Jon Cocco

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. ?

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

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

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

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.

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.

When is this album coming out? It is done yet?

double post, delete

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

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

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.

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.

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

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

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.

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.

This sounds interesting, catchy, and dark, Dark, DARK!!! I just ordered it. Review coming soon!

Great job everyone, and for the composer of the list. I am not surprised and pleased with the results.

Yes. And a place filled with nice, positive, and aware people. That would be a dream come true.

I like the cover. Change is necessary to evolve anyway. So when can we expect the longer samples of every track? It's been almost three years since the last album. Those tiny samples on the previous page indicate that this is more like his newer, more colorful, and psychedelic style a la Birds Lingva Franca and beyond. I can't wait. Update: OMG. Samples! Everyone go here. I'm like a materialistic teeny bopper in a shopping mall, ecstatic, haha. Kiddin! Filtertraces and Eyeless Observatory sound AMAZING. And these are only fractions of two tracks of 8. http://profile.myspace.com/index.cfm?fusea...endID=102382771

MERR0W - BORN UNDERWATER SUNTRIP RECORDS 2009 Tracklist: 01. Lured by the Nymphs - 02:25 02. Atlantis - 08:14 03. Rise Up to the Sun - 07:32 04. Born Underwater - 08:06 05. Aquarius - 08:36 06. The Pleiades - 08:30 07. Mermaid's Twin Sister - 06:42 08. Mind Blowing - 07:53 09. Poseidon Lullaby - 08:11 10. Blue Planet - 09:10 Merr0w - Born Underwater is the first official 2009 Goa/Psytrance release by Suntrip Records. It is also a strong return to aggressive Psytrance, thanks to artist Brice Fruyt and the label’s determination to see that this gets out there. I never heard Merr0w before, save for a track produced on V/A - Twist Dreams called Utopian Society, and this is on another level in comparison. 01. Lured by the Nymphs is a passionately moody and relaxing opening. It’s a short but solid downtempo number filled with warm atmosphere, ambient, a deliciously echoed female voice (without lyrics) beat, new age influence, and more. I simply wish it was longer, and I'd love to hear more downtempo work like this by the artist in the future in combination with his psytrance work. This is a strong and immersive opening track. B+ 02. Atlantis starts off the first psytrance number on the album. After an intriguing opening the beat arrives around 1:07 and by 1:19 or 1:32 (depending on how you take it) the story begins. After a short interlude, the song lets loose into a driving rhythm coupled with psychedelic effects. It plays out like a wave bending with crisp psy sounds and textures, at times emerging from ambient backdrops before igniting into the continuing dance friendly speed. Butterfly effects cut across the senses like bubbly colors racing down twisting highways. I don’t recognize much of a hook or a strong selling point, until around 2:43. Nonetheless, some listener's are really going to appreciate the more cosmic, psychedelic-driven work and approach. The song's direction shifts, fronting the leads around 5:00, followed by a richer interlude from 5:29 to 5:54. What follows is more evolved and textured PSY-work that really enhances the songs drive and direction. The segment from 6:15 forward is very psychedelic, arresting. Overall this is a good, possibly great song. B+ 03. Rise Up to the Sun appears to be one of the more controversial numbers on the album. The artist give away the big lead early on at 1:05 which initially surprised me. It pays off for the better in the end because the song introduces its hook near the start. Fortunately, the initial melody lead gains strong support and development as the song progresses. But it's really like a chorus with a strong return. Some Goa enthusiasts may feel that the melody lead or its structure sounds club friendly, that the song is less provocative, complex, and twisted, and in that sense I wouldn't argue. But I really like this track, in part because it stays to Full On Psy (not club) trance, and it's one of my favorites here. The main melody’s arrival at 4:45 is just so climactic; the song is Goa influenced however Full On structured it may appear to be. It's rare that I enjoy a Full On Goa/Psytrance song so much. I think Merr0w has the right idea here in creating an easily accessible, more mainstream and dance friendly Psytrance number. Again around 5:04 the thing takes off; like a champagne cork at a big party shooting off to celebrate the New Year. This is a continuously energetic and uplifting/climactic song, though less