Jon Cocco

Yes, I was editing my review over yesterday and today. And today, listening to the album again. I originally wrote and posted the review above prior to their being an actual review thread and posted it in the music promotion section, or one of those other forums. I should have just opened a fresh review thread. Anyway, I found this review thread yesterday and realized I never added mine. And thanks, I updated the review on this page to compensate for being in the proper section. What's the difference between the CD version and the free download? Right, of course. Jikkenteki.

JIKKENTEKI - FLIGHT OF INFINITY PAR 2 PRODUCTIONS 2008 Track list 1 Symplicity (31:04) 2 A Bowl Gruel World (11:24) 3 The End Of The End (9:21) 4 Another Kick In The Head (9:41) 5 Running Start (11:02) Jikkenteki Flights Of Infinity is the follow up to one of the greatest Psy albums of recent memory. With the debut I assumed enough copies were sold for distribution to not be a problem here, but I have no idea why a label wouldn't want to release this thing. It's great! Maybe it's the five tracks thing, though one of the five tracks is epic, around thirty minutes long and well done from beginning to end. The first track could be equivalent to three songs (parts 1, 2 ,3 broken up with no second delay). It's cool that the artist left the opening track with epic length. Nonetheless, I generally prefer more tracks as opposed to one that has a general but very evolved, yes sound throughout. Nevertheless, the artist makes super worlds back-to-back, and I'll take five great, excellent and superb tracks over ten good and/or great ones any day. 1. Simplicity may just be the longest Psytrance song I have ever heard. I'm impressed that this artist can hold my attention, and make a song entertaining for 31 minutes! The first 5-6 or so minutes are more ambient/experimental-Psy, without much of a beat. This alone could have been an introductory track on the album, but the artist decided to build up to a massive, EPIC psytrance song. The song is great, if even it goes on for a bit longer than I would have preferred. The artist has not abandoned the wonderful melodies that made the debut so magical! B+ 2. A Bowl Gruel World is refreshing compared to the previous number, where I was seldom tempted to skip to a fresh song because it was so long, although solid throughout. This number builds up into a adrenaline pumping, driving, and delectible, intricate beat and rhythm of strong and psychedelic melody work and sound. This track sounds either too short nor long and refreshing after the wonderful Long Way Home debut. A- 3. The End Of The End is excellent. This is one of the best tracks I have heard by this artist yet. The melody/sound and mixing work is amazing, intricately designed, and flavorful, melody-driven throughout. I have a feeling that there's deeper meaning to some of these track titles, or maybe they simply respresent the honest and direct titles. The song continuously bulds a speeding sound structure of infectous layers with layers. The development of sounds and little complimentary details doesn't sem to end until the track literally skips over into the next like a train off the rails. It was as if the artist created something too huge and sonic to retract its development to a peaceful conclusion. The intricately layered and infectious sound, style, and overall direction of Jikkenteki I find most dynamic, psychedelic, artistic, and over-the-top. This is one of the best Psytrance songs I have ever heard. A 4. Another Kick In The Head has a fresh, clear sound after the previous refreshment. Coupled with strong ambient notes and a subtle moody score, this follow up number seems to illicit more of an emotional or contemplative response that the prevous number focused less on to compensate for sheer power and intricacy. There is excellence to this track, although it doesn't seem to build up to a shining star; one could argue that the entire track is shining and doesn't need a climax and I'd agree. Nonetheless, I wasn't as riveted by this song as the prevous number, but it's still a great/excellent musical piece. A- 5. Running Start begins most experimental since the opening. Several minutes of ambient, industrialized atmosphere, and numerous other sounds take place. The beginning is slow, patient. It builds up into a fast and energetic, psychedelic number. The melodies are catchy and stacotto around the beat. In some ways this feels like a less drawn out epilogue, conclusion to the prologue, opening. The driving and dark style and aggression bulds strong as the song progresses. Overall I loved the final track on Jikkenteki's debut via the Psytrance CD. I found the final song on his prevous CD1 more infectious, colorful, characteristic, and effective than this final number. Nonetheless it's a strong and solid conclusion to one of the best, most underrated albums of the year. A- In Conclusion, Jikkenteki kept and developed his great sound and Psytrance style from the debut. It's interesting that this album was finished back around late 2006 or early 2007. I thought that was closer to when the debut released! Flights of Infiinity breaks less ground than the first and innovates. I found the debut more refreshing; it stood out more because of the added Chill disc; this is a surprising gem nonetheless. I really miss a follow up to the wonderful PSY experimental, ambient and downtempo CD that the helped the double CD debut get higher praise and notice than this one. More numbers in the track list generally attract more people. This sequel may appear "less than" the debut due to the lengthy, opening track. The first song is epic, though very ambitious, evolving, and well done. More variety would have been preferred this time around, more tracks. But the handful here are all quite strong and memorable. At least two songs here are some of the best Psytrance numbers of 2008. It's very cool that this talented artist continues to compose wonderful music and it's pretty impressive that he's shared this with us for free. Favorite Tracks - 2, 3, 4, 5 A- Update: Buy it here for only $10. http://kunaki.com/sales.asp?PID=PX00ZDV896

OMG... I've been searching the wrong section (well, it was posted in the wrong year/section here) for on and off for years. Thank you so much for locating it.

What happened to the review thread for the groundbreaking MIRANDA - PHENOMENA debut album??! I've been looking all over for it. I could have sworn it was one of those highlighted in red albums back in the old goatrance reviews section. But I can't find it, thought it released in 1996. I've recently posted reviews on the other three main albums by Miranda and wanted to add mine to Phenomena. Is it possible that this classic in Goa trance never existed as a review thread here? I find it hard to believe. Can someone please find out about this and let me know? Post something here?

