Jon Cocco

What are you stupid? No I'm just kiddin!!! =) I was wondering what "Muinomednap" was. You figured it out before me. But that would make it !Muinomednap, with an exclamation point before, not after. Not that it matters. Okay there's an example. I just went back and read some reviews throughout the thread. That first sentence is exactly how I feel. I really hope that the next Pandemonium album improves upon its weaknesses here because the style has potential to have a much stronger, more positive effect. There are several tracks here I really like. Especially the melodies in Falling Stars! Tracks Pandemonium! and Stuck in the Walls sounds a bit too similar to me, hearing them back-to-back with the chronic guitar and all. I realize they share the same style (or one of two sub-styles of one style, the other given to the shorter tracks) but Moon Fishing is very different from the previous two songs that come before it. And that's in the same general style too. The guitar appears to be less loud and/or present as well, the melody lead(s) are very prominant and distinct in Moon Fishing. Same with Falling Stars, minus the guitars. Same goes for Flying Cookie, Seq-uoia, and Key to the Trunk back-to-back. They may be a little too continuous or lacking in variety/sound. Although this is in the artist's style. I understand. It's more about stronger, less repetitive differences in sound varity/style, melodies, structure, and story telling within that style. An Harlequin's Tale is the last lengthier song that sounds so distinct in this new style from anything before it. Tracks 1, 6, and 11 really break up the album nicely. I would have loved if more of the uptempo tracks followed this solid variation in style, where each uptempo track stands out as more characteristic and individual sounding (RA's 9th actually is a very good example) than the number both before and after it (with few exceptions). When the album's good, it's good. The style is novel. But when it's repetitive with ideas and/or certain sounds, i.e: the guitar, well, it's not as enjoyable. So these are some ideas to consider for a potentially wonderful sequel. As Bruce Lee even said: "Absorb what is useful. Discard what is useless. And make it into your own." Update: The best uptempo Pandemonium tracks I've heard to date are A Mad Scientist's Night and Alibaba and the 40 Acid puzzle. These are more the crazy/fun Goa-influenced style I find great. They're very catchy, energetic, danceable, and I never feel like either one is repetitive or overuses any particuar sound once.

