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Jon Cocco

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  1. It's nice to see other people agree that Rise Up to the Sun is a great track. Lured by the Nymphs, Born Underwater, and Mermaid's Twin Sister are magical. Poseidon Lullaby is great too, very uplifting without being cheesy. Atlantis, Aquarius, and Mind Blowing are strong as well. Blue Planet is very well done for a closing track. I love the beginning minute and often return to hear it again along with the entire album straight through. The only track I'm not a big fan of is The Pleiades, though it has some good elements. It feels less refined at times, less satisfying and well produced than the others. I'd say with The Pleiades, that the whole doesn't equal the sum of its parts, so to speak. Fortunately the song isn't bad; some of it's quite good, but it could have been better. When I first heard Merr0w's track on the Twist Dreams compilation around 2005 I did not like it, and found it the weakest on the compilation! Yet this release is a big improvement. The track variety is healthy too. Each song has identity, character well developed, and doesn't similar to the one before and/or after it. The album has intensity too not often expressed in Goa now days. Filteria is one of the only new school artists that has edge (intensity), followed by RA (and with few exceptions, some other artists/tracks). I can't believe Suntrip Records has released 15 albums since 2004, and Afgin just came out! My review is up for that now. Good job Merr0w! Take your time to make an even stronger second one when you're ready.
  2. 4. Dark Magus is awesome!!! It's filled with edge and daring synth work rhythms. I love it. I love virtually every track on this album. I think it's because of the emotive edge coupled with the super songs back-to-back here. The only track I'm not in love with is Snarling Black Mabel, though it's a strong track ahead of its time. I enjoy listening to it with the rest of the album straight through. This is the one of the most infectious and driving Goa tracks ever produced. It's an evolving, psychedelic demon dipped in acid with a focused direction and energy whereas previous songs were less-linear in structure and design. I love every track on this album. For our time now, this album is incredible sounding. Whenever I say 1995 to those who hadn't heard it before, their eyes go wide, often followed by a WOW. Furthermore, the emotive elements on this album make it overall better IMO than The Lone Deranger, which is more or less superb. I really hope the third Hallucinogen album is wonderful for our time now. Twisted is magical, and arguably the greatest electronica album ever produced. Every time I hear this album it is a totally different experience!
  3. I don't know whether to be excited or confused, so far the latter. Wasn't this album finished years ago, or didn't AP have an album titled Open Society back around 2004-2006? I remember hearing about a new Full On album by AP after AMEN; I even posted a thread years back here (and e-mailed them on their site) but no news returned. Does anyone know if this album has been collecting dust for several years or if this is different from the Open Society album talked about back here on these boards back around 2005?
  4. Afgin - Astral Experience Suntrip Records 2009 Track list 1. Astral Experience ... 11:10 2. Old Is Gold (part 2) ... 8:07 3. Journey Through acid ... 9:23 4. Dreams In Motion ... 8:37 5. Emotions ... 8:47 6. Heaven's Tears ...10:02 7. Northern Exposure ... 10:39 8. Aden Prayers ... 6:55 Astral Experience is Israel artist/producer Elad Afgin's official debut album. His style is generally uplifting, morning/sunrise influenced Goa-Trance. Afgin's style appears inspired and at times influenced by California Sunshine, Astral Projection to some degree, though generally less aggressive than the latter. He's released numerous tracks on various compilations, and a debut album that was released over the internet years before this release. The track that caught my attention the most however was From the Heart, released on the Suntrip's kickass Opus Iridium (double album) compilation in 2008. So can Afgin release a desirable enough album after heated Psychedelic Goa-Trance competition from Merr0W - Born Underwater and Filteria - Daze Of Our Lives? A full review ensues. 1. Astral Experience begins with a relaxing wave of ambient, highlighting the first chapter of a huge journey in the form of psychedelic morning Goa-Trance. The opening segment is great. It doesn't rush the beat around 1:07. The artist soon releases a tasty melody around 1:35. Additional melody work boost the growing infection around 2:01. A beautiful backdrop flows with the leads coupled with psychedelic sounds, key changes enhance the rhythm, and this is just the first half of the second minute! Various layers are removed for an interlude that brings the energy down. The vehicle appears to be preparing to retire. Suddenly, a strong line of acid breaks out at 4:16, arresting the senses while summoning the angel back to form. This is one of the coolest, most unpredictable aspects I've heard by Afgin yet. He often specializes in warm harmonies, and it's nice to see him break out to some degree. Nonetheless, more zesty elements like the part around 4:16 would have been fantastic. Why don't we have more aggressive, dynamic parts like that here? That said, there's many elements of attraction working together here. Great track. B+ 2. Old Is Gold (part 2) is an older influenced uptempo track. It's more aggressive than the opening. It has a strong core foundation rhythm, a la Another World (by AP) (self titled track) and 2008's driving Octagon track via the critically acclaimed RA - 9th album. The under rhythm is supportive and catchy, yet grows tired as it continues. Nonetheless, the eastern melodies work well around it. An interlude breaks up the driving rhythm; alterations enhance melodies, becoming juicier. The song takes off after a second interlude, and appears overall to be paying homage to old school Goa-Trance. I prefer the previous track's more refreshing approach, though this song is like a tribute to the golden days to some degree. The under movement works well with the melodies; the latter bubbles up and dances around the beat and bass line with excitable energy. Yet the song feels old school without the magic and/or infection; the song wears its sounds out as it continues; the effect is something less desirable, no matter how paying homage or influenced by the golden years of Goa it is. The overall delivery is fairly good I suppose albeit (been there, done that) yesteryear. B- 3. Journey Through Acid is yet another aggressive, uptempo number. It's more dynamic than the previous track too. The song takes off at 1:05; the melodies reach for higher ground as the the layers fuse, the energy builds. The first third layers the driving pattern. It's good. As the song progresses, moments of beauty arrive and spread, infecting the second and third act. Two interludes surround a core rhythm, different though reminiscent in concept to the previous track. Birth to an interlude begins around 4:11, surrendering the spirit above the clouds. The interlude is creative, floating, and lasting nearly two minutes! The music returns with key changes, melody/sound evolutions. One is around 7:05, a sound that's lifted to higher ground before descending towards the oceanic rhythm. The song could have utilized a more prominent melody lead earlier on, but the part from 6:11 to 7:03 does the trick; surrounding support is very well done and attractive throughout. Great track. B+ 4. Dreams In Motion begins more psychedelic since aspects in the opening track. The song has builds nicely, picks up in its second minute. A repeating, altered Goa melody dances around the relatively climactic melody lead. Gradually, an intricate sound fusion is formed within the first third followed by a dreamy melody lead that takes notice around 3:12. This sound is fixing yet intangible, with elements of beauty. The song does get a little repetitive in the middle though, unfortunately. The energy pulls back for a short interlude and abstract voice sample, and seems less gripping as the music re-enters the realm from 6:44 on. I was expecting more, musically, in the last third. The song is an uplifting sound, but lacks imagination, taking risks, and being unpredictable considering the track title. C+ 5. Emotions is the first track (for me) that seems to highlight emotive Goa over high energy. The introduction is interesting, involving Goa influenced chill work, very pleasing. Ambient notes are present, initially as if to convey a growing realization to the listener relative to a voice sample. Quicker, little melodies pick up with the flow. Key changes accentuate the kinesthetic communication. The emotive trance layers melt into a swimming interlude around 3:57. The effect is peaceful, bringing the energy down into dreamy, atmospheric cloud floating. Soon buildup returns the beat, and the song continues, though similar in sound as before. A second interlude appears more effective both in what follows, and its evolved features, including a voice sample. Followed up melodies are better than before, bringing energy and animation into a fairly conspicuous direction. Whereas the song could have ended short, the artist gives it a healthy extension. It's nice. I like this song less than some of the others in the melody department, but its emotive storytelling, dancing Goa elements, and final third is solid. Good