like it much more than the last track on Abduction. Overall I'm not impressed with the album as a whole. This is a good artist and he can produce better, more powerful and colorful, tripy and contagious tracks. I would love to see this artist take a step back, a deep breath, and a break, and return with something wonderful 1-2 years from now in time for Christmas, something that really blows us away as opposed to a Portuguese Abduction meets Give Me Five. Please Mr. Penta. To say this is better than the last, I wouldn't argue, but to say it's significantly better, at this time I wouldn't say signicifantly but I'll continue to listen to it more in the coming days, week plus. Give Me Five may be better than Portuguese Abduction, but it's not as strong as Horn Please which excited my interest in Penta again. Favorite tracks - 2, 3, 4, 7, 9 B- Samples http://www.psyshop.c.../aqr1cd006.html http://www.saikosounds.com/english/display_release.asp?id=7911

IMO the absolute best two (uptempo and downtempo respectively) electronica albums of 2009 to date are Filteria - Days of Our Lives and Solar Fields - Movements. Superb achievements by both artists. And Earthrise is very nice! The Pleadian+Hallucinogen influence combined with Filteria's fusion is magic, especially where it all culminates in the final act.

Hi, thanks for the comment. There were numerous DJ's and stages (one was at 5:53) playing different types of psytrance and downtempo. At nighttime though, the most eventful and lit place I found to shoot was around the fire, the dancing. Only thing is that showcased only a fraction, albeit a very present one of the festival. The pictures in the beginning and the end show a little more, but not nearly enough of the daytime. I wish I showed more of the tribes too; the video doesn't show all of the creativity, talent, and fun taking place throughout the day, and in that sense I could improve for the next one. It's interesting that the festival was spread across roughly 50-100 acres, while Burning Man in the Black Rock Desert of Navada is several miles.

I forgot to add that one to the list. I put them in alphabetical order past my top 10. I can't say which is honestly better past being subjective. You're absolutely correct. I haven't heard this release. LMAO!!! I forgot all about this thread until today and yours made me laugh. Yes to each their own I suppose. It's impossible to appease everyone. Haha, you guys are terrible (laughing). I go away for two weeks and all hell breaks out. Please back to topic now.

Hi everyone, I'm sure many of you are familiar with Burning Man and various other Psy-related festivals. PDF (Playa Del Fuego) is a 4 day burner event in the Mid-Atlantic region of the United States; the video I finished editing today and wanted to share. And yes, Jayden777 is my name on youtube aka James though numerous friends call me Jon, Cocco. Feel free to post comments, ask questions.