PANDEMONIUM! - MUINOMEDNAP! 2008 PHOTOTROPIC RECORDS Track list: 1. Once upon a Time... 2. Pandemonium! 3. Stuck in the Walls 4. Moon Fishing 5. Falling Stars 6. I Saw it interlude 7. Flying Cookie 8. Seq-uoia 9. Key to the Trunk 10. An Harlequin's Tale 11. The End... I've only gotten several albums this year (Opus Iridium, RA, Distant Systems, Goa Gate, and Juno Reactor, the latter on amazon MP3) because we've been getting raped lately with high gas prices and I've been getting more selective with what I buy. I've been looking forward to this album for a long time. 1. Once Upon A Time... is a surprisingly beautiful opening. It's magical. And it really sets the tone and the album up for a wonderful journey. If this was actually a full, uptempo dance song as developing and creative as the several minute 'Prologue' duration, it would probably be a pretty incredible dance number. At it stands, this is a musically wonderful, innovative introduction. B+ 2. Pandemonium! comes next and the first thing I notice is the loud, repeating guitar, as it appears to be placed pretty up close with the music. For the first minute or so I tolerated it. It's just a guitar on a part of the track I thought. But you know when you hear a sound and you can basically sense when it is time for that sound to leave? It doesn't happen. The guitar loops and loops, the strong continuously. I'm trying to get into all of the cool sounds and melodies but even when most layers disappear, the guitar is left with a beat and decent melody. The interlude here would have been a good area to let go of the guitar. But it doesn't leave. Then around 3:55, it's gone. Oh thank God. Suddenly it appears again around 4:33. And just when a really cool rising melody structure is taking place too. Virtually all other sounds work together nicely. Nonetheless, the first track was more infectious, novel, and gripping. C 3. Stuck In The Walls starts off with a similar heavy, repeating guitar from the very start. It appears to be the same sound from the previous track. I like the melodies and sounds. But the on-going guitar is distracting from the more elaborate work. And I just heard a guitar nearly non-stop in the previous number, so there needs to be a break here. Finally from 2:30 to 2:40 the track breathsand is free from this sound that has been holding down the essence of Goa (being free). The music sounds more mature and fluid without the guitar that returns after just 10 seconds. The guitar is -- it reminds me of a kid that keeps shaking the same toy in the middle of an orchestra I'm trying to enjoy. And I keep telling him to stop. And he won't. It's too much. A sound cannot compliment a song if it is so redundant in a way that's not positive. C+ 4. Moon Fishing is the first track that seems to have the guitar in the background, though it's present. I hardly notice it in the beginning 10 seconds and really enjoy the opening melodies. The samples are cool too, as they've been on previous songs. Thankfully, the melodies appear to be more accentuated than the guitar for the first time on the album, save for the wonderful opening. There are several good sounds producing melodies here. One is at 1:43. It's good. Another is a flute that gives the track a nice old school and/or organic feel. As the track progresses the guitar does not seem to leave. Fortunately it's more in the background. Though to some degree I'd probably enjoy the juicy sound textures and Goa influences more without the guitar. There are many cool and stylish moments, sound details and alterations, samples, and special effects here. This artist can get very playful at times, it it really shows here. This is a fun song. B 5. Falling Stars is one of the better AP-influenced Goa tracks I've heard since Astral Projection released their last album I considered excellent in 1999, that being Another World. The Goa work is so strong and present on this song that it all but drowns out the guitars. But why are the guitars here? This is one of the most beautiful tracks and the artist is killing it with a heavy, repeating guitar sound that I have heard in virtually all tracks by now. It's like taking the same noticeable sound and repeating it loud enough for everyone to hear throughout every track back to back. The guitar does not enhance this song. I want to hear it without the guitar. I want to hear the whole album without the guitar. And Goa music breaks people out of the square, the generic thinking pattern because of its generally non-linear structure and artist direction. And while this music is Goa influenced, not Goa only per say, the guitar keeps me in the square more than this artist's recent formulaic but creative and fun Goa Gate album surprisingly did. B+ 6. I Saw It Interlude is the first track since the opening without any guitar and just listen to how free and flowing it is. This is great. It's very well orchestrated, catchy, and musical. It's just too bad it's only 2:23 long and an interlude. This is the most refreshing track on the album since the opening. B+ 7. Flying Cookie is a change up to Eastern Indian and/or Persian/Egyptian influence, sounds. But there's that repeating guitar again that has not stopped outstaying its welcome (that ended several tracks ago) on every track on the whole entire album, save for the intro and interlude. *sigh* The part from around 5:10 to 5:31 would have been so much fun without that which distracts from the fast and psychedelic Psy/Goa mind twisting rhythm. C+ 8. Seq-Uoia has not much of an intro but begins relatively catchy and gripping from the previous track. I also find the melody/tone more gripping, exciting than the previous number. But that damn guitar. It wouldn't sound so much if I hadn't heard it on almost every previous track so far. I cannot see the correlation as to why the guitar is so promoted or why it is so present in virtually every track. Just listen from 1:52 to 2:15. That's a beautiful sound formulation and I can only imagine how emphasized it would have sounded without the guitar. As it thumbs over almost every new sound that appears, reducing the free and blossoming life with each interval of development, growth. The melodies are very well composed, a combination between beauty and aggression. Whereas guitar often accentuates aggression it is beyond complimentary by now. Melody wise, this is one of the best tracks on the album. Unfortunately the intended strength of the guitar has become the antagonist by its own inability to be gone and let life grow without the conceptual need or use of it. B 9. Key To The Trunk starts out great. The first melody around :015 is good, catchy. But I'm exhausted by this point as the (rahg, rahg, rahg ) guitar returns again. It's a monotonous sound that distracts from all of these accentuating, moving, and developing, fun melodies. Such as the part from 3:50 to 4:18. The number isn't as gripping as the previous one. It's decent, if a bit similar in formula relative to the past two tracks. C+ 10. An Harlequin's Tale appears to lesson the g volume and let the music breath more. I barely notice the guitars. The melodies are pretty good too, especially the main tune. Although not as mixed up and detailed as previous tracks, this is a refreshingly unpredictable change up from previous uptempo numbers. It's more for listening pleasure than intended to dance to. The tempo, speed, and unique approach positively adds variation in style and feel to a relatively weak variety. This is a pretty good song. B- 11. The End... is very mythical, warm, mysterious and traveling. The melody sounds influenced from a very cool action/thriller like Con Air. Filled with emotive ambient tunes and startling, little details, the number is very well orchestrated, scored. Furthermore it is a wonderful example of how much potential this artist has when he lets loose those irritating (g word) and lets the beauty of the sounds breath and flow. Being a short epilogue or closing, the track is unfortunately only 3:25, though it's compelling. This is one of the best tracks here. I just wish it was a little longer. Overall a great track. Very creative and thoughtful. I could listen to an entire album like this. B+ In conclusion, after spending around $22 on this album (including shipping) from saikosounds, I would have preferred it without the heavy, repeating guitar on every uptempo track. Muinomednap! may not have been a masterpiece without the guitars. Or with a style that generally recycles itself more than many albums including RA's 9th for same year comparison. RA's 9th broadened its style by having greater variation, sounds, and ideas developed in tracks. This would have been more enjoyable with less to no guitars, and a stronger track variety around the intro, interlude, and outro. Goa Gate by the same artist also lacked having a strong track variety (tracks sounding different from one another regardless that it's in the artist's style, vision. Fortunately, Goa Gate did not overuse guitars. If this artist (and I know he can because he's very talented) can strengthen the weaknesses on his debut, the sequal has potential to be great. Muinomednap! is like a really attractive piece of artwork and then at the very end, the artist decides to throw a not too thick but present coat of paint over it, reducing the clarity of the gorgeous landscapes and atmosphere, clouding its beauty with the most distracting and unnecessary "overuse of sound" I currently remember hearing on an otherwise good album. I've been so excited to hear this album because I loved the EP kindly given to us from this artist in 2007. Both EP tracks were very distinct in sound and direction. I suddenly found myself very enthusiastic to hear the album. And to a degree I like it. But why are the guitars such a consistent thing in almost every track? WHY? How does this enhance or compliment the album? Even if someone loves guitars, they're too repetitive and distracting from the good music here. At least give us a couple tracks without them or use them in moments as opposed to few and far between moments without them, to mix it up, so the melodies and tracks overall stand out more. The EP sold me. Both tracks on the EP were more or less great. And I don't remember guitars being on either of them as they are here. I really like Muinomednap!'s refreshing, innovative work as done in tracks 1, 6, 11,. They could have been more lengthy but I'll take quality over quantity -- that they are. It would be impressive if this artist made an album with tracks like tracks 1, 6, 11, but lengthier, so they resemble more danceable innovations like Talpa's musically unexpected and arresting Till We Meet Again track. Tracks 1, 6, 11 are filled with creativity, passion, grip, and they don't overuse any particular sound. They're excellent, fun, and free. Add uptempo/dance tracks 5, 8 and maybe one or two others (and trim those guitars) and that's a powerful track list. I'm frustrated with Muinomednap! because I want to like it more than I do. There is just so much energy, warmth, fun sounds, and creativity on it. I feel like the artist had fun making it. I can tell that a lot of time and work went into producing it. Not much work went into the guitar layer though, as it does more bad than good. And unfortunately the emphasis on guitar prevents the album from reaching its full potential. Lastly, the uptempo melody/sound work may be a bit formulaic, but it is so catchy in Falling Stars and Seq-uoia -- they deserve mention. I find the guitar overkill. And I'm surprised the artist didn't do something about it. I like guitars at times in Psy/Dance music (Four Carry Nuts - Mechanical Age, Dark Soho's first two albums, etc) but I find them distracting when used throughout every uptempo track and in combination with so many beautiful sounds and melodies. Because this artist makes music that is filled with light and freedom. The guitars keep the style more confined in a sense, and therefore less fantasy-based and free, which is what I think was intended with this otherwise fun and zippy style. So in all fairness, I recommend listening to the samples and if not bothered with certain things as much as I was, he or she may enjoy the album more than I did. Favorite tracks: 1, 4, 5, 6, 8, 11. B- Cover artwork/design: The cover artwork is very artistic and catchy. This is my favorite cover of the year. And without certain over-usage of guitars I think the album would have been closer to the beautiful, flowing, and present nature of the wild and imaginative cover. Samples http://www.saikosounds.com/english/show_ar...artist_id=10562 http://www.psyshop.com/shop/CDs/pot/pot1cd001.html