MIRANDA - REAL RUSH DISTANCE RECORDS 1997 Track list: 01. 06'12" Wicked Dream 02. 07'49" Real Rush 03. 07'42" Le Passage 04. 06'39" Year 2000 05. 06'50" Aquarium 06. 06'46" Ama Zone 07. 07'55" Disco 08. 08'03" Freak Show 09. 09'40" Second Step To The Stars It's pretty clear Miranda wanted a more friendly approach to the clubs without sounding clubby and sticking to Psytrance when she produced Real Rush. The album has some great moments and tracks in Psytrance. However she's toned down and in some tracks removed the Goatrance and/or melodic driven edge to compensate for stronger kicks, effects. The result is an album that lacks the Goa work of her wonderful debut, Phenomena, and sounds a bit exausting by the fourth or fifth track. Fortunately, she presents some fine ideas in Psy with masterful execution. She doesn't abandon the Goa influence either. It's even updated to excellence, but those moments are far and few between. The album appears to have once been contesting for best Psytrance or Party album for clubs and parties of the year. The example, the production is good, with monster beats, base lines, and kicks. Unfortunately, the album is a mixed bag due to having a mixed track list, from good song to filler, etc. While anyone could argue that a mere beat is all it takes to move a crowd on the dance floor, Miranda was born beyond than that, even here. And while both the kicks and Miranda's style in general is aggressive, hard, and intense, lifts to greatness often feel comprised due to Miranda's more structured club-friendly approach. At times however, the fireball soul of this artist feels less tamed and free to break out of her intended or not forumla and create some severely memorable gems. 1. Wicked Dream I used to really like as a teenager. The beat and over mixed sounds in this track are so hard and heavy, they may as well be deafening. The track is a friendly, albeit shallow opening. The tone is darker than anything previously released by Miranda, and back then it was pretty good I suppose, great to dance to I imagine. By today's standards however it's okay. The voice samples are cool and effective. Miranda has made some creative alterations in the sound effects department that strengthen the song with little, attention winning details. But the song becomes redundant the more it progresses. It does maintain a strong and danceable beat that somehow manages to bother my ears every time. Possibly the metal sound she mixes over the hard kick and beat is a reason for this accentuated beat, but I find it a bit too hard over the general sounds. Nonetheless, this song is intended to get the listener dancing. There's just not that much too it to intrigue once you get past its darker tone and hard, stomping beat. C+ 2. Real Rush strikes like a vivid lightning bolt. It's the first great track on the album. Fast and furious, driving and combined with a strong melody lead and rhythm, the song is in some ways to Miranda what Juno Reactors Mono Lisa Overdrive turned out to be by them. In other words, both Real Rush and Mono Lisa are infectious, driving numbers born to create an adrenaline rush. B+ 3. Le Passage begins with a very interesting, catchy mix of spliced voice bits used to melody effect. Also coupled with a growing melody, the tracks quickly grows into a more complex addition. The chopped up voice sentences are unique and give character an aggressive, dark mix. Some interesting melldies arrive around 2:44 and a stronger melody combination ignites around 3:52. The track would continue to be good if it didn't end with fresh and effective ideas early on, only to recycle its body for the second half of the tracks duration. It started out good and got old fast. It lacks a strong evolution, if any, in second half and/or final third. C+ 4. Year 2000 is much more dynamic and catchy in the sound/melody department than the previous track. Unforunately, we're well past the year 2000 and the "Counting down the days for the year 2000!" voice sample makes the song feel even more dated than it should. Musially the track is pretty good. The beat is strong; the melodies are well composed and developed. The only problem is the sample, which pulls down the otherwise good music. The artist tries some experimental things too that I like, such as the melody work from 1:53 to 2:10. It's catchy and really compliments the song in how it flows into the returning, more furious and intense, initial style. B 5. Aquarium is a mid/up-tempo Goa/Psy song and one of the more interesting ones on the album. This less mainstream friendly Goa design is pretty groovy. There is a nice combination in the middle as a previously developed sentence rises up into the swimming pool of a newly developed melody stream, much like Goa group Ethereal is known for doing. Around the middle it doesn't seem to offer much more that strikes as fresh or compelling, but the change here from the higher octane numbers is refreshing to some degree. This is one of Miranda's more unique tracks. It's pretty good, with a great middle third involving gripping Goa melodies combining like waves over waves in the ocean. B 6. Ama Zone is a concept track that begins strong. The ambient is very attractive and gripping, and probably the most stand out element on the song. It really compliments the music along with an interesting and unique mumbling male voice. I'm not love with any particular melody, though the song is continuously driving. I think the artist could have used some more infectious sounds to enhance the melody leads. There are some very psychedelic, thick, and crunchy sounds. This song has some really good ideas, and I wish the ambient section was brought back and developed because that part was really catchy. I generally like driving, fast, and aggressive sounds and style, much like Tandu and Pleiadians. But here for instance, it's a driving track that is less captivating in part because it reveals that grabs, the more it progresses. B- 7. Disco has two good melody leads and/or combinations in the first three minutes. But as the track progresses, it doesn't really capture the infection created during the building, initial several minutes. Fortunately, the song reprises it's two pattern Goa/Psy melody sentences around the final third. In a sense the first, catchy third is brought back in the final third with a mediocre extension branching the two in a less melodic, less capturing and plodding along middle. There are some good melodies and an echoed one I think is great, the second leading melody into the song. More could have been done to capture the senses. This is a decent, if fairly good song. B- 8. Freak Show is another concept track, much like Disco in the sense it never really develops its concept, track title. The beginning introduction has potential, and soon devolves into a surprisingly average and therefore disappointing track by Miranda. Redundant and far from gripping sounds and melodies are present here, often looping, like one on top of the other. Even an echoed Goa melody goes around and around with very little if any development. I often skip this song because whenever I don't, I'm again reminded why it's not a good song. Miranda is a solid artist and I don't put her down for having a filler or two. Excellent songs don't come easy after all. But I will say that this is a very lackluster, average at best track, and in that sense, it's disappointing. C 9. Second Step To The Stars is a sequel that triumps the original fromo the debut, Phenomena. This track really showcases Miranda's awesome melody work, energy, and power, and it would have been amazing to have more climactic songs on this level and beyond. Ahhh... what could have been. This was and relative to old school, still is a super Goa/Psy song with a wonderful melody lead combined with many creative and complimentary, supporting sounds and melodies. This is also a great way to end the album. Although a bit dated by todays standards, this finale is considered a classic by many Goa listeners today, and although not what I consider a masterpiece, it's probably the most sparkling gem on the album. A- In conclusion, Real Rush is a hit and miss album by Miranda. It is less Goa influenced than the debut, but the influence is more or less present throughout. The last track on this album is excellent, a real treat for Goa/Psy fans and those who were lucky enough to hear Phenomena before this one. Miranda made several good, great Psytrance songs. This is also where certain tracks felt less unique, more standard and I don't like saying formulaic, predictable, but they are from what this artist is capable of. Nonetheless, the album is loaded with strong kicks, beats, interesting, small little details in the sound effects, and song fillers. Or song's that could have been much better than they are. I really liked the darker tone when I first heard this album back in 1998. Year 2000 unfortunately was one of the best tracks on the album back then. But by todays standards the voice samples "Counting down to the Year 2000...!" sound lame. This may have seemed like a good idea at the time, but female director Kathryn Bigelow had suffered similar fate when she directed the underrated, kickass film Strange Days in 1995. So the world is going to end theme is outdated, hence anything associated with that appears more dated too. Focusing on the music however, it's a well done song. However a handful of concpt tracks here never seem to reach their full potential. More could have been done than what is. Same with Disco which sounds interesting in the first third but gradually becomes redundent and/or less interesting. Fortunately, Miranda knows how to end an album with a bang. I just wish their were more bangs here, though the album has a strong beginning, middle, and end. There appear to be several weak sections or tracks with weaker sound structures when compared to Phenomena. Real Rush is a decent album with some very good tracks. If I had heard this follow up after Phenomena, because I heard her Phenomena in 2004 for the first time, I would have probably recommended this artist developing and updating her more textured, melodic Goa influence. Naturally, she did exactly that in Northern Lights and Asynja, and she hasn't abandoned that here; tracks are generally less imaginative and captivating. Real Rush is my least favorite album by Miranda, but I like it for its several strong vehicles. Favorite tracks - 2, 4, 5, 9 B

Hmmm... is this album available to buy anywhere. I checked the iTune store with no luck. It would be really cool if she made this album available to download off her site. I finally posted actual reviews on all four of her main albums. Samples http://www.saikosounds.com/english/display...ase.asp?id=4288