psychedelic than surrounding uptempo tracks. I like it. It's fun, and it becomes more layered and animated as it progresses too which is great. B+ 04. Born Underwater is excellent. Over the previous number this is more traveling, developed, layered, and evolved; it tells a deeper story while remaining infectious, gripping, and dance friendly throughout. Sure the previous track had a reoccurring melody lead that would likely play well in clubs that play Psytrance. But this is more for Goa/Psytrance fans and enthusiasts. A gorgeous interlude takes place from 4:11 to 4:37. As if flying over the ocean, across the skies, it's beautiful, and soon accompanied by a strong drive. The song grows towards a marvelous climax that ignites around 6:13. The entire song was strong and the final third is breath taking. The song is very immersive too. I'm pulled into its colorful and imaginative; my consciousness is arrested. Tracks like these appeals more to my fantasy/exploring senses in Goa while maintaining a wonderful, dance friendly sound throughout. The balance between attraction (beauty) intelligence (substance, here) and high energy (sensation) is excellent. It's replay value is high, with layers that appear to comprehend on repeat listens; thus increasing the scope of the world here. This will be remembered as one of the best dance songs of the year. It's superb. A 05. Aquarius is less the labyrinthine world as the previous number and a continuation to rougher, more aggressive Psytrance. The song follows one path, however filled with strength, determination, and development. There is just so much taking place musically, atmospherically. An interlude takes place from around 5:35 to 5:57 with separate buildup beginning towards the end. It curiously breaks out of the interlude with few sounds and a beat, soon becoming equipped with an even more enhanced version of itself. There isn't really a part that stands out to me, as I'm absorbed its continuously shifting, cosmic delivery; save for a wonderful sound mixed in over the beat at around 7:17, that creates a powerful and satisfying effect. It's amazing, that a detail like that can add so much to a song. This moment is reprised around 7:44. But by then, the climax has peeked; the energy is coming down. Overall, this is a strong track from beginning to end. B+ 06. The Pleiades is the one track that appears slightly inspired by, no surprise, The Pleiadians, though in Merr0w's non-maximal style. It begins with some beautiful tunes to the influence of Postford's LSD track presumptuously, and builds into an aggressive, rough dance track with one of the most crunchy sounds followed by another ridiculously catchy that takes off soon after the crunchy sound begins at 1:33. But not until a Goa melody arrives, dancing profusely in the backdrop. Suddenly, the beginning of that catchy melody lead appears at 2:15. From around 2:47 to 3:00 it's excellent, and really takes the listener for a ride. Various sounds of beauty and aggression combine in an deliciously floating atmosphere. Sounds skip a la Pleiadians. One of my favorite parts is around 4:45 where all sounds are removed. Suddenly the music returns, different from before as if we're in a new change of scenery, now driving on the interstate from the initial, twisting back-roads for instance; the next part of the adventure has begun. These unpredictable and dynamic parts really enhance the album. Some people are really going to like this harder edged track. However the overall infection of the song sounds a bit weaker as it continues in relation to previous tracks. Nonetheless, the artist's imagination and delivery turns what could have been just another Pleiadian-esque song into something inventive and catchy. Good track with some great elements. B 07. Mermaid's Twin Sister begins like a fairy tale, very dreamy and subtle. Clicking sound effect combinations are gripping coupled with a wave bending sound, highly developed, tasty, and swarming like an legion of insects in a transforming tunnel, moving band. Throughout the album noticed sounds so simple yet effective. Another exists here as a gentle, echoed beeping sound that begins around 1:23. It's great. A beautiful interlude takes place from around 3:17 to 3:25. It's short but smart and effective. The catchy beeping sound returns to an improved evolution to the complex and driving rhythm. Filled with moments of change up; those catchy clicks return, and the fantasy/female effects add beauty and edge to a thoroughly strong and delectable vehicle. This is an imaginative song. It's continuously engaging, often combining elements of elegance along with aggression. Excellent work! A- 08. Mind Blowing is one of the most masculine, aggressive songs on the album. Opening with a strong beat quickly emphasized with fast, edgy sounds and sleek effects. This is a real dance stomper that doesn't show signs of letting up its forceful drive until an interlude from 3:05 to 3:30. Even then, the little sounds within this beat-free moment appear more like excited cells desperately awaiting to take off. The drum combinations are a dynamic touch. There's something simple in execution about the first two