COSMOSIS - INTERGALACTIC TRANSIENT RECORDS 2000 Track list: 01. 07'38" Brainwaves 02. 07'46" Just Say No 03. 07'11" Telepathy 04. 06'59" Dissociation (Who's About To Scream?) 05. 07'49" Kinda Weirda 06. 06'51" Flatliners 07. 07'40" The Spirit World 08. 10'14" Roswell Intergalactic confirms that the artist's Goa heavy style is no longer present. But listeners became aware of Cosmosis's direction alteration after the dynamic, at times Goa influenced super album, Synergy. Intergalactic is a significant departure from not only Goa, but melody heavy atmospheres. It tones down, often minimizes in comparison to previous albums, the wonderful melody work that many listeners have loved throughout the world. That said, there are melodies here and there. The album focuses more on the Psytrance (Psychedelic core) side and gives us some very unique and creative, catchy rhythms and textures. Unfortunately few songs really stand out, and none are superb IMO, though some have felt the last one is, and/or the bonus track. 01. Brainwaves is a pretty good number crafted with many Psy sounds and few that sound like melodies or developing melodies. It could have used some color to blossem its life. But it isn't bad. However to this very day I am impressed when listening to the first track on both Cosmology and Synergy respectively. Here, it's entertaining at best. There nothing that really transcends what I've heard before however. It's a nicely built Psy piece with a brain, but coming from Cosmosis we expect that. In the end it's a fairly good start to the album. B- 02. Just Say No follows the previous quite closely with a slight accentuation in melody work. Again, there are many Psy sounds around an atmospheric drive, some crunchy textures, and more. Some of the song is interesting but it never really lifts off. As with the previous number, this reminds me of an entertaining though ultimately shallow episode of a television show. In other words, there this lacks the meat and potatoes in the end to make the meal feel fulfilling. Fortunately it picks up more energy towards the end. Nonetheless, these first two tracks appear to showcase Cosmosis's new and relatively smartly crafted Psy sounds/work around a beat rather than giving us something to really sink our teeth in. B- 03. Telepathy starts out pretty good and there's actually a melody emphasis throughout. Around 2:24 fronts a running up the stairs blinking melody; it stands out. Unnecessary and out of place is the "Do you or have you ever smoked marijuana" sample. The track continues with not much else new to offer. The melody that can be described as a gentle sound going up and down repeats quite often and is complimented with a stronger, deeper melody most present during the second and third (of thirds) sections in the song. But around that, what began as something with potential never really develops into something more past the midway point. And because of this repetition, I gradually lost interest as the song progresses, regardless of all the little Psy effects that the artist adds and removes throughout. B- 04. Dissociation (Who's About To Scream?) is another decent number in this novel though arguably arresting Psy style that Cosmosis has capitalized upon here so far. Again, it's filled with lots of zipping, tipping, tapping, and twisting, buzzing sound effects and more. A sound that is pretty catchy reminds me of someone snapping a finger an a higher pitched, echoed environment. But aside from some interesting sounds around a beat, those who appreciate a more minimal approach than Derango's Psy sound driven Tumult may enjoy this more than I do. C+ 05. Kinda Weirda is again heavy on the sounds, tough I'm not getting kinda a weird headache from every track sounding so Psy beat Psy sounding without a strong peek, climax, or great melody encounter to get me out of this less wild and crazy style. Around the third minute however introduces a fresh melody around the echoed, zippy sound effects. Somewhat relentless, the song is gritty and well textured as it moves forward. But it doesn't built up to anything spectacular and holds its 5:00 spot for almost the rest of the duration. B- 06. Flatliners is yet another jungle of psychedelic sounds layered up on psy sounds, gritty rhythms and soundscapes. Though this is essentially what the song is from beginning to end. And that may be enough, after all this is Psytrance. It's just how catchy you find the sounds around the kick via Penta's 2007 style. Because around that there's really a melody lead or some type of chorus or wonderful section that stands out since the entire, intricate Psy sounding sentence is so capitalized on itself to the point not even it may be able to identify its reflection. C+ 07. The Spirit World is VERY different from previous tracks. This is the first song on the album to sound completely new and innovative in style than all other tracks to date. Though melodic, the melodies aren't entirely electric. But around the 3:15 mark fronts a more aggressive change up in beat and rhythm that nicely develops the next section of the song. The melodies chirp like Psy birds in the trees, but they fail to grab my marbles. I feel like we need a more infectious and aggressive melody. And that to some extent takes place around 5:00, complimenting those busy, chirping birds. Those it's an interesting departure from previous songs, I never received this piece as being really good. Sure it's different and I'm glad the artist changed up his sound and style here. It's more refreshing because of where it's placed on the album I feel rather than being anything great. B- 08. Roswell is the trekking Goa influenced, Ambient, Mid/Down-Tempo gem that most people seem to remember this album for. B+ Bonus Track (at 13:44) is magical. What the hell is this awesome thing doing on this album? I already gave up on considering this a Cosmosis album I'd recommend. No. Whatever this several minute bonus track is, it's Cosmosis strong, emotive Goa heavy presence in the form of a beautiful, flowing Ambient, down/mid-tempo number. It's creative. It's elegant. It's infectious. And one of the best, most unique and infectious Goa songs I've heard by this artist since his critically acclaimed SYNERGY!!!! This goes to show that he still has that Goa touch. And I would love if he released another Goa album or at least one more Goa influenced and climactic and infectious as he did with his first two examples what many people really do consider brilliance. Ohhhh will he just say fuck it and release an amazing Goa/Psy album again. That would be so rediculously awesome. A- *sigh* In conclusion, Intergalactic is an album built completely with a psychedelic emphasis and without a melody strong style with exception to the final number. I would have preferred an entire album with Ambient/Downtempo because I find Roswell (bonus extension included) the most engaging and catchy part on the album. And I would have been very interested to hear this potent psy sound/style combined with as much melodic emphasis but I speak from someone who liked Cosmology more than Synergy. Unlike this artist's first two albums, more specifially Synergy considering this is Psy over Goa too, Intergalactic lacks great songs with few exceptions. Where are the super songs on this album? Where are the songs that I would dance to at a party or encourage the DJ to play? Or even a song I'd show my friends? They're on the first two albums! Intergalactic has a brain; the tracks can be very psychedelic if a bit too minimal and synthetic heavy, unlike more organic at times sounding first two albums. But very little of this third outing is strong, save for psychedelic, and memorable. Where as Cosmology and Synergy were loaded with peeks, not valleys, Intergalactic wiggles enough to not be considered a straight line. No song is really climactic or takes off as Gift To the Gods and Higher Ascension did. On the plus side, the style is articulative, at times interesting, and may appeal to the harder core Psytrancer. The artist has enough knowledge, experience, and sounds to produce a decent enough album. There are many cool sounds altered, echoed, mixed, and more around the beat and bass line. But I can't help but feel that it's lacking strong melody work around the heavy Psy textures. Intergalactic is like a thick forest without life and Derango's Tumult is about three times thicker, even more sufficating to me. But Tumult had at least one or two super songs. Here I feel swamped in the sounds rather than freed by them. While some tracks stand out more than others (each song is different to some degree of course), they don't stand out enough with few picks. And The Spirit World, like it or not, is one of the more unique and experimental tracks that this artist has done. But it's Roswell in the end that takes the cake for some seriously gripping melody/beats and story telling. Both that and the gifted bonus. Now if only the demand for songs like these were higher. They showcase a side to this artist that sound very passionate and desired. Favorite songs: 1, 8. B-

Tasty mushroom is very nice.