track. B 6. Heaven's Tears starts on the coastal beaches and takes off soon after the first minute. The song has a morning albeit modern day, Astral Projection influenced sound. The approach isn't intense and compliments the traveling melody leads that in return give life to the warm ocean/wind atmosphere, presence. An interlude runs from around 4:21 to 5:14; it's richly produced with substance, sound art. They're more than just breaks or moments of wind drifting space before the next melody lead, and in that sense they're often great, enjoyable. The overall song is really nice sounding. As it progresses, its direction becomes fairly predictable but that doesn't destroy its appeal. Great track. B+ 7. Northern Exposure begins with several notes of ambient, soon coupled with layers of emotion, carrying the seventh chapter of the story. Melodies have room to breath. They're gradually added into the mix; the effect is like a fine broth being delicately arranged by an articulative chef. The first several minutes show case harmonious development. An interlude around 4:00 opens the path to an elegant, opening moment around 4:38. The delectable sound fusion grows, carrying an ocean of colors past the five-minute mark. Afgin has a strong melody lead here. An awesome, wind blowing as if at the top of the world interlude takes place from around 7:10 to 8:26. It's magical, euphoric, floating. The artist avoids mainstream formula for wonderful, soulful storytelling and listening pleasure, experience. The music returns at 8:27, a healthy boost that carries the final two minutes across the skies. The ambient at times echoes From the Heart. The previous track felt more involved, but this is well done. B 8. Aden Prayers is a Goa/Psy and ethnic influenced downtempo track filled with strong melodies, atmosphere, sound, and euphoria. I never feel lost for a moment when listening to this; it's like a developed spirit who has moved beyond body/mind consciousness, and is free to experience the celestial realms in peace. An interlude simply permeates the already knowing number, that we are simply forms of experience, consciousness. The song is like letting go in a blissful stream of dreams and joy. This is a very passionate and uplifting piece with a bright downtempo/Sunrise high from around 4:30 to 5:00. I wish there were more chilled songs on the album like this one. It gives the album an all too refreshing feel at the very end. Beautiful track! A- In conclusion, Afgin's Astral Experience is an morning-influenced Psy/Goa-Trance album. Those into Afgin's style" the more heartfelt, uplifting side of Goa will likely enjoy this album. While not every track is what I consider super or even great, the genre has been lacking warm releases these past few years. Elad's style was never to overload or fire ball the listener's senses. His music is generally more emotive, lively. Unlike Astral Projection and California Sunshine who have also made many euphoric, warm tracks, this release could have been less linear, interesting, and even included a mid-tempo track or two. There is a loving energy to Afgin's music that differentiates him from many pioneers in the electronic field today. I hear it here unfortunately on fewer tracks, such as in Heaven's Tears and the last one. Afgin's music is typically more peaceful, but it could be more dynamic, playful, and fun. Furthermore, the album has a same-sounding feel to many of the sounds, tracks. One could argue the same thing about Filteria's debut, to be fair. There are some great tracks here nonetheless. The opening is vibrant, arresting, and terrific, with a super part around 4:20 that shows a more psychedelic/exciting side of Afgin seldom present throughout the rest of the album. The artist missed the opportunity, I feel, to have more of a variety, and super songs (such as in the middle as some of his inspirations have done). However, the last number shows that Afgin can create a chill track better than many downtempo/Psy artists today. It would be cool if in the future, more zesty, unpredictable, and adventurous work had stronger presence in the album. Some of his work is so beautiful; I hope his future works seem less intended for the dance floor, and more for the heart and soul as his intent has seemed to be in the past. Listeners looking for a warm and positive/Sunrise influenced Goa album will find a passionately produced one with Astral Experience. Just don't expect to be blown away. Favorite tracks: 1, 3, 6, 7, 8. B Samples / Order http://www.psyshop.com/shop/CDs/sut/sut1cd015.html http://www.saikosounds.com/english/display...ase.asp?id=7962 http://www.suntriprecords.com/product/item/SUNCD15/ http://www.goastore.ch/product_info.php?products_id=3130 http://www.goastore.ch/product_info.php?products_id=3130
  5. Jon Cocco

    VA - Air

    V/A - AIR Altar Records 2009 Track list 01. Zymosis - Zeta Bieng [Flute Mix] 02. Aquascape & Skydan - Voice Of The Universe 03. Dj Zen & Jace - Speak Your Mind [Open Air Mix] 04. Tentura - Discover 05. Shakri - Aurora Borealis 06. Chronos - Sacral Meeting [Rmx] 07. Asura - Dust and Daffodils 08. Aes Dana - Air Conditionning 09. RA - Cloudwalker 10. Solar Fields - Air Song [Remix] Air is the first major release in the "Elemental Series" by Altar Records. The compilation is down and mid-tempo, and includes new tracks by artists: Aes Dana, Asura, RA, and Solar Fields. 01. Zymosis - Zeta Bieng [Flute Mix] begins with a gentle, female voice sample. It starts interesting; a drifting ambient score builds around peaceful sound scapes. A flute accentuates layers of melodic movements before before the beat kicks in. However the song doesn't seem to have a main focus or hook, though the atmosphere and worldly influence is nice, present throughout. The beat soon picks up, but the song appears more dependent on its layers than creating a captivating direction and delivery with them. An exploring interlude takes place from around 4:09 to 4:30, and it is during this section that I'm intrigued for the first time since the beginning. The music returns around 4:40 with the accommodation of an echoed melody. It's catchy, but disappears all too soon, leaving the last two minutes to rely on its surrounding sounds of support. Overall this is a decent opening track that could have been great. C+ 02. Aquascape & Skydan - Voice Of The Universe is beautiful. Wow. This is up there with some of the most gorgeous downtempo work I've heard so far all year. The song is capitalizes on the celestial, spiritual growth, as reflected and experienced by the heart; here is a song that really evokes the senses. The first minute passionately builds, flowing. Soon arrives a wonderful melody lead, carrying this wonderful creature as it becomes more opening. A refreshing, weightless interlude takes place from around 3:00 to 3:40, where the song collects itself for the final act. This is one of best down/mid-tempo songs I have ever heard. It's gorgeous, opening, and beautiful. Wonderful track. A 03. Dj Zen & Jace - Speak Your Mind [Open Air Mix] follows up from the previous track with a stronger beat. After an intriguing, extended intro, the beat appears. Slowly the song awakens like newly born energy coming to its senses. The vehicle picks up, lifting off around 3:54 to a seasonal blend of percussion, movement, mid-tempo, atmosphere, crisp melody work, and ethereal female hymns, quite catchy. I think it sounds great, providing a second layer of emotion. An involved interlude arrives around 5:15, and the music returns around 4:45 as more edgy and aggressive than previously. A tasty melody soon emerges; tribal influences compliment the mid-tempo rhythm. The female hymns return in the final third which is nice. While the track seems stuffed with sounds and ideas at times, its intricacy actually works to its favor. The song has a varied, energetic, and artistically layered sound that permeates the senses. It's simply less easy to digest due to involving so much, but this involvement adds replay value, lasting appeal. I like it. B+ 04. Tentura - Discover is far less intricate, layered, and packed with various ideas than the previous number. In being less loaded, Discover has a clearer feel, and a near Goa/Psy influenced hook that stands out in its first minute. A strong melody coupled with ambient notes appear around 3:00. The beat emphasis is great too; the song moves forward collecting new paragraphs of sounds, never abandoning its strong foundation. A clever albeit brief ring tone a la bell enhances the beat. This is a very well composed track that follows one direction throughout with solid results. It's both lighter on the senses and more simple than previous numbers, less ambitious but very well done. Good, if not great track. B+ 05. Shakri - Aurora Borealis continues the previous track's concept in the sense it follows one solid direction and builds on it. What appears to be a female (and quite catchy the way it's utilized) hymn compliments the beat. A nice observation is how the beat picks up; it becomes fast and more supported past the two minute mark, adding strength to an already developing body. A chilled, atmospheric interlude takes place from 2:55 to 3:14, introducing a peace instrument and numerous other sound. Key changes also seem to be present. The melody work is really nice too. An even catchier element takes place around 4:50; the song becomes more euphoric and uplifting. A simple albeit pretty good track. B 06. Chronos - Sacral Meeting [Rmx] is interesting. More industrial, psy, and metallic/futuristic sounds are born out of this happening meeting. More colors and