thirds of the song. Yet it's easy to grasp and "get" into. A highly effective sequence is when multiple layers leave for the initial climax lead, from 3:56 to 4:10 which is one of my favorite parts of the song. Another promising melody is introduced around 5:15 and this is where the song appears to gain a new extension of character; the driving intensity returns along with numerous effects, development and ferocity, which is strong. Returning towards, the layers are simply removed from 6:02 to 7:13 creating a classic and driving, old school sound that's wonderful. This is a kickass dance song, especially for those who like their Psytrance hard, aggressive, and relentless. B+ 09. Poseidon Lullaby is hard not to like. It's very upbeat, and friendly Full On Goa song. If I were to compare this song to another that seems intended for a more mainstream friendly/dance environment, it would be Rise Up To The Sun. They're both very uplifting. This however appears more complex, smooth, and fluid. Surprisingly prefer the less elegant and more climactic sound of Track 3. But opinions will vary. Overall this is very well done. It has a capturing lead and remains quite traveling which is less typical of Full On Goa songs now days, assuming it's Full On at all considering the traveling appeal. While some songs come across as ideally aggressive on this very same album, this one's elegant, layered, and smooth from start to finish. It sails free of any chaos, leaving the listener in a more positive state into the final number. I could nit pick that the song lacks pulling surprises, though its creation alone could be considered one big surprise in this case. Great work. B+ 10. Blue Planet begins very stirring and contemplative. It sounds as if water is rippling through a stream. Gentle Goa patterns float around an echoed beat, separated by several seconds apart. The first third maintains a wonderful downtempo landscape. Passing into the third minute, the height of the slow and inconsistent beat is emphasized. Around 3:54 is where the second of several acts begin. At this point the music gradually evolves and at the sound of a beat, like a subtle gun shot taking place around 4:30, the growing melody work transforms, evolves. Almost like a slow dance song with an ethereal sky, locked in downtempo, a second interlude passes through the formless dimension from 5:33 to 6:07. These parts are filled with emotion and warmth. They're beautiful. My mixed feelings relate to the returning music, the first and second time. I love the effect of the musical buildup, the powerful transcending melody work as it climbs an invisible staircase towards the heavens. I simply feel at times when hearing this, that the beat could have impressed the track had it evolved with the growing music into something more consistent and slowly driving, a la Asura meets Distant Systems (midtempo). However I've come to accept this song as it is, an emotive journey with a unique beat around its creative and passionately produced melody/sound work. Great closing track. B+ In conclusion, Merrow’s Born Underwater debut was well worth the wait. Virtually every track is strong, unique, and offers something interesting, different, and catchy. The album is refreshing, creative, and transcends previous work done by the artist while adding a gem to the new school genre of Psy/Goa-trance. Coupled with the most unorthodox cover since Ka-Sol's Fairytale, I like the cover. I also prefer listening to this album straight through over numerous Suntrip Record's releases including Ka-Sol - Fairytale and Goasia - From Other Spaces. The track variety is impressive too. Its chapters are filled with meat and potatoes. In other words, there are no filler tracks. While I was not impressed with Merr0w's track on V/A - Twist Dreams, I am impressed with this album. For those who are more into the aggressive, and at times darker with moments of beauty (and/or vice-versa) side of Psychedelic Goa-Trance, Born Underwater is great, and one of the year's top best. This is a strong return to aggressive Goa-Trance. Favorite tracks: 1, 3, 4, 5, 6, 7, 8, 9, 10. B+ Samples http://www.saikosounds.com/english/display...ase.asp?id=7811 http://www.psyshop.com/shop/CDs/sut/sut1cd012.html http://www.beatspace.com/dettagli/dettaglio.asp?id=4766 You can also buy Suntrip releases here. http://www.suntriprecords.com/shop/item/SUNCD12/ http://www.suntriprecords.com/shop/

Goa will die when Psy dies. And Psy will die when music dies. Meaning they'll be no more people. My guess is several weeks, March. But I check every week. Hopefully soon. Samples sound great! http://www.psyshop.com/shop/CDs/sut/sut1cd012.html

Are they done the second album or what? Who's releasing it? What's the status of the new album? I don't like being left in the dark.

I love the last third of this album. I never fully understood why the rest of the album wasn't so beautiful. It's like two short albums in one. They had something so wonderful going post Vega; it's unfortunate these guys never released a downtempo/Chill album in this awesome style.

This album is awesome! I actually don't remember the last time I enjoyed a downtempo/Chill album so much.