COSMOSIS - TRANCENDANCE HOLOPHONIC RECORDS 2005 1. Spontaneous Combustion 2. Naked Chicks 3. Echoes In Eternity (Warm Saki) 4. Inside Yourself 5. One Blinding Illumination (This Is Me) 6. Stormy Monday 7. Re-Order 8. Dead Or Alive? 9. Time's Trip I finally ordered this album via MP3 on Amazon for the first time in September 2008. It isn't bad. It's actually pretty good for Full On by today's standards. But it doesn't hold a flame to the first two. Furthermore, something seems to be missing. I feel like I'm getting a fraction of the Cosmosis presence even that the general sound has converted over into Full On with more or less solid results. Cosmology was superb. Synergy was excellent. Intergalactic was was pretty good with several great and okay tracks combined. And Contact had a stronger theme and stronger melodies at times than Intergalactic but ultimately fell short of expectations. And Trancendance follows the same path without much incline or decline. It's more focused on being what it knows it is, that being Full On. So it has no identity crises. Cosmoses enthusiasts should find Trancendance entertaining. No more. No less. There are some pretty good melodies, sounds, and groovy rhythms and bass lines. But there lacks a song I find superb. No song here blows me away or impresses me as I still to this day am when hearing his first two albums. I'd say the album is filled with decent, pretty good songs. And that's why I find it a bit disappointing. Some of the tracks have a cool ride to them but they're ultimately empty otherwise. Fortunately the melody/sound work becomes more gripping in tracks like Inside Yourslf and Stormy Monday. Though Cosmosis never achieves the same level of melody/sound intricacy and infection that he captured us with back on Cosmology and Synergy. And there's not one track I can really say is superb on Trancendance. Dead Or Alive? is another example of solid work. The opening melodies as well as the voice samples are stirring, capturing, and while the song gets to be a bit repeticious as it progresses, the returning melody/sounds and voice sample on forgiveness give the overall song a warm, emotive edge around the harder, gritty beat and soundscapes. The voice samples on Naked Chicks (and there are some pretty goofy ones on this album that seem random, pointless even relative to the music around it) I don't really care for. But the silly voice samples are infrequent. They don't ruin the songs or the album per say. But I do like the closing Downtempo number. It would be wonderful if this artist made an entire Downtempo album. Is this at all possible? He does great downtempo. Time Trip is very catchy, creative, and flowing. And his downtempo direction sounds more unique and refreshing than his Psytrance/Full On style on this album. 1. Spontaneous Combustion - B- 2. Naked Chicks - C+ 3. Echoes In Eternity (Warm Saki) - B 4. Inside Yourself - B+ 5. One Blinding Illumination (This Is Me) - B- 6. Stormy Monday - B+ 7. Re-Order C+ 8. Dead Or Alive? B 9. Time's Trip B+ In conclusion, what this artist did to the GOA and PSY genre with Cosmology and Synergy respectively made quite a positive impact. What Trancendance does to Full On Psytrance hardly makes a dent. But it's better than most Full On albums coming out now days. Though emphasized on style over substance, over heart and emotion. Trancendance is still a pretty cool album, though the Blue Sunday RMX (track #7) appears a bit out of place and unnecessary. It's actually not a bad remix but of a song not many people really care about. I have not ordered the album that followed this one, Psychedelic Melodica to date. Hopefully the next Cosmosis album will involve more power, infectious rhythms, sounds, melodies, climax, and heart, and pushes the limits if Cosmosis remains in Full On. And showcase more solid downtempo songs! Because Trancendance has fun inside a square and personally, it's comfortable in the moment but by larger, previous accomplishments, Trancendance isn't the super or superb album that it could have been. Favorite tracks: 3, 4, 6, 9 B- Previous Cosmosis album scores - COSMOLOGY - A- / A - SYNERGY - A- - INTERGALACTIC - B- - CONTACT - B- Wow. I actually just read this after writing my review. Yes I agree. There's are many people throughout the world that really enjoy Cosmosis' chill, downtempo work. It would be wonderful if he made a Downtempo/Chill album. Can someone e-mail him, like tell him now, before we all get any older?

These two are top class. I have not bought any others or found samples that impressed me enough to buy any other DT album this year to date. I look for the next best thing. V/A - OPUS IRIDIUM - CD2 DISTANT DISTANT SYSTEM - SPIRAL EMPIRE

Hopefully Electrypnose is working on a follow up to the wonderful Subliminimal Melancholies. Because his dance stuff, though it may appear more favorable to the record label, isn't getting as high acclaim and praise. So unless the artist pulls something completely novel and catchy from out of his ass. Hmm... http://www.psyshop.com/shop/CDs/dps/dps1cd029.html

When I click on the song my itunes opens and appears a 3:46 track, so I presume this is a sample of the whole. It's very well done. I like it. Hopefully there is an album in the works.

grr.. double post. I wish we had an option to delete our posts when this happened to save the Mods the time and energy. Sorry.

This is hands down, the best Transwave album to date. The previous two albums have super songs that stand on their own. Of course. Helium and Phototropic are both magical in their own way. But if I were to choose a Transwave album that I feel best showcases this wonderful group, it's Backfire. And this is why I can't imagine them not building and releasing a superb Full On GOA album as their next project. I imagine Suntrip Records would be open to hearing such an album if that dream ever came true. When I hear Khetzel - Corolle and more recently RA - 9th, and how many people love those albums for instance, in our time now, I think, WOW. It's Transwave's turn. They have so much potential to pull off something AMAZING!!!!!! The Pleiadians for instance did not keep the spirit. But that was different, having two less members and all. Transwave has its members. These guys really can create a masterpiece that captures the spirit (updated sound of course) in the Psy scene today if the passion is there. I have spoken to people who share my feelings. Transwave were wonderful back then and still are, relative to their music back then. Please may they impress us in our time now and develop/expand their complex, layered, deep, dark, wild, dynamic, futuristic, surreal, infectious and dance friendly as all hell style and sound for the 21st century. Please give us a super album, not one like The Pleiadians gave us in 2006 or 2007 that tossed in few nostalgic melodies around a generic Full On shadow of its former self. To hell with the square. Full On without Goa influence has been such a square lately. Break out of the square and make a insanely gorgeous, intelligent, beautiful, addictive creature that cannot even be classified as a shape. That's the Transwave I hear on this album. It would be amazing if they updated that, even if they through on a couple more Full ON Psytrance tracks (that are great). See RA - 9th for the clear concept, a dream come true. This is the best Goa album of 2007 and one of the best Goa/Psytrance albums ever released (in my top 10). Thank you guys of Transwave!

Maybe not to you. I'm very happy with this album. Regardless of the words attached to it, many people seem to have positive things to say. And I'm very happy with the direction they took with this third album. I like this more than Younger Brother 2 (whatever its called). I just began listening to it again yesterday after a several month hiatus from most electronic music and I find it just as strong as I did previously. If I were to say one thing not really positive, it would be that the the second half of the album is not as magical as the first half. But there is greatness in the second half yet. I love the first 4 tracks straight.. to me that is a perfectly sounding album. Not a single nit pick, nothing I don't like. The Prophecy is very nice sounding too and has great elements; I simply care less for the male voice/humming and find it distracting, a bit unnecessary from the whole. I realize this is a part of Asura's style (at times) and don't dismiss it. I simply am not a fan of it since musically I find Asura's tracks so arresting. Life² is one of the best down-tempo / mid-tempo, Space / Ambient Trance albums out there IMO. The opening three tracks give us three very distinct sub-genre(s), fusions from whatever the wonderful cinematic/score influenced feel of the first one is, to Mid-Tempo Trance, and Ambient respectively. And then it starts up all over again to some degree, minus the moody, unique opening that really grabbed my attention in a positive way. I love it, but glad that the entire album is not like the opening. It would be awesome if Asura took their time when they're ready (unless they already begun) to make the next one even more powerful and infectious.

I'd say Filteria's Sky Input was a huge first impression. And Apsara can barely get more proper for a new school Goa compilation. Naturally everyone's entitled to what they believe. This is the strongest Suntrip Records release by a main artist since Khetzal's Corolle. Just as V/A - Opus Iridium is Suntrip's best compilation release since V/A - Apsara. By the way, thank you everyone who enjoyed reading my review, and for the kind words.