sounds express as moments, particles rather than formulated and developing rhythms. The song continuously collects, releases sounds. It's interesting to see the album attain unpredictable, less linear tracks, as the previous two built strength on a relatively predictable path. I can't sense where the song's taking me here. Its ability to regroup, recoup, and redesign itself as it progresses is impressive. Lots of alterations seem to take place that enhance the track, but my favorite parts involve the little lifts, such as the one around 3:17. The song has a handful of these "lifts" that provide bursts of energy around the psychedelic art. Unfortunately the track seems to have the least mastered, finalized process, production wise. I can't feel bass; the song seems thinned out to some degree, soundwise. Overall, this is an interesting, psychedelic track. B+ 07. Asura - Dust and Daffodils is the first artist on the compilation that more familiar with. What Asura creates here is fairly different in style from their previous work; a more soothing ambient-influenced trance piece. The beat appears to be secondary, though paramount as foundation to the harmonious, moving walls of melodies. From its first-melody wave around 2:05, the song becomes more musical and emotive as it moves forward. Listen to the gripping part before the track evolves around 3:55. Their is a unique moment that lasts around :45 seconds. This doorway opens for new sounds, smart layering like an enlightened orchestra. Strings, pads, ambient, and various tunes play to the simple albeit effective beat. This is mainly a tune driven track filled love and light. It sounds so simple initially, yet its melodies are quite effective, warm, and memorable. Strong track. B+ 08. Aes Dana - Air Conditionning is almost a little too subtle to me. Some listeners who enjoyed Aes Dana's more sutble work before their stand out melody work on Lysistrata via Opus Iridium compilation may enjoy this one. It has a nice background sound to it. I just don't find it does anything interesting all too much as it progresses. Progressive ambient-influenced mid-tempo is more like it. Without a clear hook, I'm not arrested, though the song is filled with a gentle, dreamy atmosphere and tone from beginning to end. A creative female voice alteration moves in the background to peaceful, open space. I think this is a pretty good track; it's just more atmosphere driven around a beat than anything, so I don't remember the track very well once it ends. Overall I expect more from Aes Dana. B- 09. RA - Cloudwalker begins with strong albeit gentle waves of ambient, in tune with a growing, psychedelic chemisty until the first melody lead takes place around 1:13. The song has a very nice sound to it, continuously building. Around 1:50 establishes more energy, melodies, and supporting sounds in edition to the attractive lead from 1:13. More development arrives at 2:28. The song is like a beautiful piece of sculpture that continues to evolve and know itself. The song has strong eastern melodies and flows very well. Those who enjoyed RA's mid-tempo work on 2008's 9th album will notice inspirations right away. Included is a souring sound in its final third, evoking more than a passionate nod to RA's Gateway Eight track on 2008's Sundrops compilation. The song is filled with passion and emotion, though less groundbreaking than their work on 9th. Great song. A- 10. Solar Fields - Air Song [Remix] has an answer to some degree to those who liked and/or loved their amazing 2009 release of Movements. I wouldn't place it in the top three of Movements, but Air Song [Remix] comes very close to the near perfection of style that I loved on Movements. It's great, and ends one of the better compilation of 2009 with strength. A- In conclusion, this is an interesting compilation. I really miss mid and downtempo releases, and this is a quality one. While my least favorite track is that by Aes Dana, I'm surprised with how solid some other tracks are, save for the opening which is lackluster compared to numerous others. I hadn't heard of Aquascape & Skydan before, yet their Voice Of The Universe number is awesome, and that song appears before the more known line up. It's also nice to see Solar Fields following up their style from 2009's Movements album, which is superb. Air is one of the better compilations of the year. Update: Water and Fire are now released (2009) and both are better IMO. Favorite tracks 2, 3, 4, 7, 9, 10 B Samples http://altar.fonderieart.com/air.html Order http://www.altar-records.com/preorders.html
  6. Celtic Cross - Hicksville (Remastered & Remixed) (Liquid Sound Design) 2009 1 - Mundis Imaginalis (Tribal Dawn Mix) (10:40) 2 - Khatmandu (Iona On The Ganges Mix) (7:49) 3 - Jade Gates (Beauty Knows No Pain Mix) (11:51) 4 - Mundis Imaginalis (Flowercolouredpowerchild Mix) (7:02) 5 - Schwazz (Until Nothing Can Reach Us Mix) (7:57) 6 - Straight For The Jiggular (Crystal Journey Mix) (5:34) 7 - Mundis Imaginalis (The Acoustic Mix) (7:34) 8 - Khatmandu (Short Cut Mix) (6:46) 9 - Digajigg (Babba G Mix) (7:43) I'm surprised they remixed Mundis Imaginalis three times here. Once we add the two Khatmandu remixes, that's more than half the album sharing two main tunes. Things sound similar. Fortunately they left out a track or two, possibly three from the original that were lackluster and not really worth putting EXCEPT Hicksville was worth it. But then I realized that Hicksville never seemed like it could use remixing. It was wonderful the way it was. Why mess with it? The artists remixed and remastered the other best tracks. I can understand some listeners being disappointed since the artists acknowledged their best Celtic Cross work (to my knowledge) minus Hicksville. Nice colorful cover btw, though they photo-shopped a piece art or crap (you decide) and made it look cool. Lovely. THE GOOD The mastering. The music sounds so much more clear, broadened, and enhanced in comparison to the original. There are several strong remixes here. I prefer Digajigg (Babba G Mix) here over the original version. I think it's great. Fans of the original will appreciate this release. I'm sure it will attract new listeners too. Musically, it's well produced. Simon Postford and company added a lot, while keeping in tune with what made the original the sleeper cult hit that it became to some degree. THE NOT SO GOOD Three remixes of one track takes up one-third the album and gives it a samey feel to some degree THROUGHOUT. I got TIRED fast of listening to Mundis Imaginalis due to it appearing three times. Its main "pleasant" tune may exhaust listeners by the time the album's finished. Also, Mundis Imaginalis (The Acoustic Mix) is little more than an ongoing loop of the main tune. There are some nice sounds around it but it's TOO REPETITIVE. I find it the weakest, most unnecessary one here actually, acoustic or not. Few remixes are just not THAT good, and both Khatmandu remixes appear to have little to distinguish the two. I feel like I'm hearing the same song twice on the same album, regardless of the differences. In conclusion, if one can look past the shortcomings, he or she is in for some great music. Celtic Cross - Hicksville (Remixed) is definitely one of the better releases of 2009. Due to one remix too many though, repetition, I was disappointed to some degree. Moreover, this is not better than Solar Fields - Movements. My favorite track is actually the last due to the strong and danceable Goa influenced sound and vibe. I don't mind the celtic tune. I love the skipping female vocal and various other voice and sound work. The song's fun and energetic; just like the original, it seems like it could have been off a completely different Psy album, but I like it (especially after all of those same sounding tunes with relatively different backgrounds appearing before it). Overall this is a good release with a handful of great tracks or vice-versa. It's just nothing spectacular unless I suppose you are a hardcore fan and absolutely love this thing, which due to its weaknesses, I'm more a fan of the mastering and a track or two here and there more than the overall full package, or compilation of remixes. Favorite tracks 1, 2, 6, 8, 9 B Samples http://www.saikosounds.com/english/display...ase.asp?id=7838 http://www.psyshop.com/shop/CDs/dra/dra1cd089.html
  7. Psychoz - 2012 No Return album (2009). Samples http://www.saikosounds.com/english/display...ase.asp?id=7742
  8. EARTH CROSSING Dave should make a follow up to Earth Crossing masterpiece for Suntrip Records to release.
  9. What an ugly cover. Oh my God they could have at least picked a beautiful girl. Having a potential guy gives it an awkward feel. I thought oh wow, a pretty mermaid until I looked closer. But moving on. Sounds like Enigma (new age) meets trance, the trance version of Enigma. Not a terrible idea. I miss Mystica's Psychedelic Goa-Trance work. Their Age Of Innocence album is wonderful. At least this is upbeat, uplifting, and tries something different, albeit formulaic. I'll pass. For now. Maybe if they're smart enough to put it on MP3 Amazon I'll get it (a decent sounding album for less and) without the crappy cover. Because I generally enjoy uplifting music. Samples http://www.saikosounds.com/english/display...ase.asp?id=7766
  10. This is to date, the most solid dark Psytrance compilation I have heard. I am hearing it right now as I write this. It's great. Sure I'd love to hear a better one. If anyone knows of something unquestionably stronger (compilation-wise) I'd love to hear it. Anyway, I thought they were making a sequel. ?