MIRANDA - ASYNJA GOLDHEAD RECORDS 2001 Track listing: 01. 08'18" Groom Lake 02. 07'37" Evolution Quest 03. 07'58" Anxiety 04. 07'22" Keep Calm 05. 07'59" Magnetic Levitation 06. 07'43" Visitors 07. 09'25" Hypnotic Trance 08. 07'32" Enigma I have all of this energy to comment after listening to her albums thoughout the last several weeks. Miranda did a great job with Asynja. This is a much more experienced and mature album than 1997's Real Rush and it seems to have less filler than 1999's The Northern Lights too. I noticed fewer mixed comments from many years back. I think few people who were generally goa fans misinterpreted Miranda's direction and style. She clearly brought together the lines of Goa/Psy influenced Trance with a dynamic club friendly edge, without the mainstream clubby sound. On certain tracks 4, 5, 8, the Goa is heavily influenced. Whereas tracks 1, 2, 3 for starters appear as Miranda's fast and metal/industrial textured Full On Psytrance. This combination has always been present throughout her albums. But on Asynja, the goal was to focus on the stronger beats and build up to both stronger beats and some of the most driving, melody combinations I have heard by her yet. 01. Groom Lake is a good opening. It begins with a fairly lengthy, though moderately interesting introduction. I like her interest on ET's, space, and spirituality. She seems generally smart and aware actually. The style is more dynamic and animate. Miranda has become more fun and playful with the kickdrum too. It brings more life and movement into the song. I like that. The guitar work is well done too. And I'm glad she rarely uses the guitar on her albums. It's often very effective and complimentary when she does. Oveall this is a solid opening, nothing spectacular or vastly gripping. But I really like her emphasis with the kick drum and various other mixed in sound effects here. B 02. Evolution Quest isn't as catchy as the previous number until the midway point where it transcends into a strong and melodically driving dance piece. Good track, different at first but overall less capturing earlier on. Nice change up in direction around half-way though. B- 03. Anxiety starts out like a raging tycoon of adrenaline, very powerful, though less powerful in the second half as it doesn't build up to a stronger second half as the previous track. The song is relatively strong, fast, and furious, and emphasis a powerful rhythm. However it becomes less gripping the further it continues, in my opinion. B- 04. Keep Calm is a more developed number that finally brings in Miranda's talented melody braiding combinations. It's a solid Psy meets Goa track and remains attractively driving, catchy. Interesting is the track titles that appear to be telling someone to relax and remain calm because he/she is anxious and about to explode. B+ 05. Magnetic Levitation is the explosion I've been looking forward to on this album. Miranda could give us eight tracks on this level and she'd release a masterpiece. The song emphasis Goa melodies more than any other song on the album so far. It's infectious, psychedelic, intelligent, powerful, and climactic. This is an extremely cool track, like an angel flying its wings and being free. And my most favorite number on the album so far. A- 06. Visitors is a slower and/or less climactic mid-tempo number. It's tactfully placed to separate two super songs apart. But it isn't as evolved or as developed as it could be. The opening is good; this is a song that follows a more square structure than previous tracks. It's basically a not as fast and psy influenced track with an arguably clubby or club influenced melody. The song appears to be less explorative, deep, and rich as well. Fortunately, it's relatively good and appeals in a more consistent, slowly driving way. I just find it noticeably less catchy than the previous two numbers, regardless of previous number's higher energy and complexity. B 07. Hypnotic Trance is the next super song on the album, since Magnetic Levitation. The track is a dance floor tidal wave of climactic rhythms, and not just one but two, developed infectious melody leads that the song returns to like a chorus. The track is a gem, though it breaks less barriars and travels closer to home than track 5 did, this song must be amazing on the dance floor. I find this comparable to M.W.N.N.'s great VaVoom track in the sense this is also a Full On, Goa influenced, club friendly numbe. But this isn't one-third as Goa/clubby sounding as VaVoom in my opinion. Miranda made sure to keep her Psy edge intact as she temporally lost during Mars Needs Women on Northern Lights. I thought Mars Needs Women was a great and catchy club friendly song regardless. And it's very cool to see her hear something with more imagination, fire, and complexity. This is a wonderful track. It's my favorite on the album next to track 5. A- 08. Enigma begins good as a strong downtempo piece. Towards the middle is an intriguing transition, using rain and storm effects combined with numerous Psychedelic sounds. Soon after the piece develops and evolves several wonderful melodies merely hinted at earlier on. I wasn't expecting this to be nearly as ascending, beautiful, and uplifting sounding as it is the more it progresses. I actually love the song's direction. It seems like a lot of focus on passion has gone into giving this the sound and evolution that it is. Miranda closes the album off with one of the most strong, unique, and memorable lasting impression ever. She does wonderful downtempo music actually and should seriously consider cutting a downtempo album. They're ridiculously popular now days, and she has a lot of creativity and experience with both the genre and scene. In the end of this song I smiled. I feel like Miranda really understands what most of her fans love and sometimes miss more than they care to admit, that being Miranda. A- In conclusion, Miranda's 4th album is arguably her strongest release since Phenomena back in the mid 90's. I heard her debut after all the others so I had already felt more connected to her more modern style. Phenomena was a superb Goa album that I'd imagine the general Goa listener agreeing with me that her debut was more ahead of its time than any of her other albums. In a sense, it was groundbreaking. But I personally find more enjoyment out of both this and her previous album. With Asynja, Miranda returns with her industrial/metal sprinkled Goa influenced Psytrance. There is some extremely well done work here and no track is less than average, though I find few really superb. Asynja has more quality over quanity than Northern Lights and I know many people appreciated that. What else is there to say. This is arguably Miranda's best album. It is unquestionably her strongest Psytrance album if we were to categorize the debut strictly as Goa, and many people have I've noticed. In short, Asynja kicks ass from start to finish and has at least two superb songs around the middle. With all the Full On crap releasing now days, it's hard to imagine that an attractive female like Miranda thinks she wouldn't make good sales by producing another kickass gem. We just seem to be at that time where, with the right label and marketing, Miranda would do better than ever before. She's a cute girl who makes kickass dance Psytrance. In other words, she sells herself just based on being a pretty lady who also happens to make good music. I don't know what she's up to now days. But I adore her music. Miranda is one of the most talented and underrated female artists on the planet. And if she decides to make another passion album again one day, assuming she's working with a great label who knows how to attract high sales, I'd love to here it. And for the record, more tracks on the level of Magnetic Levitation. Track 5 is one of the most infectious, adrenaline rushes I have ever experienced in music. And why isn't this not selling on saikosounds and psyshop anymore? What are they out of copies? So get more! Favorite tracks - 4, 5, 7, 8. B+ Samples http://www.saikosounds.com/english/display...ase.asp?id=1924 http://www.psyshop.com/shop/CDs/why/why1cd016.html

MIRANDA - THE NORTHERN LIGHTS GOLDHEAD RECORDS 1999 Track listing: 01. 02'04" Intro - B+ .... I've always felt this being great. Crisp. Refreshing. Interesting. Educational. It sets things up nicely. 02. 07'45" Anaesthetic - B- 03. 07'36" Gnocchi (Rmx) - B+ 04. 07'09" Lynx - B+ ... Love the industrial sound in the first half that she builds the song upon. It's gripping, very danceable. 05. 06'18" Mantra - B- 06. 06'58" Guitars And Tatoos - B 07. 07'40" Eyedentify - A- 08. 04'39" Mars Needs Women (Antiloop Album Version) - B+ 09. 07'41" Earth And Space - B+ 10. 08'39" U Are Alone - B+ 11. 08'40" Feel The Effect - A ... Unforgettable. One of the best, most elegant tracks ever composed in Psy/Goa trance, period. I miss this woman's work. She was (and still is?) one of the best producers in the scene. Even when she recycled some similar ideas and concepts as done on this album, she never really lost her touch, edge completely. Phenomena was a groundbreaking debut in Goa. Real Rush was a solid, though less groundbreaking follow up with some awesome, new ideas in Psy/Goa. And The Northern Lights has not only her most unique introduction, but several of her greatest tracks of all time. I love her harder, more aggressive melodic style specifically. Goa influenced Psytrance? Or Psy influenced Goa? Miranda knew exactly what she was doing when she produced all four main, non-remixed albums to date, and I don't know if a woman exists in the scene who made Psy music quite as good as Miranda. I'm even more impressed that a woman was able to produce such adrenaline pumping works of speed and strength. That's not to say she wasn't creative and talented. I love her style, and have been listening to her music all over again. Because both she and the scene doesn't make music quite like this anymore. Best Tracks - 1, 3, 4, 7, 9, 10, 11 B+

What?! Did I not write anything on this album before this post?! I bought it back when it came out. I've been listening to it again and again lately. It's good. Tommy Is Dead is an excellent track, though slightly disturbing because I recently had a cousin who died of cancer, who's name was Tommy. I really like how the sounds compliment both the story and the music in track track 2. The overall album is very catchy, melodic. And I've always found the second half more musically impressive and gripping. Anyway, I like this artists style very much. Is another album on the way?