I agree. Some tracks seem extremely out of place for a Psy album. Clearly the artists' goal was to appeal to as many people as they could, by having a variety of tracks down to the point they even do hip hop, rap. However this is a flawed approach because many people end up confused. It's like making an album with half rock and the other half Psytrance. The final result is a mixed bag where many people are turned on and vice versa. Do these guys have a goal to make a Psy verson of opera, rock, hip hop, metal, punk, etc? Because that could be innovative, but would it be good? I don't think so. So when I hear these new non Psy tracks I wonder... ? Infected Mushroom's goal obviously is to attract more people from any and all genre's. But they do Psytrance, electronica, mid and downtempo music exceptionally well. Tracks like Vicious Delicious and Heavy Weight are wonderful achievements for starters. And many people wish they'd focus more on great, lyrics free (oh, someone's ego doesn't like the sound of that) and super friendly sounding variety as opposed to off beat, take us out of the wonderful mood song's like Forgive Me, Special Place, and In Front of Me. Please guys. No. Virtually everything else is so well done. Even little moments with voices are tolerable, as long as they're few and far between. Getting vocally involved with the music generally works ALOT better on stage, at parties, etc, than on an album like this, and to the degree such singing is done here. These artists still produce outstanding Electronic, Trance, Psytrance, even by todays standards. And it would be very cool if they stuck to their best work, the work that people enjoy the most who appreciate this music, and for them to captialize on that with a new album, maybe a year or two. I think too much emphasis was put into trying to appeal to too many people with this album. It comes off more like a compilation than an actual vision/theme driven world. And this vision/theme driven world is what many people loved about their first three albums. IM got lost in their own brilliant and imaginative wonderland in a positive way. Too many cooks didn't spoil the brooth and the ego was toned down to compensate for the amazing sounds produced without the distraction of various lyrics and singing. IM does not need to make wonderul theme/vision driven albums as they did with the first three or four albums, for starters. They could make more albums in compilation style as was done here, but with continuously excellent numbers however and none that are so out of place, as was not done here. Naturally, they don't need to make a sequel to their more Goa influenced first three Psytrance albums. They don't need to do anything if they don't want to. This group wanted feedback and to know what people liked and didn't like. Now they have opinions and reviews all over the internet. It shouldn't be difficult for such talented and creative musicians to see so clearly what works and what should be avoided, assuming that someone's ego is left out of it. People love the music that these artists produce, not their egos. The ego is never satisfied. It wants and it wants until every track has singing in it. Because the ego needs in order to be an ego. These artists are famous because of their talent, their gift to create superb music. There first three albums were wonderful because they left the ego out of it to some degree. That energy was put into a vision. Their desire was more in their art than their image, their sense of self worth. It was what many people wouldn't deny being a reflection of thier soul. Tracks that work on this album and come across as successes from what I've read throughout the internet. And a decent amount of people like or liked Becoming Insane based on what I've read. I won't lie. - Vicious Delicious - Heavy Weight - Change the Formality - Eat It Raw - Before Those tracks are considered by the majority to be hits, good and/or great songs. Notice how the majority generally favors tracks with singing less and/or not at all with very few exceptions. People like singing at times on stage because it riles them up and makes them feel more involved. But the Linkin Park rap/rock thing has got to go. Many people have said it is unoriginal and suspect. They're singing is flat. It isn't vocally gripping, although more people seem to agree with me that the chorus is pretty good and better than the rapping parts in the track. I'd love more tracks on the innovative level of Heavy Weight and especially Dancing With Kadafi. I like when these guys push the limits but they aren't pushing anything by singing songs that aren't great or infectious. In some ways they are retracting the amazing image that they have established by trying to bring too much of that being on stage in front of thousands of fans energy into their main albums. Bringing out the ego worked at first with the opening track on Converting Vegetarians "Other Side" CD album. They were having fun and it sounded like such, passionate and distinct. The result after the CV double album unfortunately was someone who got far too excited and comfortable, and decided to blow up his ego, to some degree on IM the Supervisor. It works on stage more because people like someone jumping around keeping things interesting, entertaining, and exciting. Even the vocal/singing work in Becoming Insane works IMO, though some people will disagree. But I would never want an entire album or even a third of an album by them like that. But again, on stage you can do a couple tracks like that and people will go nuts because a live performance is generally more appealing at a concert than watching two guys spin music while looking down at their sets. But that's when people are dancing! Many people throughout the world appreciate these guys because of tracks like Heavy Weight, Dancing With Kadafi and there dozens, literally, of great and/or superb Psytrance, uptempo songs. Many people liked Muse Breaks (RMX) but I suppose the lead singer didn't want anyone taking his credit for singing but himself. And so people begin to get sick and tired of his voice, him, and essentially his ego, at times throughout the album and when he isn't on stage. I'm not saying that singing will destroy this group. I'd be biased to say that. But this group will gradually push their legacy and their amazing impression to the world into the ground if they continue the path of tracks like Artillery, Forgive Me, Special Place, and In Front of Me. And I'm one of the fewer people who likes Artillery. Regardless, it isn't about me. These tracks are completely out of place on the album. Same goes for the final two tracks on Juno Reactor's Gods and Monsters album. These approaches confuse fans. They're don't create positive results, but questioning, like what's happening to one of my favorite groups? They're changin genre's and it isn't nearly as good. For the record, people at a major party, event, and/or concert often will go nuts when the lead singer begins jumping around, getting involved with the music and singing. We've all been to concerts before and can relate the conept. So who are we kidding here? This group knows what sounds excellent and what doesn't. They can keep pouring energy into their less aware self or their ego's for half the album and confuse their fans. Or they can continue to develop their higher self, drop the ego bag and continue creatively pushing limits on some of the greatest tunes ever produced in Psytrance, up, mid, and downtempo music. People love IM because of the music they generally create without lyrics. These artists have a choice to make regarding the approach they take on their next album. They can either confuse their fans or empower them with 9-10 really amazing, infectious, and dance friendly Psytrance songs with maybe one or two exceptions for wondeful mid and/or downtempo numbers. This isn't just how I feel. Girls too who I've spoken with have said several similar things in far fewer words... that past the opening track where "they" were clearly having fun, "He can't sing. He needs to stop singing. It's just... cut the singing out." I've heard this reworded multiple times since this album released. And it boggles not all, but many minds that they let it get this far. But it's that damn ego thing again. We the lead artist here can rap, although it sounds flat, monotone, etc, but that doesn't mean he should develop a career in rapping unless he wants to release a solo project and leave the wonderful name of Infected Mushroom out of it, clearly a great group name for Psy, Goa, electronica, but not Rap or Rock, not somthing that is out of place that isn't good like Forgive Me or Special Place either. And I understand they like In Front of Me, and it's not bad per say. But on this an Infected Mushroom it sounds a bit strange and out of place, like I'm listening to a different album that needs a different mood. Again, the lead singer can cut a solo project and use the success of IM to market it if he so badly wants to sing so much. Then he can see how many people really care about tracks like Forgive Me, Special Place and In Front of Me relative to why they listen to this group. IMHO the lead singer here should read A New Earth: Awakening to Your Life's Purpose so he becomes more conscious of how aware, clearheaded, wonderful and purposeful he has the potential to be.

The beginning and ending is extremely well done. I actually returned to write that I Am A Freak is such a wonderful track. I love those skipping ping-pong combination sound effects both to and around the beat. Little details like that are very creative and fun. But the cheesy dialogue on this song irritates me every time. It just won't go away. It's a reoccurring gripe and annoyance I have with the album, and it seems like I'm not the only one in the boat. In many ways they cut a wonderful album and it would even better if they chilled off the cheesy samples next time. I don't know why these artists thought that the samples in I Am A Freak would enhance or compliment the track. They have such talent and tact almost everywhere else.