  11. DERANGO - TUMULT INPSYDE MEDIA 2005 Track list: 01. 08’40” Deranged 02. 07’50” Confusion Is Next 03. 08’10” Made Out Of Vapour 04. 07’43” Masterdamnit 05. 10’51” All Channels Open 06. 09’58” The Poisonous Square 07. 06’37” Lost Theory 08. 07’54” Fnatt 09. 08’38” We Are All Mad Here (Rmx) Tumult is one of the most interesting and talked about Psytrance releases. Previously I had been focusing on what I felt was missing, not so much on the accomplishments here, what Derango pulled off extremely well. I still feel that if they put half as much time and work into aggressive, strong and catchy melody leads, that this would be one of the most amazing and "top favorite" albums ever produced (to me and various others). But what the artists did here is no doubt technically skilled, ambitious, and innovative. It's definitely one of the most psychedelic album's I've ever heard. So psychedelic actually that it appears to be a technical achievement in being psychedelic over all else. Add the plethora of altered Psy sounds to the atmosphere and sound variety in each track. This is an impressive album. I suppose due to the heavy focus on twisted psy effects, due to the album having a ton of arguably melodic moments projected by "altered sounds" at times that appear to be creating a paragraph of melodies (more like a twisted staircase of sounds), I found myself disappointed years back. I was expecting something more along the lines of Hallucinogen and/or Menis in the sense that strong psychedelic work would compliment melody leads/paragraphs around crazy sound designs. As with Penta's Horn Please album, sound paragraphs filled with sounds and various melodic elements, gritty textures and atmosphere come and go. Though very few tracks have moments where my mind goes back and plays them; in other words, tunes aren't stuck in my head for days. naturally, it would be amazing if what the general person considers infectious melody rhythms was invested in a follow up also loaded with going nuts in the sound department as this one does (innovations). Tumult is an overload in sound production and psychedelics. It's an example of a definitive "Psychedelic Trance" album whether one likes it or not. Parts that seem to tell a story (more clearly to me, parts that evoke feelings, provoke thoughts that I enjoy) are in the opening (from roughly 1:30 to 2:15). Also in track 3, 4, 6, one or two others, and especially the very end of the final track -- listen to how effective that part is). More of these two elements is what I miss here: emotion (sadness, anger to the wild tone, darkness), and development of what the general person considers melodies. I have a song by Derango called Time Trap from the ultra-dark/Evil There Is No Tomorrow compilation (my review in the 2004 section). Just listen to the melody-esque sound work in Derango's Time Trap from 2:18 to 2:42. It played notes are somewhat consistent and gripping for a short time, before the song goes back to crazy/insane mixing psychedelics around the beat and bass line. So it's these gothic tunes in a sense that I (and various others) find invigorating at times. They create a hook amongst the ceaseless craziness that can be ridiculously infectious and driving (and more dance friendly IMO) to the awesome work around it. The also create a focus however and maybe Derango wanted the listener to focus on the world of sounds created more than melody leads which often attract the spot light from surrounding work. However when an album capitalizes on both, believe me, it's beyond amazing. As with Hallucinogen - Twisted, we hear all of it, and become more present with all the other work the more we hear/explore the album. 01. Deranged is an intriguing chapter, in part because this is here the listener will first hear the novel, overloaded and bubbling/intricate and heavily psychedelic style of Derango on Tumult. Moving paragraph walls of dripping acid and twisted/distorted melodic and/or sound effects mix over moving shapes, smaller paragraphs and sentences of vivid texture and deliciously psychotic imagery. There is something chilling, unfriendy but ultimately comfortable and gripping about this opening track. One of my favorite part is from 1:30 to 2:15 but I have several. Overall this is a track that seems to create tone and evoke feelings, albeit deranged ones at times, and I like that. I think some people haven't given this song enough credit because it's less intense. Personally I find it one of the best, most satisfying here. It's simply less energetic; there's something surreal about its less fast and zippy structure. Excellent track. A- 02. Confusion Is Next, an uncompromising, driving, and relentless art of Psytrance on photo-tropics and various other stimulants. The dark and driving beat is great, but the rhythms here, cutting through bleek and moving atmosphere filled with squeaky insects and tasty fire flies is strong. The tempo change up around halfway through is well articulated too, as the character becomes more confused, self-haunted, disturbed as the song continues. Such behavior appears relevant around the 6:00 mark where, be it darkly humorous or not, it appears like some form self-crisis, psychosis (disorder) is taking place. I really like this one, though it took years for me to "get" into. Excellent work. A- 03. Made Out Of Vapour takes off out the gate early on. Coupled with buzzing, highway driving sound effects, the comprised and developing Psy work continuously grows, mutates, and spreads like an infection. Distorted cords become sounds taking us deeper down the dangerous path filled wit obstacles. Around 3:00 to 3:25 is GREAT, and a perfect example of what I consider distorted MELODIES (to some degree) in dark Psytrance. That is what I've been trying to communicate for years (though I stopped, gave up two years ago until now) in this thread. It's the hook that I love around the chaos, the lead (however crazy it is) that gives me some sense of YES (!), this excites adrenaline. The song however quickly returns to its world filled with psychedelic creates, without a running/clorful lion or tiger in sight. After going through some interesting sound-ladden passages, two segments take place that arrest my attention. One is from 4:17 to 4:45 (sounds like a haunted car swerving from lane to lane down a dark highway), chilling stuff. The second follows closely behind, from 4:50 to 6:14, a distorted, various-note played tune of sorts. Fortunately, a third (and one of the best) arrives from around 7:00 to 7:50. Now all three of these parts can be argued at being melodies, but they create stand out sound work that draws me deeper into Derango's deep forest of darkness, mystery and energy. These segments evoke feeling, at least to me. They're unique and catchy, especially around all of the crazy head scattered noise and buzzing bumble bees. A- 04. Masterdamnit is an even rougher song, loaded with psychedelics. The first tunes (to any sense) I notice are in the first minute, and around 2:40. These parts a short, flying by like moving insects as the vehicle goes through heavy, constantly changing chaos and particles. The crunchy foundation texture is strong, albeit repetitive, it works in a BotFB type way, creating a hypnotic vibe with the rest of the broth. The tempo change sup around 4:40, the foundation or floor drops out to compensate for an entirely new section of the same evolving maze or world. The following section, however filled with alien backdrops and atmosphere sounds almost crazy just for the sake of being crazy at times. Without a groove or some form of tune, I am lost in a jungle filled with interesting sounds but for me, uncertainty. It's all interesting but the crunchy foundation and distorted tune work earlier on I find far more gripping in this song. The skipping scream followed by the record sound towards the end though it good, but these small details don't replace the sense of being lost in a song that maybe intended never to be found or rather made sense of. Great "psychedelic" work, but this is one of my least favorites here. B+ 05. All Channels Open starts out more congruent than the previous number, with a bass line (or pads) pattern that breaks up as the song progresses. A growing sound that joins a tune of sorts around 4:00 -- oh wait it's gone. But something else, beginning around 4:08 sounds like a tripping melody, a lead to some degree. My attention is grabbed by this thing that soon vanishes into the industrial/metal and atmospheric underworld of clanks, screams, pops, bubbles, and ten-thousand-plus other locations in this abyss-of-craziness world. Back to building up the track we go, after a gothic (ghost chorus with hardly a chorus?), evocative interlude. The song rages on with buzzing sounds, but the beat and bass line change ups strengthen its feet were the previous song faltered IMO. The sounds remain crisp, fresh, and deadly straight into the final third. Overall this appears to be one of the more catchy "psychedelic-sound-wise" songs on the album. It gets pretty heavy and developed, stomping too in its final, layered third, creating a strange/climactic or higher energy feel. While this (these) aren't exactly my favorite style in Psytrance work, I can see why others would like/love it. Crazy, well done track. A- 06. The Poisonous Square is my favorite track on the album. It begins with an extremely catchy and curious voice sample, regarding an object being observed in a room, appearing like a perfect square that turns out to be something entirely different, something very bad. This introduction fronts (begins) the bubbly beginning of the next chapter, story that takes off around 2:30 into a blazing and super driving DISTORTED melody lead that I have accessed by memory sine this album released in 2005. I am grabbed, completely hooked by the 30 second sound lead from 2:30 to 2:55 in the song. It's awesome, to me at least an especially after hearing all else before it and anticipating a form of unexpected infection, a take off moment of flavor and surprise. Although that wild hook never returns, the song remains strong, fierce, and gripping from beginning to end. But that sound really elevated the energy and enhanced the track. Nonetheless, the second third of this song is fucking awesome: An high octane, delicious, and uncompromising ball of psychedelic and driving fire. Although this section ends at 6:35, it lasts minutes(!!!), then evolves; the song takes off again again, from 7:35 to 8:05. And then it returns again and gets even more crazy/psychedelic. Add in atmosphere and raging effects. WOW!!!! If Derango made more songs like these they would produce what I consider one of the most amazing albums of all time. I have been impressed by this song since 2005. It's gripping, intense, and catchy from beginning to end. SUPERB TRACK. A 07. Lost Theory is a step down from pervious numbers. It's still a good track, very psychedelic and a bit more random but with less (intensity, ferocity). The song seems to finally come together around 4:35, though by 4:00 we're back to Derango's vivid and sound-heavy atmosphere. The ideas have been done, and done better on previous tracks. Yet this comes up with a handful of its own psychedelic moments. I simply find its sound work and the overall song direction less gripping. Around the five-minute mark however, the last fourth of the 6:40 second song hits a nice, driving beat and rhythm. That is, before returning to its recycled or less refreshing self around 6:00. IMO this isn't bad but the weakest, arguably least powerful tracks on the album. It's pretty good I suppose (especially if you love the style here), nothing spectacular. B 08. Fnatt has more going on; it's more interesting (eventful) and stronger (sounds, change ups) than the previous number IMO. A part or two of the last third becomes even more distorted than previous acts. Rarely what I consider a melody or several note tune that leads I can hear. This is a solid, hard, and crunching number, though so far the album's greatest work (parts that impressed me most) have past. I generally don't care for this track, but I'm trying to look at it for what it is (compared to other songs on the same album). Cool track. B+ 09. We Are