Juno Reactor - Gods & Monsters Metropolis Records 2008 1. Inca Steppa (7:45) 2. Tokyo Dub (7:08) 3. Las Vegas Future Past (5:59) 4. Mind Of The Free (6:13) 5. Immaculate Cruxifiction (7:38) 6. City Of The Sinful (4:43) 7. Tanta Pena (5:51) 8. Perfect Crime (6:24) 9. Pretty Girl (5:28) Nice review btw Lemmi. Wow. Some people are going to really like and dislike this album. I thought Labyrinth was excellent. Juno Reactor always seems to try some different things with each album release. Often the result is praise and smiles amongst many happy fans both old and new alike. So what went wrong here? I generally love and find exiting their intriguing, energetic, and evolving sound and style. I enjoy and own all of their albums, save for the rare and epic self-titled album and track "Luciana." I could never really get into the ambient (no beats, hardly a melody) Luciana for some reason. 1. Inca Steppa is musically great. This is the dark Vs. light, or aggressive and elegant sound combined that I liked so much on Labyrinth, combined with some classic earlier approaches by Juno, though modernized. It even has male altered voices similar in sound and concept to God Is God from 1997's cult classic Bible Of Dreams album. The female voices definitely add a different flavor, and I don't mind them. I believe listeners' will be split here due to the female singing. But if one can accept or enjoy the addition of a female voice, he or she will likely enjoy this song. Naturally, this isn't the first or second time Juno has used female voices. Furthermore, this isn't Psytrance whereas such voices often seem to have a negative connotation. The track may have been more repetitive without the voices. Regarding the music, it's aggressive and builds up to a surprisingly beautiful location part from 4:00 to 4:14. They should have repeated this again at 4:24 in my opinion, as it is such a refreshing sound that elevates the song to new, less repetitive heights. However, additional drums, ambient, and atmospheric sounds, and eventually a new instrument or two is cleverly mixed into the returning aggression. The female voice returns as well, and even the beautiful elevation in combination with the voice at around 6:45. Also beautiful is her voice hymns and a conclusion to the pretty melody work. B+ 2. Tokyo Dub is an experimental, downtempo track. I like how it begins, but I don't like how the first minute or two is basically the whole track as it continues for the next four or so minutes. Personally, I find this song too repetitive. The "Tokyo... out of my head you flow... From my heart to my soul... Watch the energy flow..." lyrics as sang by the female voice start out unique. But it begins to grate on my senses after the fifth, sixth, seventh, etc. A catchy eerie, sustained note is effective around 2:15. The music overall is gentle, attractive, atmospheric, and moody. A piano sound compliments the atmosphere. Unfortunately, the song never seems to evolve or develop past the first several minutes. Juno Reactor has been known for building strong tracks out of fewer instruments; they seem to accomplish a lot with less. But here, I'd argue that too little takes place to arrest the general listener's attention throughout. And while there are some nice musical elements and ideas, such as the psychedelic yet slow and chill speed, the ambient, piano, and what appears to be a violin too, the track as a whole never seems to go anywhere interesting. It generally circles in repetition, ever finding a delicious location or ground unless you are in love with he first two minutes that basically takes place throughout the whole track. I would actually say that the first bump in the road or the first real dip that Gods and Monsters takes is with this number. I love the idea of Juno Reactor doing downtempo, but this is not what I consider a great or even good downtempo piece. It does however have good elements and ideas, and it would have been awesome if this felt less redundant, more developing and catchy while still keeping the chill speed in tact. Update: Repetitive and boring. I like the music in the background and this could have been a great piece if those sentences were repeated less and more was done to advance the musical department. Everytime I feel that the song is finally moving forward, introducing a new catchy sound, the damn repeating the same words voice returns. I feel like I am stuck in a bubble while hearing this, as if every day is the same, desperate to break free. I asked my friends what they thought and the girl in the passenger seat pressed the button to skip to the next track. One in the back said, "I was thinking the same thing," and I felt a bit embarrassed because I speak highly of this group. It's just a very repetitive track with some good musical elements overshadowed by the repetition. And I suppose some people will like it. It feels IDM (intelligent downtempo music) at times around the damn repetition. C 3. Las Vegas Future Past is much more to my liking than the previous track. This starts off fairly slow with a slow progressive drum combined with Jazz presentation. It appears to be building up to something. The volume raises into the second minute, the speed picks up a bit, the rhythm, aggression, and the sound of a drum. At around 2:49 the song lifts to an organic sounding climax, setting off the adrenaline, charged rhythm. And this is what I love from this group. Even my female friends who were with me in the car instantly liked this track more than the previous number. The song explodes into a powerful, energetic, pumped up driving sound of fury, drums, etc. Later on at around 4:34 the Jazz from the opening presentation is injected into the mix. But at this point it sounds good, innovative, different, and somewhat catchy. Jazz by itself generally bored me, but to the thumping rhythm of a song like this, I find it creative and appreciative in its small doses. I've never been a fan of Jazz but the song never loses too much edge because of it, in my opinion. If you really dislike Jazz you may not care for this number, but the song isn't dependent upon it. Overall I find this one of the stronger tracks on the album, the most powerful since the first, and that doesn't mean slower, downtempo tracks cannot be powerful; I found the second number weak. Also refreshing is the lack of vocals here. The music lets the mood breath and the mind imagine whatever it desires, as often is the general nature of Juno Reactor, a rare factor on this album so far. B+ 4. Mind Of The Free starts off like a mysterious orchestra, the sound of a pretty piano, ambient, strings, and more. The slowest track since the second, the first two minutes are interesting. Where is the music taking us? It's stirring, relaxing, and subtle. A male voice begins to tell a unique story from his perspective. He describes a voice, what appears to be that of a female. Her voice is soon accompanied into his travels, taking turns with his. The song is okay. It lacks infection and emotion. It remains poetic, dreamlike, and mysterious, probably the effect they were going for. But the end result is often soft and passive to the point it barely stays in my mind. I thought much more could have been done to make this song more arresting. Even for a downtempo number, it lacks groove to compensate for its lackluster art direction. That said, it kind of just.. floats on by. I'm never captivated by the voices or the music, and I can easily skip over this song to something more gripping. It's not about every track being high energy per say, but each track being enjoyable enough to hear again and again and again, a memorable piece that is fun to hear. Fortunately, the song is less monotonous than the previous downtempo number, track 2. And although this isn't my type of track, I think some people will enjoy its more peaceful, chill approach. I just know that Juno Reactor can create so much more catchy, even for chill, downtempo. C+ 5. Immaculate Cruxifiction takes several minutes to build and develop a solid foundation before igniting at 3:42. The buildup is very well done. I'm not a big fan of guitars in Psy music, but this isn't Psytrance, and I find such guitars very well placed here. There's a good change in sound around 5:24, what appears to be an organic shift in sound. It's catchy. Packed with strong instrumentals and a groovy, electronic current in the background, the song doesn't change course, yet it remains appealing, solid throughout. There's a melody, guitar maybe, as is heard in the final thirty seconds of the track that is often played throughout. It's excellent, like a continuous hook to hold on to through the revolution of sound, pun intended. This goes to show how something simple can go a long way, and be very effective and gripping. This sounds like an organic Psy-Rock number if I've ever head one. Whatever you want to call it, JR's vibe is here. And I like it, and many others seem to agree with me, though I find it less the masterpiece some claim it to be. It's very cool to see Juno creating such an inventive track that's generally aggressive and kicks so much ass. And so far this album is more hit than miss. But I'm still not a fan of their downtempo or slower work on this album, and downtempo is one of my favorite genres! Juno Reactor is at the top of their game and breaking new ground when they stick to this energy, for starters. B+ / A- 6. City Of The Sinful is a down/mid-tempo meets rock/psy tech and RAP, experimental fusion. It begins very dark and aggressive, in the style I find fearless and exciting. Altered voices are added, what appears to be Funk and/or Jazz, and even rap. Yes, rap. And it works, all of it. Novel. Modern. Artistic. Catchy. The lyrics aren't bad either.. the song is basically saying WAKE UP. Love it or hate it. I like it. And that classic JR undercurrent only compliments. B 7. Tanta Pena I like. ALOT. If you're going to have female vocals, let them compliment the power of the music, even if its a screaming in the opening. The vocals mix well with the flute or the more organic sounding instruments. Again is the background (sounds more like foreground) electronic current that I like so much, adding to the movement and aggression. Why can't Juno Reactor make an entire album filled with powerful tracks. Wait, that was arguably the past four albums, save for a track or two less from each of them. It's ethnic. It's organic in a sense. It's also psychedelic in some ways. Hey, I like this ALOT. Bring on the more powerful track 1, 4, and what most people agree to be number 5. We're getting into the album now. I really like the music combined with the female voice and direction throughout. The drums are excellent. And the female voice energy. And the sound alterations. And the rhythm. And ENERGY. I think this song is pretty awesome actually. And it's my favorite track on the album next to track 5 and then 3. Oh hell, just listen to it from around 3:57 to 4:20 and how the music then returns like a dangerous fireball. And they throw in Jazz over the high octane current and slamming, driving beat. Why not? Go crazy, over the rolling, thumping drums. This is awesome. A- 8. Perfect Crime is no track I'd ever imagine coming from Juno Reactor. It's a slow synth, rock-influenced, downbeat, solo piece, sang by a leading male throughout. I like how it begins, as a deeper voice slightly reminiscent of David Bowie, if at all. The track isn't bad per say. But it is kind of depressing and repetitive the more it continues. The first 2:20 seems to win my attention for some reason, the vocals in the background, much like a choir are decent. What album are we listening to again? There is an interlude around 2:40 without any vocals and I'm beginning to wonder how much potential this had to appear stronger on a JR album without the voices. I'm also beginning to skip this one now, because I'm not really in the mood to hear this after the more JR styled tracks that almost everyone seems to favor more before this song. And I think many fans will be disappointed with this track, especially after Tanta Pena. I felt so refreshed after the previous song actually, that something like this felt a bit too off course, as if someone burned me the new JR album and decided to randomly place two tracks that they favored on the end that I had never asked for or desired. In short, I wish this song was not on a Juno Reactor album. I love Juno Reactor. They're extremely imaginative and creative. But why this track? Why here? C 9. Pretty Girl is a better number overall than the previous one. Again however, it sounds out of place on a Juno Reactor album. It's okay. None of my friends seem to like it though (guys and girls); they like the previous tracks, before track 8. Regardless, I find the lyrics here nice, and the song isn't as repetitive and melancholic as the previous one. And I think more people would have appreciated these two final songs more if such songs were on a non-titled Juno Reactor album. These are thoughts that go beyond myself alone. Because they don't blend well with the previous numbers and I think fewer people will be in the mood to care to here these again and again. Furthermore, Labyrinth ended with a bang, and this final track isn't poor. But the album here appears to end on a whimper. Another more attractive would have been to place these as two bonus tracks as opposed to filling up tracks 8 and 9 with them here. I already heard Mono Lisa and Navras on The Matrix Reloaded soundtrack, but those were to super songs, JR modified Mono Lisa, and I bought the album anyway. But here, it feels like two oddly placed closing tracks are taking up a chunk of the album. C+ In conclusion, do not expect Labyrinth II. Repeat those words. Because the spirit is here at times. But if you go searching for it you may be disappointed, primarily with the even numbers. The odd tracks (1, 3, 5, 7) are generally more the sound and style I've come to love from this group. Whereas the even numbers try different things; God's and Monsters appears to be geared more towards the mainstream than previous efforts. But the final result is less mixed than Infected Mushrooms controversial Vicious Delicious, in my opinion. There is still some really wonderful work here. So far I like 2004's Labyrinth more. Not everyone will like the direction taken here on certain tracks, those with singing for instance. At times the female voice seems to compliment the track, depending on how you look at it. But tracks 8 and 9 sound as if they could have been by another group, done on a different album. Maybe the male lead could have produced a solo album? Because they don't seem to correlate with the sound and style of Juno Reactor, nor what we love about Juno or why we love this group. In some ways, the last two numbers contaminate and severely weaken the rocket that this album had been flying more or less high on. Nonetheless, fans seem split with this album based on reviews throughout the internet (amazon for instance, and here), but it's Juno Reactor. It's different. But some tracks don't appear to be Juno Reactor, not the beloved sound or an evolution of it either. Yet some tracks and new ideas are great, although the rap may be iffy with some. And I think many people would appreciate if the group continued to evolve what they're wonderful at. 2004's Labyrinth had a powerful, momorable ending with Navras. Gods and Monsters doesn't. But up until track 8 there are some excellent moments and tracks. Favorite tracks: 1, 3, 5, 6, 7 B Samples http://www.juno.co.uk/products/299276-01.htm You can order it (for less) here: http://www.amazon.com/gp/offer-listing/B00...4192&sr=8-1 After reading some mixed reviews, I decided to legally download this here on Amazon for $8.90. Great price. Great quality (250 kbps) IMHO. http://www.amazon.com/Gods-Monsters-Juno-R...4192&sr=8-1