Relative to the track list and story told, those who embrace light get light, for-- "If you look for the light, you can often find it. If you look for the dark, it is all you will ever see." Those who embrace dark (which is essentially created in the mind, egotistical, symbolic and relative to fear, separation trauma) get dark. We are more aware than the story told throughout the album, though not everyone, and certainly not the dark cabal (and their dark lords) that inspired this. Raise consciousness and people will be less distracted, less addicted via slaves to consumption (well said via album) The news can be used for raising awareness, and as we know plays a major role with fear and keeping people in low vibrations, on survival mode, dependent on a system is influenced by wealthy ruling people well depicted on the album's cover. I'm in AWE that this artist went all the way with this vision. In some ways he is shining a light on the darkness by embracing his darkness and light (duality) throughout, and the result is, well, BRAZEN, DARING (and the sound programming, mixing, synths, direction, etc. is amazing) WOW. We are all responsible for the roles we play, in doing our part to not be self-absorbed, we help raise the level of awareness in the world. Focus on the good. It is easier to control our behaviors (choices) than it is to control our thoughts and feelings. Be the example. Lead by example. Having said that, Demagoguery of the Obscurants is the most provocative, uncompromising, powerful, and relevant (timely, alarming, scary, intense but with a purpose-- an album that REALLY says something without choosing a side) dark electronic album I have ever heard in my life.

INFECTED MUSHROOM - BP EMPIRE BNE RECORDS 2001 Track listing: 01. Never Ever Land 02. Unbalanced (Baby Killer Rmx) 03. Spaniard 04. BP Empire 05. Funchameleon 06. Tasty Mushroom 07. Noise Maker 08. PGM 09. Dancing with Kadafi BP Empire is the last excellent release by Infected Mushroom IMHO. I've been listening to it alot lately. This is their most emotive and arguably their darkest, although it isn't that dark as a whole, Psytrance album to date. Involved is less musical layers relative to Classical Mushroom. But to the general listener, BP Empire is extremely melodic and complex. I also prefer the final track on this album over any final track on any Infected Mushroom album to date. I don't think this album is generic or general sounding in anyway. And while certain people will more or less enjoy certain parts on BP Empire due some unique directions in experimentation that most people seem to love, BP Empire is an intelligent, artistic, and a mature, thoughtful and tremendiously entertaining work of art. I also feel like it has more of a heart over every other Psytrance album by IM todate, although that may be because of the cool, emotive edge present througout the album. 01. Never Ever Land is dynamic, clear and crisp. It's an ethereal beauty with a seriously catchy temper. This is a wonderful fantasy opening. I love listening to it as it develops through its attitudes, tones, and moods. I love how it progresses. These artists make it sound so easy to manipulate such lavishly constructed and catchy waves of distortion and sounds. The drums are fun too, and I've lost track of how many sounds these artists present here, let alone tweak, alter, and blend with other tools of echoes and effects. Never Ever Land is a super opening track that evolves into a brilliant work of experimental Psytrance the more it progresses. A- 02. Unbalanced (Baby Killer Rmx) begins contemplative and emotional and soon develops into a sonic and driving voyage into the cold, yet tempting heart of darkness. Listen to this song while driving fast at nighttime. Built around a strong and driving melody lead, the number stands tall from beginning to end, though rarely travels far from its lead star. A- 03. Spaniard is another high octane, psychedelic and driving dance number. Complimentary to the previous nighttime speed racer, this has gothic, female influenced echoes as the vehicle, this number moves through an alienated city in the future of lost souls and distorted soundscapes. Why can't Infected Mushroom compose imaginative Psytrance work like this and the previous two anymore? What are they afraid of? Is someone afraid of having less of an ego? This groups most powerful work is in their music, not their singing, vocals, and dialogue. A moment involving male vocals in the background is cool. Why can't this group limit their voice work to small, complimentary details like the one here in the final third? It's the little things that make the track magical sometimes, not the big, ego-driven paragraphs of singing. A- 04. BP Empire is an exceptionally climactic surprise thanks to the infection of two amazing leading melodies. I always seem to forget how imaginative, complex, and arresting the second half of this track is. It sneaks up on my ears, regardless of the gradual layering and build up. This song is excellent with a fierce climax that rarely lets off, if only to regroup its energy before taking off again. For sensation over substance, this is one of the strongest tracks this group has ever released. A 05. Funchameleon is another musically delicious number with a delightful buildup coupled with a touch of mischief and evil. The first third of the track is solid but nothing spectacular. But where this track takes us is stunning. There is an interesting, musical score, interlude that just oozes with passion and emotion. Beginning around 4:52 starts off something very intriguing. Here is the push to the darker style I love on this album. These artists just don't make songs like this anymore. And unfortunately the more intense layers ends rather abruptly around 6:00, but musically strong nonetheless. A- 06. Tasty Mushroom is a loud, squeezing, twisting, cranking toy that wants to pop out of its box, but it doesn't grab my consciousness the same way previous tracks did. But the last third does around the wonderful "Tasty Mushroom..." voice sample. This has a very experimental first third, what appears to be something a Mexican tune. Less predictable instrumentals are coupled with ambient, atmosphere. For some reason I love the "tasty mushroom" samples on this song. They're fun, and I don't even do the vegetables! The last third is more powerful and driving and getting to that arena is entertaining. The ride is less addictive than those of previous numbers. This is one of the less stomping, emotive, and dark tracks on the album. It appears more western and/or ethnic influenced due to a certain musical instrument and direction that I cannot specify. B+ 07. Noise Maker is a return to the smart and sometimes troubling landscapes of a sound searching for land as it soars the coast. The song is more mid-tempo then previous numbers. It's emotive and in some way relaxing around the hard beat. Suddenly, an extremely emotive score in the middle third sends my soul souring. It's ascending and the song wouldn't feel nearly as infectious or beautiful without it. There is also a high octane, intricate, and delicious combination of sounds that somehow blends into the mix right as the clouds part to reveal an endless ocean of peace, love, and light. How this group was daring enough to put chaos directly next to peace and make it somehow blend is beyond me. It's directions like these that make me wonder why the group doesn't return to what they do best: Innovation in Psytrance without lyrics to distract from their wonderful melody/sound composing and mixing productions. A- 08. PGM is a continuation to the more emotive sounds. This is a solid and emotive Psytrance number to listen to, by a group that once seemed intent on never stopping to impress us. There sound is crisp, heavily mixed, and very well orchestrated. The piano tune is really pretty as the song moves towards the end. A- 09. Dancing with Kadafi is one of the most creatively composed and overall gripping Psy tracks I have ever heard in my life. Few songs have impressed me as much as this closing track. The emotions it goes through, from happy to sad to angry to peaceful is ambitious and very memorable. I wonder if this group will ever produce an album filled with downtempo songs on the level of this colorful world. It's beautifully orchestrated, a benchmark in experimental downtempo psy music, and a number that has been received with love and praise from all over the world. In short, it's a masterpiece. I feel like the artists heart and soul are most revealed in this passion project. And it would be amazing to hear more of the soul that composed this track, not the ego that is producing some of IM's newer, post 2003 work. A In conclusion, Classical Mushroom has often been my favorite album by this group. But BP Empire occasionally jumps in front of Classical Mushroom depending on the mood I'm in. I always found the debut Gathering excellent, but I never found it as musically rich or as emotive and fun in the same way I find the first two sequels. But my gripe with Classical Mushroom is that the tracks generally becomes less strong and infectious as the album progresses with few exceptions. I love how this album has takes a different approach towards the final third with more chill, yet Psy tracks. It's refreshing actually; many people were judging this album when it first came out for sounding less crazy than Classical Mushroom simply because these artists chose to experiment more on the end. But past the initial expectation of sensation over substance, many people would later find some of their most favorite work by these artists to date on the end of this album. Nonetheless, BP Empire has a wonderful beginning, middle, and end. Sure, some tracks range from quiet, emotive, and contemplative to higher octane and danceable. Some combine both, and I feel that these are some of the most unique and effective here as well. Each song is so well thought out, developed, and creative. If people stopped comparing so much as I tend to do and simply looked at this as a musical piece of art, maybe more could be appreciated rather. A song like Dancing With Kadafi doesn't get old to me. It sounds wonderful, beautiful, intense, and enchanting every time I listen to it. There are no less than solid tracks on this album, and for the most part the album is loaded with back-to-back Psytrance treats. Overall BP Empire is a dynamic release in the Psytrance genre that transcends the genre, although it does not necessarily reinvent it. This is one of the best Psytrance albums I have ever heard. And it is souls like Dancing with Kadafi that stand out the most because there is absolutely nothing out there quite like it, and DWK is a beautiful, developing marvel from beginning to end. It's one of the most technically accomplished, heartfelt, and memorable tracks out there. The closing number is a classic example of innovation and evolution, and the same can be said about this entire album, thanks to a more intellectual, emotive edge over the musically rich and more chaotic, layered, and energized Classical Mushroom. Favorite tracks: 1, 2, 3, 4, 5, 6, 7, 8, 9. A-