All Mad Here (Rmx) -- get this, I find far more catchy and gripping than both numbers that came before it. This to me is a return to stronger melodic elements scattered throughout the hard, edgy and stomping psychedelic, and mad-running horse. An interlude takes place in the center that lasts longer than I can remember previous interludes lasted on the album. It's soon followed by stylish TRIBAL-SOUNDING drum work around the beat. It's a great moment, especially for outdoor forest parties. Wow, I wish there was more of this on the album. What continues is stomping; the tempo changes up around 6:10 around a strange voice sample. The tempo then changes again. I like this track because it appears less all-over-the-place in its story telling and direction. There is a strong, provocative (and evocative) part, the final minute of this song that clearly shows that Derango has far more skilled and creative than Tumult alone. The final minute here is a great part that, along with various other elements, could potentially contribute to an amazing, more varied, interesting, musical, and multi-dimensional masterpiece. Strong track. A- In conclusion, each song in Tumult is loaded with so many sounds around the strong beat, bass line, pads, (and more); each song is so PSYCHEDELIC (over all else) that it's no wonder this album became so popular, such a cult hit. I often find myself returning each year, exploring it, journeying deeper into its intangible layers of raw sound designs. Tumult seems more or less different from how remember it: more evolved, bizarre, crazy, abstract; I become more conscious of more in and of it. This may be due,in part to the non-linear song directions as well as the abundance of mixing, sounds. The whole album is like one crazy "Psytrance" head trip down David Lynch's Lost Highway. It's a wild ride that never answers any questions, yet it's filled with so many crazy events and elements that it's hard not to notice and admire. In that sense, I admire and more or less (via the track) enjoy Tumult. It is not one of my all time favorites (not now anyway). But I can see what it is for many people. Without question; I've at least gotten that answer from hearing this. I wonder if these artists are working on a new album. It's been years. Favorite tracks 1, 2, 3, 5, 6(!!!), 9. A- Samples / order Psyshop: http://tinyurl.com/c4yjd Saiko: http://tinyurl.com/bf5e4
  12. I have only three tracks (The Bardo, Presence, and X-Treme) by Deeper In Zen from their 2003 Psytrance album Insight, but they're all great, excellent. From what I have heard, they produce somewhat dark and driving Psytrance. Unfortunately, I can't find a review thread for this 2003 album here. No one ever seems to mention Deeper In Zen (???) here, yet these three songs are so strong (samples below). This is the most I've seen so far about them on here: http://www.psynews.org/forums/index.php?showtopic=48059 What do you guys think? Samples (from Insight) http://www.saikosounds.com/english/display...ase.asp?id=3845 http://www.psyshop.com/shop/CDs/sor/sor1cd004.html All of their albums via Saikosounds: http://www.saikosounds.com/english/show_ar...?artist_id=1842
  13. PSYCHOZ - 2012 NO RETURN SHAMANFILMS RECORDS 2009 1. Mistery ... 7:31 2. An Entrance ... 7:15 3. Tools Of The Trade ... 7:00 4. Valley Of The Lost Souls ... 5:40 5. Twisted Garden ...6:35 6. Retribution ... 7:28 7. Over The Hills ... 5:37 8. Spiritual Beggars ... 7:14 9. Soulwax ... 8:00 Forgive the generic title. 2012 No Return is the best DARK Psytrance album of 2009 to date. When it comes to dark psytrance, I like world-immersing tracks, not the typical machine gun beat psy-sounding repetition. I like a story with atmospheric and a developing, evolving story filled with strong work. 2012 No Return creates a dark world that pulls the listener deep into the clenches of darkness. Considering that I hadn't heard of the artist before, I wondered if the album was as interesting as the four-minute samples that intrigued me. 1. Mistery is a VERY unique opening that reminds me (as well, see above) of old dark/Goa tracks. The melody/sound work is catchy. The mid-tempo is great and the song does a good job creating allure, down the long, dark path we slide. Present is a catchy/deep, old-school melody that reminds me of what a more modern Sand Man - Witchcraft opening could be in our time now. New sounds are added as the one-direction (hence No Return) path progresses. The song reflects the listener, traveling towards a world of darkness that awaits. The song does good with allure as it sets us up for whatever fate awaits. Good opening track. B+ 2. An Entrance is the first song to really take us inside the dark world, past the long, provocative path of the introduction. As the ride continues, echoing sounds enlarge as if the vehicle is looming deeper below the caverns, to the horrors that awaits. A tune as if signaling the last of hope is heard. There are strong pockets of melody/work throughout (from around 5:55 to 6:22). However it's the story and how the song's direction that give a real chapter-sense and core to what could have been a candy coated apple. This is an engaging song. Great work! B+ 3. Tools of Trade takes us deeper inside the buzzing hums and savage horrors of the abyss into darkness. Coupled with a swirling/mystical effects as if we're traveling down a black hole filled (towards Hell), the song is visually distorted, dynamic, growingly infectious, and surreal, absorbing. The transportation speeds up; psy creature spin in concentric circles as if we're being sucked down a deep, dark vacuum. After a short female voice sample, an extension of horror continues. This is another great and warped track! B+ 4. Valley Of The Lost Souls is different from previous tracks in that it offers a HUGE focus on melody leads, however distorted and twisted; the work here is more arresting than previous numbers. Furthermore, an even greater dose of innovation, drive, and creativity seems to have gone into this track with strong success. I won't spoil anything, but the song has an incredible/unique sounds to it and remains strong throughout. Its a gem with twisted fun melody work that has been stuck in my heard for days. Excellent track! A- 5. Twited Garden is a strong follow up that is very interesting. Filled with spinning saw sounds that make up a cut-throat sound/melody pieced together with flowing ambient, chopped up/distorted voices, and more, this is a deranged "well done" and creative track! B+ 6. Retribution is more industrial edged, sound/guitar (at times) wise. Thankfully this as well as no other tracks are coupled with the singing that killed a track or two on Xenomorph's otherwise solid "third" 2007 album. This is a mind numbing, sharp, and angry, atmospheric track. I like it, but it doesn't seem to visit as many delectable places in the haunted castle as previous numbers. It's sounds are also more harsh, heavy, and in that sense less infectious to me. The cut off voice sample to the crazy rage, driving, rhythm, and piercing percussion is solid. Solid track. B 7. Over The Hills starts out disturbing, as if a nerve has been cut and the body/mind is left mentally disabled. Included in the track's chapter here is catchy, echoing metal *clang* sounds over the beat. The first third sounds as if the song could have been great as a mid-tempo number. I'm not quite sure the reason (or why) the beat speeds up numerous times in the second and third act. This is an easy effect, possibly intended to mask the song's weakness. Overall the speed provides an interesting appeal that becomes overdone; the song becomes dependent upon the fast machine gun sections. Maybe this is to represent the speed as one goes up (slower) and then down a hill (repeat). The sounds around the fast-forward speed however appear thin in comparison to previous tracks. The song has a rushed feel, to some degree. Previous numbers had more of a silent deadly albeit well developed, catchy, and dark-fantasy sound to them. But this is more like a technical, experimental track that heavily relies on pyrotechnics (special effects) over anything else (groove, dance-friendliness, a continues feel to surrounding chapters). In short, this is my least favorite track on the album. B- 8. Spiritual Beggars is like a freight train filled with wild and crazy souls. The final third may either get under your skin and/or lift you up (climax wise), or both depending on how one perceives the sounds. This thing is constantly building, developing, becoming more vivid and hellbent, delectable as it races by. But the last third is frighteningly well done. This could stand as a super song on a new Penta album (via his dark and dynamic Horn Please! style) and I would have maybe missed the difference. Unlike the previous number, the speed enhancements here, while not overdone enhance the track. The song is dynamic, fierce, wild, and overall a psychologically arresting, great track! A- 9. Soulwax initially appeared to have been inspired by The Matrix theme (at least to me) in the opening seconds of the song. However any sense of that quickly changes. The track appears slower in speed than previous numbers with exception to the opening, however the beat is relatively quick. I'm not sure how to describe it, but it feels like a fusion in between mid and uptempo. Coupled with bizarre souls (I don't know what's going on) escalating over the hills of under a Halloween night sky, the track is gripping from beginning to end. There is a strong ambient/tune foundation present that gives the song strength even when numerous layers are removed temporally before the letting lose of new sound paragraphs. Overall this is a solid closing to a great album. B+ In conclusion, this is an absorbing dark Psytrance release filled with strong atmosphere, textures, melody/sound structures, occasional cool voice samples, and more. Tracks are generally danceable, though it's clear the artist kept home-listening and story in mind when producing the album. The story is atmospheric, at times evil; the tone pulls us deeper into dark Alice Goes To Wonderland so to speak. 2012 No Return is a great album that gets deeper, darker, and more haunting as it progresses. My only gripe is that like most albums in general, this isn't filled with super songs back-to-back. It would have been fun to have more "super/amazing tracks," though the songs here are good/great. 2012 No Return is a nice addition until the next well reviewed dark Psytrance album comes along. Recommended for those into dark Psytrance. Favorite tracks: 1, 2, 3, 4, 5, 6, 8, 9. B+ Samples: http://www.saikosounds.com/english/display...ase.asp?id=7742 http://www.psyshop.com/shop/CDs/sam/sam1cd009.html
  14. Nice to see the general consensus agrees with me so far. We'll be up a couple more pages before year's end. Believe me. Solar Fields - Movements is the first downtempo/ambient album I have ever given a solid A to in my life. And I have heard hundreds (though I've never scored and/or fully reviewed Shpongle 1+2 so maybe one of them is an A to me). Every time I listen to this album, it's like a world flowing and filled with passion, love, and magic. Many of the tracks on this album I couldn't imagine enhancing in any way. For lack of better words, they're ideal and bursting with wonderful energy from beginning to end. There is so much positivity and satisfaction here. So much feeling. So many beautiful and delicious sound layers and ambient blending in flow and in harmony with other sound layers, leads, and ambient. I would rather enjoy than attach titles/words to it. Naturally the pleasure is one coupled with self-experience and satisfaction. This is a 5/5 star find yourself, let go of yourself, and free-your-mind album. Even the less spectacular tracks are great IMO. I'm just Other 2009 albums that I consider strongest of 2009 includ: - Filteria - Daze Of Our Lives - Merr0w - Born Underwater - Psychoz: 2012 No Return - Celtic Cross - Hicksville (Remastered & Remixed). I really love Solar Field's direction with Movements. This is the first album I've bought by them. Far as the downtempo/ambient genre(s) go, this is quite possibly my favorite (or one of my top favorite) downtempo albums of the last decade.