Samples (there are less expensive sites to order it from btw ) http://www.juno.co.uk/products/299276-01.htm I got it here, on amazon, for 99 cents a track in 250 kbps. http://www.amazon.com/Gods-Monsters-Juno-R...4192&sr=8-1

This is the best album I've heard so far all year by a main artist. It it was well worth the wait.

Yes, good topic. Back to topic. I see many people desire to evolve in music, past music and in life in general. It's like were stuck in a time, both musically and figuratively speaking where an evolution is taking place. In Full On, the ideas are getting rehashed until no heart or soul appears to be present. Once in a while something catchy and fun comes along, however most releases now days are empty; appearing void of purpose other than for the artist/label to profit. I've been listening to more downtempo lately and old school Goa like Tandu for instance. For me there's tons of great music out there if he/she doesn't focus on a genre (Psytrance) that appears to be stuck in a loop and has maybe last evolved the most since Cosmosis's Synergy and/or Infected Mushroom's Classical Mushroom. I thought Talpa's The Art of Being Non was one of the last albums to really stand out as refreshing and great in the Psy genre. Anyway, regarding change, moving forward, higher up, beyond all of this common matter and substance and actually, potentially really evolving, I believe many of you will appreciate the book called "A New Earth - Awakening to Your Life's Purpose" by Eckhard Tollie. I believe that this is one of the most aware, spiritually aware books ever produced, right now, at a time when much of the world seems to either be asleep, or waking up. http://www.amazon.co.uk/Earth-Awakening-Yo...3686&sr=8-2 http://www.amazon.com/New-Earth-Awakening-...3630&sr=8-1

Wow, I didn't know Sine Die released a main album, until now. I thought Sine Die's new school Goa track in 2006's Pyramidal Trancendence was great. I suppose if I ever imagined anything coming from this artist, it was and/or still is a Goa album. It sounds more melodic Full On than it does Goa meets Full On Psytrance. In short, I think I'll be skipping this one. The only thing I'd add to the review above is Samples http://www.psyshop.com/shop/CDs/haa/haa1cd011.html http://www.saikosounds.com/english/display...ase.asp?id=7300

How do I download this album with a Mac, meaning without the file having to be.RAR. Because I can't seem to find a program that's compatible with .RAR rips via APple. Any suggestions? I really want to hear this album and recently became aware of it.

I finally wrote/posted a full review on Tandu's Multimoods yesterday in the 1997 section. Favorite Goa album? Well these have made my top ten. And I consider them some of the all time best regardless. Actually, I rarely give solid A's to an album and I have never given an A to any other album in Goa past these first 6. Albums like Doof - Let's Turn On, Cosmosis - Cosmology, and Astral Projection TNT are also superb, and few others. 1. Pleiadians - I.F.O. - A 2. Hallucinogen - Twisted - A 3. Astral Projection - Trust in Trance - A 4. Dimension 5 - Transdimensional (Re-Mastered) - A 5. Hallucinogen - The Lone Deranger - A 6. Transwave - Backfire - A 7. Tandu - Multimoods - A-

I.F.O., Multimoods, Twisted, The Lone Deranger, Dancing Galaxy, Another World, Backfire, and Transdimensional.

Yes. The first album was great. The second, well, it tried to do too many things ranging from techno/trip/psy to rock/pop, downtempo, and various other genre(s) with and without lyrics and singing. I enjoyed the opening track but after that it was all downhill for me with few songs I liked. I hope this is more like the first. Part of me is excited. The other part is skeptical. Thanks for bringing this news. I hope it's a great album.