Didn't they cut a new album? What is the status of their new album? I've been reading about it for several years now.

I like tracks 1, 3, and 4. More tracks like those (though they lacked kickass and fun surprises) would have been great. I feel like various tracks here didn't make the cut on Horn Please. Tracks like Andes is really good though. I like tracks 3 and 4 because they seem idea driven, less scattered, more developed with a thought, and the melody, mixing work is catchier. Many songs on this album feel like filler; more could have been impressed with Penta's style. Much of the action here seems been there, done that. Horn Please was novel. It would be cool if he made an album more fresh and imaginative.

I couldn't help myself. The wait has just been too long. I think it's nice to see this artist of Lost Buddha (now Amithaba Buddha) finally with a main album on psyshop. This sounds more unique, artistic, and off the wall Goa/Psy than Amithaba Buddha - Goa Gate. Anyway, I couldn't find a link in the general section so here it is. http://www.psyshop.com/shop/CDs/pot/pot1cd001.html

+1 And Smack My Bitch Up by Prodigy.

Nice work travbrad1001. Thanks for the list. Guys, be fair to Moni. She'd done a lot of work in the past. I agree that it's July, 2008. It took too long. She could have communicated that she's been busy, and that the list may take longer than expected this year, thus encouraging one of us to do her work if we couldn't wait. But people here choose to wait. Naturally no one gets paid for this. We all invest our time to write reviews, post comments, and take part in what we connect with. Blah, blah, enough rambling. About the list... I expected Younger Brother 2 and Asura Life2 to be at the top on the downtempo genre. Asura really kicked ass last year, and YB2 produced some superb tracks too, especially the last. And I'm a little surprised to see Solar Fields - Earthshine so high on the uptempo list. I thought Transwave - Backfire and Xenomorph - Demagoguery of the Obsurants would be above that, but I'll take your word for it. And I don't mention D5 because it released in 1997 so I imagine people were generally investing more thought into new releases, modern work, basically, but I couldn't help but acknowledge Dimension 5 and Transwave. Mindsphere - Inner Cyclone was up there too, Goatrance wise. It would be amazing if that artist produces a follow-up album for Suntrip Records with superb mastering, production. I didn't mind the mastering, but a handful of listeners seemed to have a problem with it. V/A - Twist Dreams was good, the lower end of great IMO, but the least strong compilation by Suntrip to date. I'm amazed it scored #3 via uptempo. I'll definitely say that Goasia - From Other Spaces was one of the best releases of the year, though the last track could have been better and several others too. My expectations are so high with Goasia because he's produced some tracks that are just Naturally, tracks 3, 4, and 9 were worth the album alone. Oh, and Penta... his wiz-bang style is getting old. Fast. If his next album doesn't have more songs with substance, super songs, I'm done buying his work. I thought Horn Please was good. My friends didn't. Penta's Portuguese Abduction album released 6 or so months after Horn Please, and deserved "most rushed album by a famous artist in Psytrance" IMO if ever such such an award existed to be given. Yes I thought Time Jump and Andes were two very cool tracks from an album that didn't deserve to make the list, and didn't. But around that it was more or less formula rehashed and mis-mashed. And the last track on Portuguese Abduction was a slap in the face. It wasn't cult B or even C art, nor funny or enjoyable. Worst song of the year goes to: Neo Cheesy by Penta on the Portuguese Abduction album. What was the point of having that on the album? Other than that I like Penta. But his fans pay 15-20$ to buy great work and since he has built a respectable connection associated to his name, it would be cool if he strengthened that connection with stronger songs, less rushed and/or similar sounding albums.

Okay, good point. I had gone back to edit it to make it appear less imbalanced, and then I saw your observation. I like the album. It has at least two of the best songs I've heard all year on it. Naturally, my review stands as it is. It's just that.. I find tracks 5 and 7 so solid and above everything else, it's hard not to wish there was more of what they did so well here. Track 3 and 6 are very cool too, and the opening, though I find the opening a bit repetitive, I like it. I wish that the album had more energy, more super songs around that great work, and less whatever-those-songs on the end are. And I realize some people like the slower tracks 2 and 4, though I just cannot get into them, especially the second. It's just that their previous albums are all more or less excellent IMO. And when I hear Immaculate Crucifixion and the energy of Tanta Pena especially, I think "Wow, this is great!" So I'm grateful for the refreshing kickass, new tracks. And I'm disappointed because there's not enough of them when compared to their previous albums. Much like Ott's Skylon album, I'm enjoying about half the album like a car driving on a newly paved road with several big bumps to off-set the otherwise great ride. So I wish their was more *oomph* from beginning to end as apposed to going from hard to soft on almost every other track and then arguably crashing with an off-beat ending. Personally I think those curious who love/like Juno Reactor should go to amazon and/or iTunes music store and download Track 5, followed by 1, 3, and 7 (in no order). Because it seems like virtually everyone likes track 5. On a side note, relative to your current signature, Siddhartha by Hermann Hesse is one of the best books ever written. If we were giving scores to books on here, I'd give that an A. I also highly recommend The Alchemist and A New Earth: Awakening to Your Life's Purpose, the latter by Eckhart Tolle. They are very aware books. And people will become more aware just by exposing their consciousness to them.