  15. Bad thread. Because the artist's best album isn't even available to VOTE. IMO there should be a friendly way to edit polls or something. Answer: EARTH CROSSING.
  16. When is this album coming out? It is done yet?
  17. FILTERIA - DAZE OF OUR LIVES SUNTRIP RECORDS 2009 1. Filtertraces (Abstract Dream Remix) ... 10:18 2. The Big Blue ... 8:21 3. Wormhole ... 8:47 4. Eyeless Observatory ...8:23 5. In the Heaven's Eye ... 13:49 6. Infinite Regression (Feat Ukiro) ... 8:47 7. Earthrise ... 8:39 9. Float Away and Disappear ... 8:00 After three years since his previous main album, Jannis (Filteria) and Suntrip Records release the long awaited "Daze Of Our Lives." In 2004, Jannis released Sky Input, an album that reinvigorated the genre of Psychedelic Goa-Trance. Inspired by the amazing Pleiadians in their prime, Jannis's ultra-intense Sky Input debut album was widely praised. Though not as fluid or as elegant as Pleiadians earlier work that inspired it, Sky Input got by on sheer energy alone and is the most intense album I have ever heard in my life. Two years later, Jannis/Filteria released Heliopolis, a follow up with more of a variety in tracks (less in-your-face intensity back-to-back), including some welcome additions such as key changes, a remix of a classic Pleiadian song, a downtempo remix, and more. The general consensus: Heliopolis was a solid follow up, but not nearly as innovative or as impressive as Sky Input. Years past. Jannis toured the world; counties include: Brazil, Israel, Mexico, Russia, Switzerland, Ukraine, Turkey, Belgium. It was clear that the Pleiadian-influenced Filteria style was in need of some serious innovation. In 2008, such innovation came when Filteria released Birds Lingva Franca on Suntrip's double CD Opus Iridium compilation. The song was refreshing, more colorful, and tasty; the reviews were great. Clearly, the Filteria work had improved dramatically and evolved. Roughly a year past and in 2009, Daze Of Our Lives was announced. The album promises to be more innovative and better produced than previous work. But is it really? 1. Filtertraces (Abstract Dream Remix) sounds surreal. It begins with strange alien sounds. Imagine being on a floating island and approaching a vast, new world where an epic adventure awaits. Like a sunset (or sundown depending on how one perceives), birds fly across the skies as gentle waves crash along the sparkling beach beds. The opening to Filtertraces is mystical. It gradually progresses into an evocative, harmonious world. At 1:40, a boost of energy ignites the senses and the journey begins. Waves harboring sound creatures swim in deeper layers, in an ocean flow never forceful or overloaded with sea life. This song is like an expression of nirvana, paradise. Like a tasty broth, ingredients are gradually added until the taste is marvelous, blending together in an ocean of infectious delights. At 3:59 we are introduced to the first melody lead, a beautiful tune with far reaches like a magical flute summoning a sleeping dragon. Ambient layers shrink into back drops as numerous melodic crystals and soundscapes swim by. This song is filled with life and seemingly organic sounds, an irony considering it's an electronic (Goa) track. A bigger energy fish takes form around 5:40; the tempo takes off; the song doesn't abandon its beauty but evolves it to the rising energy. A floating interlude takes place from 6:49 to 7:46. It's mysterious and engaging, opening the door to a gorgeous missile of beauty. The traveler races across the skies. But not so fast as to miss the transcending scenery, and the emotive lead is wonderful. It's like sailing across the skies on a magical carpet ride. People have described this opening track as "dreamy, wondrous" and "divinely beautiful." Words are just descriptions anyway to express the essence of what we must experience to full understand and be present with. This is one of the most "strong and emotive" opening Goa tracks I have heard since Simon Postford's L.S.D. To say it's better would spark an argument. Filtertraces elegant, romantic, and unlike anything I have heard before. If this is a hint of Filteria's upcoming K.O.B. project, people are going to be very pleased. Beautiful track. A 2. The Big Blue is a stomper compared to the previous number. Emphazing twists, turns, and various sound emphasis as it progresses. It never seems to be squeezing its sounds or trying. The song is fluid, flowing, and fast -- not intense. It's more aggressive and danceable than the opening. The first several minutes could be described as a re-imagining of Jannis's famous Birds Lingva Franca but with bigger soundscapes, dynamics. The Big Blue breaks out from its wonderful lead after its third minute. An echoing transition takes place from around 3:05 to 3:32 and meets a short interlude, one that will front key changes and fun exploration as the story-telling track progresses. Even the main melody evolves with a new, second paragraph from that in the first act. Strengths include the song's less sound heavy breathing moments. One takes place around 5:25 where main melodies are removed for a tranquil transition of opening space. Such aware executions are wonderful; they open a dimension in appreciation to the creative life often masked to some degree by melody leads. The only part that appears less dynamic, or at least one that stays a bit longer than previous sections is during the last two minutes. It is this two-minutes roughly that may come across as repetitious albeit driving for some after hearing all else prior that sounds remarkably crafted. The Big Blue as a whole is engaging, even if its ending wasn't intended to blow listeners away. Excellent track. A- 3. Wormhole is one of those songs -- I had to hear numerous times to grasp. It is just so varied with ideas, development, and evolution. The song is filled with crazy psychedelia, sound effects, pitches, rumbling, impressive melody/sounds, rhythm change ups, awesome moments of growing storm-approaching ambient, skipping/chopped up acid butterflies, psychedelic caterpillars on colorful energy rockets, and more. The track barrels through cork screws as if a space dragon is playing roller coaster with its own tail before diving deep into a wormhole filled with challenges, clusters of sound/melody paragraphs. Filteria's mixing style has improved dramatically since 2006's Heliopolis album. There are moments when the main melodies are removed to showcase an open road, and it is these pathfinding (like racing down an open road in the desert) moments that provide a great sense of clarity and steal some of the show. As with the previous two tracks, Wormhole features a wide variety in sounds that far outdue the sound varity on previous Filteria work. Moreover, there is a section around 7:00 to 8:00 that is hard to forget. It's intricately delicious and brings back memories of the tasty mixing attitude I miss so much now days, perfectly expressed on Hallucinogen - Twisted and to some degree, Talpa - The Art of Being Non. What's wonderful is how the artist updates certain ideas without copying; he creates his own vision, approaches to ideas. Wormhole is imaginative, ambitious, over-the-top, dynamic to the point of exhaustion at times track that's captivating from beginning to end. Its melody work is simply less memorable than the two previous tracks. But the sound/mixing work coupled with the story/imagination is giant. Awesome work. A- 4. Eyeless Observatory appears to have no limits when it comes to adrenaline. The thing takes off close to the beginning. Key changes compliment a sound reminiscent from Pleiadian's (self-titled) Family Of Light track. The song is an uncompromising form of turbulance set in several fluid transitional stages that are poised to get the heart racing and probably give a few people heart attacks on the dance floor too, that is if they're on drugs that speed up the heart-rate. This track is a crazed run-away train on rocket boosters. It races by, thus to leave the listener in a blur. The first adrenaline injection is around 2:40. The body is moving at dangerous, but not yet disastrous speeds. As the song currently matches previous high octane killers such as Mono Lisa Overdrive, and various other high octane Filteria work such as Rotate To Vibrate. Lights fly by, colors leave trails, and any sense of scenery is not comprehendible. Around 5:00 is the next adrenaline injection which is more like a pint of nitro to the cerebral cortex. Yet somewhere among the quickening velocity is a deliciously skipping, altering, and constantly evolving structure that is the climax. Has the idea of a high octane song been done before? Yes, probably hundreds. But this is the most intense and uncompromising in sensation track I have heard since Sky Input released back in 2004. It may be one dimensional. But for what it is -- Eyeless Observatory is one of the strongest high octane song's ever produced. It becomes more delectable as it progresses as well, and