TANDU - MULTIMOODS PHONOKOL RECORDS 1997 Track listing: 01. 08'56" Alien Pump 02. 10'13" The System 03. 08'59" Naughty Moves 04. 10'10" New Aura 05. 08'00" Orca 06. 09'18" Virtually Distorted 07. 11'55" Rodeo 08. 09'55" Interstealer Dawn Interesting. I never wrote a review on this one before. The Israeli duo, Ofer Dikovsky and Marko Goren came together here with one of the strongest Goa albums ever produced. Other side project from Ofer Dikovsky include Pigs In Space, a solid Goatrance album. Tandu's Multimoods tops it. 01. Alien Pump is one of the best opening songs you're likely ever to hear on a Goatrance album. Powerful, super charged, angry and climactic, Alien Pump is an uncompromising entrance into the world of one of the most rich, dark, and powerful Goa albums of all time. It's a blistering super sonic rocket, beginning from carefully compiled ingredients. Pump raises the bar actually, building up to a burst of melody climax around 2:02. This is just the beginning. The evolution around 6:00 is excellent, and everything in-between is nothing less than great. The song is indeed a pump, one of the best Goa songs. Additionally, from 7:08 to around 7:50 is incredible! Enjoy. A 02. The System is a less climactic, though dynamic, gradually building, and cleverly crafted number with a superb melody lead beginning around 3:10. Rich with sound textures and various soundscapes, the climactic and contagious lead begins is at 4:04 and is complimented by an enormously psychedelic and captivating score. The tip of the rocket declines in climax, temporally dismissing its monster lead around 5:45 all while surrounding sounds build impregnable melodic structures and highly manipulated soundscapes. Suddenly, the monster lead returns with more ferocity and power. It is an incredible return to one of the greatest climaxes, quite possibly ever. Soon after, a creatively chilling ambient atmosphere envelopes the ship from 6:30 to 7:39 coupled with an interesting voice sample that seems related to brainwashing, mind control. I think many people like this song because of its imagination direction, all while repossessing a super lead as the previous track did. This one appears to have more of a story. Completely unpredictable and catchy throughout, The System is the second superb song on the album. A 03. Naughty Moves is begins with a chilling tune, and takes a wicked, fresh approach to Goa. Produced is an incredible, continuously improving development. Suddenly at 3:50 one of the most stunning and catchy climactic melody leads I have ever heard in my life. This is ridiculously infectious, and my favorite part of the album so far. Each track thus far has had a gorgeous diamond within their darkly storming and dynamic, futuristic atmosphere. I love this song for its liquidly enveloping, master/monster wave. It's amazing and presents a pinnacle design and reoccurring moment of stardom in Goa-Trance. If I had to pick one, this is my favorite track on the album. A 04. New Aura is the creative, elaborate mid-tempo number that has gained much attention and praise over the years. Dark, provocative, and other worldly. The number is very strong, mysterious, and satisfying. Provided with a melody gem to rivet across the atmosphere, numerous elements and an inspired, innovative direction seal this work of art as more than a badass little treasure. Listen as it develops, and then try not to pay attention to any specific sound, just open up to its wide display of sounds and the vibration it creates. The darker voice samples enhance. I'm impressed. A- 05. Orca is not as intense as the others; it's unique, serious sounding, and plodding. There are some interesting moments, sure. I don't find it as catchy as the previous numbers though. Still it's refreshingly unique and solid. B+ 06. Virtually Distorted is the highest octane number since Naughty Moves; it's excellent. A ripping, alien synth lead rages across the bass lines like magic. This is an awesome return to the intense, climactic and infectious style of the first three storms. A 07. Rodeo is a unique return to the less climactic approach and style of Tandu. My gripe is the general sound. It's catchy, but grows repetitive until an evolution at 7:40. This is a great shift. However, the overall song is longer than necessary, and less captivating than some of the other tracks. B 08. Interstealer Dawn feels like an inspiration, or a relaxed version to Tandu's previous, more infectious songs. It then reintroduces its elegant lead as the surrounding stage develops with more sound layers. The weakness here is that the idea has been done before. Previous uptempo tracks did it better. In the end, the song comes across as less memorable after hearing so many excellent numbers back-to-near back. The song doesn't arrest my attention like the others with exception to Orca and Rodeo. This is a pretty good song. It's just nothing spectacular. I imagined a stronger ending to an otherwise great album with numerous superb vehicles. B Gripes / Weaknesses - The first half of the album is amazing (4 out of 4 excellent to superb songs); the second half not so much (one is superb IMO, the others more or less good). Orca, Rodeo, and Interstealer Dawn are not on the same level as Alien Pump, Naughty Moves, and Visually Distorted. Nor the mid-tempo infection of New Aura. Oh well. CONCLUSION - Tandu's "Multimoods" is hands down, one of the best Goa albums ever made. Ambitious, dark, magnetic, and ahead of its time, as was Pleiadian's I.F.O., Hallucinogen's Twisted, etc. Multimoods is close up there, with tracks on par with some of the top stuff. The tracks are generally fierce, intense, climax driven, and psychedelic, with a dark, futuristic, and unemotionally vivid and wicked edge. Hard kicks, bass lines and hi hats are commonly placed, but what really stands out is the streaming, intricate and infectious melody work built upon strong foundations and overly blasted by a blazing, imaginative and chaotic, yet delicious style. Multimoods is one of my favorite (Top 10 ) Goatrance albums of all time. Best Tracks: 1, 2, 3, 4, 6. A- BUY HERE: http://www.saikosounds.com/english/display...ease.asp?id=935 * Tandu - Multimoods is on my Goatrance Top 10. 1. Pleiadians - I.F.O. - A 2. Hallucinogen - Twisted - A 3. Hallucinogen - The Lone Deranger - A 4. Filteria - Daze of Our Lives A 5. Transwave - Backfire - A 6. Tandu - Multimoods - A-

Opening strings are very pretty, catchy, coupled with ambient, atmosphere, and a slow, mysterious development in the first minute or two. The next minute or two is alright, a little dry IMO. The middle third sounds more old-school and emotive sounding. I like it. The interlude in the middle is nice too, and the flute/whistle sound compliments. Overall a very traveling, sensitive, and gradually developing piece of Goa-Trance. It's pretty good. However the most beautiful part of the song is the opening, and it would be wonderful if somehow that beauty could be creatively incorporated further into the song as well, thus creating a heightened bliss as high as the opening that set higher expectations off for myself after hearing the general sound in the opening minute. Thank you for sharing this song with us. As it currently stands, peaceful.. euphoric... B