I'm disappointed with this album because I feel that with Gods and Monsters, Juno Reactor has given us less of everything most of us love, and more of what most of us do not. I'm not saying they shouldn't take risks. They should. But at times on this album, I'm searching for that energy and sound that I love from this group. And I love the organic, instrumental uprising track Immaculate Perception. It's not the energy or sound I'm used to and I find it great, and I'd love to hear more songs in that direction and territory by Juno Reactor. And maybe a more involved and infectious downtempo number or two than what we have here. To be honest I'm impressed anyone likes tracks 2, 4 because I find them too slow, and boring. Tanta Pena brings me closer to the style I care for, and I favor it with other, more animated tracks. And I like the rapping song. It's nothing like the Heavy Weight song on Infected Mushrooms Vicious Delicious that basically felt like a Linkin Park rip off. City Of The Sinful, regarding the moments of rapping in it and the song overall appears to be this groups own, individual and artistic pop art, combined pop culture, Psy bag of tricks. And I realize it will be liked and disliked regardless of what I say. But on here, an album that plays more like a compilation of different Juno Reactor styles, I like it. I like its combination of musical tones and idea; its moving and catchy. When I play this album, I often stop it right after track 7. It's too bad actually, to neglect the last two songs. But they're just too not the energy and soul I care to hear by a group of such power, imagination, and interest, whether displayed as peaceful or climactic. Juno Reactor has always worked best as a musical group, not a singing one, but one where voices occasionally compliment the powerful music. Overall I find the last two songs misguided in their placement. It's like Ott's new album. I had to create a playlist because something romantic or pretty is placed next to something repetitive, dub, and out-of-place relative to the wonderful mood that parts of the album were setting. I feel that Juno Reactor is their own worst enemy and if the lead singing or whoever had most power here turns the mirror to face them, this person will see that the answer is not in the ego that wants to sing, but the soul that wants to be move and be free. I love Juno Reactor, and it would be amazing to hear them produce another album that reaches for the stars as opposed to one that reaches in so many directions that it doesn't know which way it wants to go in the end, thus disappointing many of us (amazon, psynews, numerous other sites for more on this being a mixed bag).

MIRANDA - PHENOMENA KOYOTE RECORDS 1996 Track listing: 01. 11'03" Step To The Stars 02. 07'56" Subtropical Forest 03. 10'53" Andalgalornis 04. 08'37" Labyrinth 05. 08'24" Green Man 06. 08'52" Phenomena 07. 07'23" Weightless 08. 09'39" Concorde This groundbreaking album is Miranda's debut. Originally released in 1996 I have read, Phenomena is a nostalgic centerpiece in Goatrance by an innovative spiritualist, and it's well ahead of its time. This is also coming from someone's perspective who heard this album for the first time in 2004, after all of the others. Naturally some tracks sound better than others. Or some are dryer, less juicy and gripping than others. But the style not only broke ground but remains to this day one of the best lights to ever shine in GOA. No song is less than solid here. The general one is great, excellent. Several are superb. And all of these titles melt away and mean nothing in the spirit realm. 01. Step To The Stars is only surpassed by the super sequel Second Step To The Stars on 1997's Real Rush album. This is a beautiful, uplifting, delightful, energy rocket, and a groundbreaking debut. Miranda has psychedelic effects that really enhance her beautiful rhythms and melodies. They flow with he music as if born like little graceful babies by the music itself. A 02. Subtropical Forest is an interesting, complicated and dynamic number filled with an ever evolving path, development, and continuous sound discoveries. The returning, layered force of music in the final third is excellent. The previous track may have been a bit more infectious but that's a subjective statement. This takes a severely unexpected and fresh and catchy sound/melody direction. There'sa blinking melody that is excellent and the final third is outstanding. A- 03. Andalgalornis is a strong, thick and melody braiding Goa number. It follows a set path, one that is constantly filled with power packages. In other words, this track is like a strong vehicle heading down an unknown road filled with unique upgrades along the way, complimentary sounds in developing its structure. Miranda continuously builds soundscapes with exception to a collective interlude in the middle. The high pitched, altered and sustained flying saucer sound is very effective, though repeats just a bit more than seems necessary. The sound is altered in numerous ways. It reminscent of a wonderful sound used in Hallucinogen's classic song L.S.D. This is an excellent and spacey Goa/dance track. A- 04. Labyrinth is a darkly lit gem, and my favorite track since Step To The Stars. It's combination of sounds both in and around the compelling melody leads are phenomenal. It's loaded with energy and passion, carefully constructed soundscapes, build ups, and evolved sound releases like intellectual climaxes. I've noticed that the song has smaller build ups as it reaches its finale in the final third. The little insect echoes and alterations compliment, and the ambient notes are wonderful. A- 05. Green Man is the first song I've ever heard by this artist. It was actually in 1998 on The Future Sound of America Goatrance compilation by Distance (Records?). That was also the first Goa album I had ever heard, and the gateway to Psytrance for me. This track is very driving and trippy with a melody lead snaking through the intangible debree in its hallucinogenic path. It also appears to be constantly changing, growing, and evolving as the overall sound structure attempts to shed its skin. This is because a main, catchy sound is often in the background like a hook regardless of the changes and additional sounds this song goes through and attains. This is one of Miranda's most unpredictable and imaginative Goa numbers. It's a continuously traveling, intellectual piece, as opposed to one building towards a climax or a predictable outcome or resolution. The song becomes even more gripping as it progresses. A- 06. Phenomena is close to if not phenomenal. This is one of the more heavy, psychedelic Goa tracks on the album. There is a super, though carefully composed, not psychedelic melody lead that begins around 1:49 and it's all uphill from there. In other words, this is basically a song composed of infectious melody leads. Miranda builds an infectious sandwich in a moving atmosphere before releasing the adopted, delectable to regroup consciousness. At this point in the middle is an interlude, what sounds like a tornado in the wind, revealing itself as peaceful and alone. Soon after, around 6:16 the beat returns and life begins again. Miranda has composed a super track here, one that is intelligent and intuitive, just as the life that the voice sample speaks of, the life beyond our planet. A- 07. Weightless is a unique departure from previous tracks. Here is the first downtempo and/or Goa Ambient song on the album and possibly ever released by Miranda. It's very spacey, floating, and somewhat explorative. The song becomes more gripping as it continues and may appeal to many of those who later caught on to Solar Fields and Asura relative to their Ambient Trance relative to its ambient and trance influences. I've always felt this was an interesting song, though it's my least favorite on the album. Miranda would later improve her downtempo sound into something more infectious as she showed us in the closing track on Asynja. For 1996, its nice to see Miranda took risks with positive results as she did here. This also cleanses the ear buds for the final number. B 08. Concorde is superb. Miranda was tactiful to place this song here after a less energetic number. It's mroe appreciated. As people would later realize with this artist's main albums: Real Rush, Northern Lights, and Asynja, Miranda is known for ending her albums with a bang. Whether fast or slow, this is a faster, uptempo number with the most gripping melody and sound designs since Labyrinth and/or Green Man. But she really topped herself here. It's an extremely well done and infectious number with some of the best melody combinations I have ever heard. Flawless in flow; it's gorgeous, delectable, and captivating. A In conclusion, Phenomena is one of the best Goa albums ever made. Miranda invested her soul into this album. I feel like she really undersood the essenceof Goa, a rare insight gained and feat at the time when one acknowledges the tiny list of Goa albums before 1996. Moreover, this artist understood how to connect with the ideas she attained to create an album loved by thousands of individual listeners throughout the world, her vision at the time. Phenomena oozes with passion and creativity, raw emotional sounds and psychedelic soundscapes. Many Goa listeners including myself consider this Miranda's best album of her career in Goa/Psytrance. I don't know what she produces now days. She also brought her Goa sound back the best, at times in 1999's Northern Lights, but more critically praised in 2001's refreshing Asynja, after the first three tracks. Is Miranda aware that people both listen to and love her music today throughout the world? Miranda began and currently ended her career in Goa/Psy with a bang. Every once in a while someone like myself writes a review on psynews.org for instance, but her ripple effect goes beyond; it travels through the universe as an what we perceive to be energy that cannot be destroyed. This album is phenomenal, and a timeless classic. Favorite Tracks - 1, 2, 3, 4, 5, 6, 8 A-