the overall sound/melody work is excellent. Stunning track! A 5. In the Heaven's Eye is a delectable space odyssey, running at nearly 14-minutes long. The introduction is four-minutes long, developing a wide open atmosphere and delicatessen of soundscapes in accordance to its non-linear design. This openness instigates a heavenly ride across the Universe and the beat begins at 3:42. Coupled with unique skipping effects, pulsating vibrations, and various other enhancements, the song is an evolution from Filteria's non-intense and strong Tiny Little Universe on V/A - Apsara. Around 6:21 gains more strengths; hi hats meet the layers of beauty swimming at traveling speeds. The pill becomes even more delicious as it crosses the seven-minute mark. Gentle pull back in melodies; things are getting more psychedelic. A strong melody lead appears, moving through celestial bubbles and particles at around 8:30, and while all of these elements sound great, it isn't until 9:13 that ride breaks out into juicy paradise a la Dimension 5. Jannis has created a vivid, immersive world. During the creative four-minute foundation, I felt like I was watching the interesting space creatures. I didn't feel a part of their journey, but the song continues to clear a celestial path as it continues, like hidden steps to the stars. This elements of surprise here are wonderful, pulling the listener into the cosmos. A moment of aggression in the final act strengthens the lasting journey; it's excellent. The track may initially came across as ambiguous for some. There's a lot to comprehend and the direction isn't really clear at first. But the traveling approach and sound/melody work presents a moving work of art that deserves repeat listens and letting go of life to get lost in. This is the most imaginative, beautiful, and traveling (key word here) Goa-Trance song that Filteria has made to date. It becomes more engaging as progresses, never falling into general formula; it remains novel and gripping. Imaginative, strong, and epic work. A 6. Infinite Regression (Feat Ukiro) is a return to futuristic/racing through the city Goa-Trance. But there's a catch, that has to do with Eastern-influenced melody work that appears later on. But we'll get to that in a second. The song has a buzzing, alien intro and introduces the kick within its first 0:15 seconds. Around :026 begins the first gritty texture as various, unique effects (like creatures) enter the atmosphere. These parts are great. The kick is emphasized with sound effects as a crisp Goa melody emerges. An interlude takes place from around 1:30 to 1:38, opening the door to machine-gun skipping sound effects that enhance the melody-driven core. The melodies disappear to compensate for a chilling deep voice sample regarding time. The fast Eastern melody work is great and compliments the relatively fast speed of the track. Around 3:50, the Eastern melody work switches up. Unfortunately this is the weakest part of the song, and the album. No longer is the song kinetic like before. The new melody lead not only sounds as if it could have been in a completely different song, it's overall tune and movements are unimpressive, disappointing. Fortunately, the bullet paced grip picks back up around 4:32. A catchy melody lead rejuvenates the track with energy around 5:15. Things are finally back on course, that is until the same, previous melody work returns around 6:22. This specific form of Eastern-influenced melody greatly subtracts from the song's zippy/fun energy and flow. Even skipping effects can't mask its lackluster presence, and at this point I no longer enjoy the song. While some people may enjoy this more simplistic Eastern melody, I don't. I know that the artist is capable of far more arresting work. Naturally, a good chunk of the song is well done. I just know that the song could have been enhanced with the smallest, obvious changes. It sounds as if it has an identity crisis in this regard. Someone dropped a dirty shoe lace in my tasty bowl of soup. While much of the song is solid, the end result feels rushed and/or uncertain of itself. Yet around these elements exists work so playful and smooth, it's a shame more work wasn't invested in sharpening the few, dull corners. Overall this is a good track with greatness (or vice-versa) that could have been excellent had the artist replaced (with something more catchy) the melody from 3:53 to 4:32 and from 6:22 to closing (or just end the song before 6:22 thus not to repeat the weakest part) because these parts take away from the fast, fun, zippy appeal. B+ ? 7. Earthrise may be what our current conscious awareness vibration experiences during a planetary shift in consciousness. Or when a giant shock wave is produced after an asteroid's impact, lifting our land from zero degrees to the vast clouds above. I had wondered what a Filteria track would sound like had Jannis incorporated Hallucinogen-influences. Now I know, and this approach opens the door to an entire new realm of magic and possibilities. Earthrise delivers the story-telling with enormous buildups, a continuously uplifting and gradually climactic drive, and an ending that I couldn't be happier with. After the previous track, which wasn't bad but I wasn't impressed either, any concern that Filteria might place his weaker tracks in the end was crushed. You'd hope not, right? Earthrise is one of Filteria's strongest tracks. It is a SONIC BOOM (!) way to end the uptempo work on the album. In short, this is an album-seller. Excellent track with a superb ending! A 8. Float Away and Disappear ends the album in Goa influenced down-tempo chill out. Coupled with altered, chopped up voices at the beginning and end, the song's only weakness may lie in its seemingly separate intro and outro relative to the midtempo beat that makes up its core, best part of the ride. It sounds as if this could have been two separate songs. As if the direction present during the first several minutes would have been unclear had it continued; therefore a driving element was created to compensate this elegant deficiency. Regardless of the intent or history to its making however, this a very solid (along with Filteria's Back To Earth on V/A - Sundrops compilation) track. The first several minutes are evocative and chill, leading into a slight interlude around 3:05 to 3:17, where things heat up. A slow beat emerges in combination with tempting tapping. The buildup part is great, jumping the down into mid-tempo where the song sounds pleasingly familiar to various, classic, old school Goa closing tracks. But with today's stronger production values. The middle third of the song are great, excellent. Unfortunately, the best part of the song only lasts from 3:53 to 6:00; it would have been nicer if the beat continued a little longer with some potential, further melody/sound enhancement. The last two minutes gently bring the listener back down to the peaceful stream from the beginning. But the downtempo segments do not don't flow so well into the mid-tempo and vice-versa. I'm not quite sure what I think of the chopped up, incoherent voice work either (in the beginning and end), an effect that has become popular in various genre' over the years. But overall the song is strong, though not better than Back To Earth, not to me. Float Away and Disappear is interesting, and a smart, nostalgic, and modern way to end a spectacular album. A- In conclusion, Daze Of Our Lives oozes with fluid energy, innovation, and infection. This is Filteria's most mature, overall best album to date. Those who thought Filteria has lost edge will think again after hearing Eyeless Observatory. But that's just one track where the artist takes sensation further than almost every high-octane song I have heard. The opening track is gorgeous. The final chill out track echoes nostalgia, and virtually every track is excellent, superb. The only song I consider less strong overall is Infinite Regression due to certain Eastern melody work in the second and third act that could have been replaced by catchier, more congruent synth leads to enhance the zestier (futuristic) elements; otherwise it's great. Furthermore, the album is loaded with characteristic super songs, and an energy at times that awakens the sleeping dragon with stunning results. Filteria's transitions are more fluid; his tracks are more fluid, elegant, and satisfying; they finally have room to breath. DoOL is a wonderful and invigorating journey from beginning to end. Replay value is high too due to the super song and characteristic track variety. For those who enjoyed Filteria's Birds Lingva Franca in 2008, Daze Of Our Lives surpasses such colorful works thanks to a wider variety of sounds, twists, turns, innovation, experimentation, and more. Suntrip's artist RA may tell a story better, and have more experience when it comes to down/mid-tempo work in general, as shown in RA's 9th (2008) album. Jannis/Filteria knows how to craft a super song in virtually (just about) every slot. DoOL is the best new school Goa album, generally followed IMO by Khetzal's Corolle, Chi-A.D. Earth Crossing, RA's 9th, and VERY few others. DoOL is a serious contender for best Psy/Goa-Trance album of the year, and of the last several years. Highly recommended! Total Running Time: 74:59 Favorite tracks: 1, 2, 3, 4, 5, 7 A ............................ Update: I don't remember the last time I gave an album an A in any genre of music. There's Pleiadian's IFO and Halluciongen's Twisted... This is the first new school one... Huh, never realized how critical I was. Samples / Order here: Suntrip: http://www.suntriprecords.com/release/cat/SUNCD14/ Beatspace: http://beatspace.com/dettagli/dettaglio.asp?id=4880 Psyshop: http://www.psyshop.com/shop/CDs/sut/sut1cd014.html