OTT - SKYLON TWISTED RECORDS 2008 Updated June, 18, 2008. Track list 1. From Trunch To Stromness 2. The Queen Of All Everything 3. Rogue Bagel 4. Daisies And Rubies 5. Signals From Bob 6. 382 Seaside 7. Rolfcopter 8. A Shower Of Sparks I can't say which one is better, Blumenkraft or Skylon, but the latter isn't bad per say. It's all really a matter of perspective. The disappointment is that the album is nothing ground breaking or spectacular, although the debut had its fair share of songs I didn't care for. Nonetheless, the debut was cutting edge, so it's realistic to have expected more from the follow up. There is still some beautiful work here that is more or less original, including greater variations of previous ideas developed. 1. From Trunch To Stromness begins with the sustained notes of a gentle accordion. Soon after appear the echoing of various psychedelic sounds, possibly being the artist acknowledging to the listener that the album won't be as ordinary as he/she may expect. The second minute introduces some dreamy, sustained melodies and incoherent, though pleasant hymns/vocals in the background. Ott's general dub sound, to those familiar with the debut begins around 3:55, and a nice melody joins the beat around 4:27. Overall, this is a nice, albeit harmless and tired (uninteresting, not that original, putting me to sleep) way to start off the album. More energy is invested in the melodies during the second half, and the peaceful transition that loses the dub edge completely around the 7-9 minute mark is pretty good, creating a floating and mysterious ambient sound. The generic dub style and sound returns art 9:22. Several melodies add flavor. But this song is too tame, disenchanting, and slow for a starter. Saying a song is "nice" as a whole isn't a good compliment. It means the song is okay and not unattractive per say. That said, this is a starter, an intro of sorts. Lets see where the path takes us now that the door is open. C+ 2. The Queen Of All Everything is the first real track to start up the album that won't be mistaken for a lengthy introduction or opening, and it sets the bar pretty high. It has a very strong, emotional, artistic, unique, and novel sound throughout, much like 2007's gorgeous Psychic Gibbon track by Younger Brother. I find this a sometimes sad, less upbeat, and other times romantic discovery, and hands down, one of the best tracks OTT has ever produced. The transition in the middle third is superb, and takes place from around 4:00 to around 5:35. This song is a classic example of how to start off good and build up into excellence, a piece of music that goes beyond any piece itself due to the seemingly endless beauty it creates. More super songs filled with passion and heart like this one would be excellent. But would this song have been even more romantic and beautiful, potentially sexy with a beautiful female voice as opposed to what appears to be male vocal alterations? Either way, this is one of the best songs of the year. It's beautiful, and this uplifting, elegant sound is what I really feel OTT is most talented and gifted at. A- 3. Rogue Bagel has a strong focus on upbeat, ethnic melodies and voices. The introduction or general build up is good, lasting about a minute before the song takes off. The number is completely different in concept, sounds, and structure from previous tracks, making the song variety great so far on this album. Although the number doesn't evolve much as a musical piece, the beautiful melodies coupled with the catchy, ethnic vocal work carries it strong throughout. I actually love the male and female combination here in the vocal department. The artist captializes on the selling point, the most catchy aspect, and it works. Vocals disappear around 3:00 to and the same catchy tune and style continues. The beat is lost around 4:28 soon after the vocals return, thus producing an elegant in music, from downtempo, danceable ethnic pop art a catchy, trip-hop inspired ethnic ambient fusion. The song is very friendly and positive sounding, and it evolves as it continues. I read somewhere that the song is all the samples have to offer but the general samples do not showcase the evolution of this song. It's very well done, and a great, unexpected, and fresh approach to the general norm of what I'm used to from OTT, the second big surprise (in a positive way) on the album so far! B+ 4. Daisies And Rubies is the first real dub song on the album. Initially, the vocal hymns sound nice. In time I realize that this has been done in the second number, and done much better, to stronger music so far. Even Madonna used this general voice alteration effect in her Die Another Day "007" soundtrack song. And I realize it has been used in psy/downtempo for many years now. Crossing over into the third minute, the vocals are gone as a variety of psy sounds bubble around a dub beat. The psychedelic sound effects compliment the track, and an attractive melody that becomes more noticeable from 4:00 to around 5:00, as it fades into a gentle transition of ambient. It is this center third of the song that raises the quality of the song. But as the general dub sound returns around 6:10, so appears a circus like melody that does absolutely nothing for me. Around 7:28 introduces some eerie, whispering tunes, a nice though small addition. Sustained melodies help whatever generic dub sound Ott has going here. Overall, it's not a bad song, and one with more ideas so far than the general track on the album. But the dub sound has a very been there, done that feel to it. I'm being shown nothing really new. The melodies in the end are really nice. The 10:25 second song just doesn't capture me as a whole. C+ 5. Signals From Bob I don't care for. It's okay I suppose, but a rather slow and plodding, uneventful piece until some children's voices arrive. It's a nice idea. By then however the track has all but crashed and burned. I've lost interest. But I can't deny it having some nice melodies, although nice melodies are expected. You don't get a cup cake for that. C 6. 382 Seaside is a more joyous, floating track with female vocals. The chorus is uplifting, although I have no ida what the woman is saying. The voice is very attractive. This has a bed time sound to it, a charming tune that turns unexpectedly aggressive around 2:20. But the pretty music joins the transition soon after around 2:40 and gives the alteration in sound an attractive mix. The song sounds like a fairy tale with a pinch of intensity or darkness; this is not a dark song. Overall, it's interesting, beautiful, uplifting, and different. I like it, and I'd love the artist to take more approaches with songs like this and the first three tracks on the album as opposed to recycling his yester-year dub sound, unless he has something really innovative and catchy to offer. The song also has a peaceful ocean meets dolphin sound in its last 35 seconds. It's a good/great song, very relaxing. B 7. Rolfcopter starts out great, like something out of a powerful, emotional fantasy film, before going back to the Psy/Dub style I don't care for. This song could have lifted off into a gorgeous Phoenix based on the beginning, before the dub sound kicked in around 0:58. Oh well. The altered voices are alright, although they seem a bit random and distracting from the music. They're unnecessary actually. I love the follow up from the beautiful opening from 4:26 to 5:22. Why couldn't the entire song be built upon this arresting sound? It's excellent, and provides the heart and soul that some songs seemed to really lack on this album. The melody that comes up for air around 6:20 is pretty good, and again, I don't know why the artist didn't capitalize on creating the ethereal beauty throughout, that which is displayed in the opening and middle transition. The whole is not equal to the sum of its parts. Awareness to the artist is to take what's great and to capitalize, evolve, and develop upon it, as this artist has done best so far here in the second number. This is a more or less pretty good track with moments of greatness. B- 8. A Shower Of Sparks is more to my liking, although I felt that 2007's closing track on Younger Brother was stronger. The closing track here is pretty, floating, relaxing, emotive, and catchy. It has enough good ideas to keep my interest throughout. More on this level and beyond would be super. This is a strong song, and a great number to end the album on. If only more songs were showed this new Ott off as tracks 2, 3, 6, and this one generally seem to do best here. While the voice alteration sound playing like melodies have been done several times here by now, they actually work well in this closing elegance and beauty and light. And the shifting in sound around 5:35 is ascending, making this one of the best, most positive songs I've heard all year! With more tracks on this level, Skylon could have been a masterpiece, and the next album has the potential to be just that. A- In Conclusion, Ott's follow up to what appears to be a little cult treasure called Blumenkraft is a mixed bag because it doesn't really raise the bar that the debut set. It follows in the same general style and sound, with few exceptions. But those exceptions are huge, giving us some of the best downtempo/chill tracks we've heard so far all year. However, other tracks pale in comparison; they're lackluster and just not that eventful or interesting. I think I like this album more than the debut because of the newly styled sounding tracks. The other, more familiar "dub" style brings nothing new to the table, thus producing a recycled sound we're all too familiar with. On the other hand, the ethnic Rogue Bagel is strong and catchy, and the slow but powerful and romantic downtempo work of The Queen of All Everything and A Shower Of Sparks deserves attention. Both are excellent songs and reason enough to hear the album. 382 Seaside is good too relative to OTT's newer, more elegant self emerging here on Skylon. The other tracks however, or much of the work scattered throughout the other tracks is weak and forgettable, unfortunately. Half of the album is great, and the other half sounds outdated, uninteresting, and this is my problem with the album. My problem is that OTT is trying to appeal to old fans too much while breaking out, but not completely, into something great and fresh sounding. To fully evolve, this talented artist must let go of trying to recreate Blumenkraft II to some degree, and focus on the evolved light that shines brightest here, mostly in the even numbered tracks of Skylon, including track 3. Those who like dub may enjoy several tracks here, but the dub songs are rather dull and forgettable. There are some wonderful moments here in the sound department. Ott can produce a superb album if he puts his heart and soul into excellence throughout. But I found too much of the album that left me hanging, waiting, hoping that something more catchy would take place in the older sounding dub" tracks to capture my attention. In the end, Skylon is one of those albums that the general person will pick apart and/or characterize through a playlist or careful selection to compensate for enjoying the several great songs here. It would be wonderful if next time, a more determined focus went into more refreshing and catchy works on the level of The Queen of All Everything and A Shower Of Sparks, for top starters. For the record, OTT has so much potential to make a masterpiece, it disappoints me when I get several super parts coupled with some of the most ho-hum, uninteresting songs I've heard all year on an anticipated album. All in all, Ott is an extremely talented artist who gives us several tasty pieces of pie, and next time it would be magnificent if the entire pie (or much more than is here) was delicious. Best Tracks - 2, 3, 6, 7, 8. B

Very cool, for sure. The melody work is fun and catchy. It stays relatively interesting, and I love the playful skipping effect, and how the track evolves. I like Panemonium over Amithaba Budda so far, no question. I just find the Pandemonium stuff a lot more fun and dynamic from what I've heard so far. And I look forward to more album(s) soon. Keep it playful and gripping, and nuts!