  18. If you're going to make a new Transwave album, why make it adverse to the essence, spirit, and fire of what you're capable of? What's to fear? Frontfire (with few exceptions) is more of a Full On Remix album as opposed to the wonderful (all new and original tracks) Transwave comeback that Transwave fans were looking forward to. Each one of their previous albums were innovative, imaginative, and visionary. This is the least of all three. Making Full On versions of classics wasn't a bad idea I suppose if the intent was $$$ ... but how else is it supposed to look? What about the hearts of your fans. We adore Transwave! Where is the gorgeous, spiritual, vibrationally raising album? Transwave are pioneers. They are so creative and imaginative! Always inventing and being one step ahead and never putting $$$ or being formulaic first. So the approach to appear to do exactly that and exploit beloved classics feels lazy, exploitive, and uninspired. If you didn't make this solely for $$$, why did you make it? It's clearly not for the fans. Transwave has a HUGE fan base (much bigger than they know since 1996). If anything, this is an opportunity to re-connect with them and show us what you're capable of creating NOW in the heart and essence of Transwave, of Goa-Trance! We are not a bunch of druggies who don't care. We are your supporters, your fans, you inspire are works, creations, influences, movies, music, artwork, etc. We have been looking forward to your next wonderful release for well over a decade. So if you're going to make a new album, why not make the wonderful release your fans who appreciate you have been looking forward to? Why toss this out there as if the full on (formula) scene isn't saturated enough? I should be honored and shut up since Transwave did give us Backfire. I was just excited to see what they could create now and believe it is eons beyond Frontfire, even though Frontfire does have it's decent/good elements and creative touches. I can't say it's bad, just not what myself (and probably many of you) were imagining, hoping for, looking forward to hearing as a whole. Rising High, Organic, and parts of Rezwalker and Phototropic II sound nice and/or feel newer and pretty good. Rising High is emotive, filled with feeling and movement, rhythm. Organic is darker, catchy. There are catchy moments here and there before the next segment of exploitation arrives. I simply wish Transwave avoided this and came up with new, catchy material, even if on a full on album which I'd still not prefer since these artists are so ridiculously inventive. A downtempo album would have been more excited in retrospect. I'm all for change. Believe me. I never expected Transwave to release an old-school styled Goa-Trance album in 2009, but can it at least be filled with fire, heart, and spirit and not be so "playing it safe" sounding. Can it not water down our favorite classic songs (or tunes) for a wider appeal for short term gain? While Frontfire is probably a level or two above relative to the general full on (more mainstream sounding) albums releasing every week, it is a far cry from what made Transwave Transwave, and in doing so, what made us connect with one of the greatest pioneers of electronic music in the world, the spirit or rather the FIRE just isn't there anymore. And I know it IS in the artists. You can influence their delectable style and influence at times here. For this reason I know they CAN create magic again if they choose to. Stream the full album https://www.youtube.com/watch?v=Hn7IbAyPiQU
  19. Jon Cocco

    RA - 9th

    I find 9th more enjoyable to listen to straight through over any other Suntrip Record's release to date. So in that sense, yes, I enjoy listening to 9th more than Sky Input. However (and I think many will relate) I was blown away, more impressed when I first heard Sky Input due to the sensation overload of Filteria's debut album. Naturally, both are powerful albums in Goa that have helped to shape and redefine the wonderful genre in the 21st century.
  20. Jon Cocco

    RA - 9th

    Wonderful, magical and engaging story telling Goa-Trance from beginning to end. Several of the tracks could have been stronger including the opening. And my favorite uptempo track by them is remains R.O.M. on the previous album; as R.O.M. had this no-limits (adventurous, edgy, and breaking out) infectious feel that seems to partially limit otherwise wonderful Time Current (on 9th) from achieving similar aim. So for me the super exploring-far-outside-the-box Goa uptempo vessel here is Other Self. Overall, this is one of the best Goa releases I have heard. Only they can top 9th with the third now. And miracles do happen. 9th is my overall most enjoyed album release from all of the Suntrip Record's releases to date.
  21. Sorry I cheated. I couldn't wait (see below). But it's still not on saikosounds yet. Samples (psyshop) http://www.psyshop.com/shop/CDs/sut/sut1cd014.html
  22. V/A - ETERNAL TRANCE 1998 Track listing: 01. The Overlords : God's Eye On Goa ... A 02. Plasma : The Sound ... B+ 03. Paraglider : Paraglide ... A- 04. Datura : Yerba Del Diablo ... B+ 05. Energy 52 : Cafe Del Mar (Kid Paul Mix) ... A- 06. Trilithon : Trance Dance ... A- 07. The Overlords : Sundown ... A- ... FUCKING HELL THIS SONG IS BADASS. 08. The Rise : The Single (The Goa Pyramid Mix) ... A- 09. The Infinity Project : Feeling Very Weird ... A- 10. Ramirez : La Musika Tremenda ... D (These last three tracks SHOULD NOT BE HERE -- They sound randomly out of place) 11. Ramirez : El Ritmo Barbarao ... D 12. Ramirez : Hablando ... D Eternal Trance is one of the best old-school compilations I own, primarily because it is one of strongest Goa-Trance compilations ever released. The first song alone is worth buying the album. But there are a handful of others old school melodic trance pieces that ooze with greatness and positiveity deilight. Not to worry, the album has its fair share of edgeness and intensity, especially in the aggressive and blazing Sundown. The only element I was never a big fan of -- regarding the 9 Goa tracks here, regard the "I am feeling very weird" voices on track 9. Repeating statements often distract the listener from being immersed in the world of sounds. But I've come to accept that unique part; track 9 is simply one of my least favorite Goa tracks here though the melody/sound work is very well done. If one could simply overlook the last three (club house trance) tracks. The album should have ended with track 9, without including these Ramirez tracks that feel as pretentious and out-of-place as the last two songs on Juno Reactor's 2008 Gods and Monsters album. In short, three typical trance tracks end an otherwise wonderful and tight compilation. I have come to stop the compilation after track 9. That said, the majority of the compilation is excellent. I LOVE a handful of the tracks. But the opening is one of the only greatest songs I have ever heard in my life along with L.S.D., Asterope, and few others. Furthermore, this has the Overlords best PSY work ever produced on it. Best tracks - 1, 2, 3, 4, 5, 6, 7, 8, 9 A- Samples http://www.saikosounds.com/english/display...ease.asp?id=936
  23. Are you serious? They returned to remix one of the greatest Psy/CHILL albums?! Longer samples (Psyshop, Saikosonds, and others who reduced their prices were smart to comfort buyers during poor economic times). http://www.saikosounds.com/english/display...ase.asp?id=7838 Update: Some form of review coming over the coming weeks.
  24. The Chi-A.D. track sounds great, like a continuation to Dave's amazing Goatrance style. I hope the whole song is superb a la Earth Crossing's work. But Omegahertz? After since the Goasia Vs Omegahertz compilation (Purple Energy 2 I think it's called) I still haven't recovered. But we'll see.. But why is this artist producing two tracks here. Hopefully they're really good. Afgin sounds good. IMO Afgin needs to put more fire into his beautiful songs. But it's two early to note this song. Aerosis sounds very good, more aggressive. I like that. Hopefully it evolves into something really badass. Okay I've heard enough.. I'm looking forward to it.
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