AMITHABA BUDDHA - GOA GATE PHOTOTROPIC RECORDS 2008 Track list: 01 - Goa Gate (6:36) 02 - Sarcophagus (11:12) 03 - Three Eyes (7:16) 04 - Secret of an Amulet (8:24) 05 - Sending Love and Light (8:27) 06 - Transphinx (9:50) 07 - Organic Humanoids II (7:08) 08 - Water Goddess (6:16) 09 - Guardian of the Gate (7:59) Thank you those who appreciate my reviews. It means a lot to me. As Diaks noted above (nice review btw), Amithaba Buddha is Filipe Santos, also known as Lost Buddha and recently Pandemonium! I am still not sure where to order the Pandemonium album: (. If someone can PM me privately, that would be really cool because I want to order it. I've really enjoyed this artist's Metamorphosis track on 2005's V/A- Apsara. I've listened as his style became more fluid and experienced over the years, and with one of my favorite tracks by him, Lost In Paradise on the V/A - Pyramidal Trancendence by Metaphysic Records in 2006. And around this time an EP arrived with two tracks; I felt one of them was arguably the strongest track this artist ever produced to date. Now in 2008, the first main album by once Lost Buddha, now Amithaba Buddha (the first title was easier to spell but oh well) arrives with the first debut album. I got this album weeks back and thought it was defective because it wouldn't play in my car. I was about to contact Phototropic Records, but then I decided to upload it to my iTunes and see what happens. Fortunately it worked that way, and so I burnt a fresh copy and use that when driving. The style here is Full On New School Goa-Trance, heavily influenced from the golden old school sound. Aside from that, I had some mixed feelings upon hearing this album. I still do to some extent. The first reviewer here did a great job taking both strengths and weaknesses into account; it felt very honest, and I really enjoyed reading it. I suppose I'll get to what I really like and like less about the album soon, since there's a lot to like here. Furthermore, Goa is still rarely produced and publicly marketed now days, as only two other Goa albums released this year to date. Goa Gate is the fourth Psy album I bought this year, after V/A - Opus, RA's 9th, and Distant System's debut. 01 - Goa Gate starts the album off with a lot of drive and energy. There’s not much of an intro, which would have been nice. The song jumps directly into the beat at around 0:25. The melodies are very danceable and friendly on the ears. They appear inspired from the fast, psychedelic Israeli sound of MFG, Astral Projection, etc with an ethnic, emotive touch and influence. An interlude takes place around 2:35 and reintroduces the returning melodies very well. I can’t say there’s one leading melody that makes me go WOW, but from around 4:00 to 5:10 where the beat escapes the music again, it sounds beautiful. Around 5:24 the music returns. There is a wonderful sustained tune that plays over the liquid streams. It’s great. And the whole song feels like a real, old-school Goa track completely and exclusively released in 2008. It’s a very well done song, good or great, and a more developed intro would have made the entrance to this new album more intriguing, in my opinion. B+ 02 - Sarcophagus follows up the previous number with more emphasis on beat and/or baseline. The melodies are fast and driving. The overall number is more aggressive than the previous number, and just as, if not even more danceable. The female vocals are catchy. This artist does a great job with choosing, altering, and where the voice samples are placed. The track becomes more juicy as it progresses too, and I think it’s more catchy than the opening. A cool feature with this artist is his positive, upbeat sounds, and this is no exception. The melodies appear fluid and desirable, creating a complex and delectable texture of tightly crafted Goa work. As with the previous track, a sustained ambient sound plays along with the faster, more intense and swimming melody work. The voice work adds a nice touch. Although the number shares some ideas and sounds usage from the previous song, it’s very well done, with a strong and driving melody lead that really gets the attention it deserves around 3:30. B+ 03 - Three Eyes has a nice, gentle opening that lasts about twenty seconds. I suppose that I’m so used to the lengthier introductions in Goa now days that a ten or twenty second intro sounds like no intro at all. Much like the previous track, this is a strong, fluid dance number. While I can’t point out one specific melody I particular love, all sounds and melodies sound great in full formation. Another observation is the key changes. It’s about time someone used key changes, and these shifting characteristic driven undertones were one of my favorite things about the last years Mind Sphere - Inner Cyclone album. They’re effective here, and not over used either, thankfully. My gripe is that the song appears to share many similar sounds from the previous two tracks. However, it’s a completely different picture, however painted with what seems to be a fairly limited amount of paint. This artist does a great job with what he’s given to work with, and I wish he had more of a variety of sounds/melodies to play with. B- 04 - Secret of an Amulet continues the somewhat traveling and dance friendly approach begun with the opening number. At around 0:44 introduces a catchy, skipping melody. A good sound combination takes place at 1:24. The overall song appears to be more dynamic than the previous number. It appears to be a bit more energized like the second. One thing I like is change up in sounds, melodies, and a song that develops and evolves. This song does these things to some degree. The skipping Goa melodies returning at 3:00 are catchy. The removal of many layers around the midpoint is good, adding character, reducing potential repetition. These combined with ambient notes and other supporting sounds make this one of the stronger, more emotive sounding dance songs on the album. It’s elegant and even includes key changes in the second half. B 05 - Sending Love and Light continues the key changes. The melodies are relatively high pitched. A lower one plays off the layered particles of sounds, and a strong uptempo wave takes place from around 1:30 to 2:30. It’s strong, very capturing, and maybe even a bit club influenced, but not club trance in the least bit, genre wise. The song shifts into a less climactic world of peace in an interlude of sorts if you'd include the beat. In addition to the melody wave is many complimentary sounds and melodies, as are known from this artist and his vivid, multi-layered, colorful and tasty Goa style. B+ 06 - Transphinx jumps into the beat at 0:13 and you’d expect that by now. The third or so track to utilize voice samples. Here’s a track that builds, and builds. Similar ideas are present like formula from the previous track(s), such as a club friendly melody over all other Goa sounds. Also present is sustained ambient notes, giving the song an emotive edge, an interlude in the middle, and key changes. It all sounds fine, but I feel like I’ve heard this track several times on the album by now, just in different variations. Do to similar sounds used before, and a similar structure and melody/note work to Three Eyes, little here appears fresh from previous tracks, and repetition is beginning to sink in. Actually, it seems like the artist took away some layers and build a different variation of Three Eyes with this song. I went back and forth, from the third track to this one, and the main melody, concept sounds almost identical. This song has basically been done before on this very same album, and done better. C+ 07 - Organic Humanoids II is the first track that really sounds different from the previous four numbers. It is also the first to arrest my attention in the opening. I love the opening, and I wish I could say that with more of the work here. There is something powerful, almost paramount about the opening melodies. They're captivating, and the album could really use more infection inducing Goa work, to make it more powerful, catchy, and memorable, as what takes place from 0:01 to 0:27. Unfortunately the sound is gone by 0:27, but it made a strong impression and is brought back to some degree, with a flurry of melodies and supporting sounds. One leading melody particularly stands out around 1:35. Elegant and highly effective Hallucinogen-esque ambient notes appear around around 2:00 and leave around 2:41. These ambient notes are some of the more capturing sounds on the album. The opening melody returns again in the middle. It feels less individualized and attention grabbing when mixed in with a bunch of other sounds, but it's still great. It would have been cool if the artist isolated this powerful melody from the other sounds again in the middle somewhere, all while keeping the strong beat. The track continues with some fresh, gentle melody additions and ends rather smoothly. This is one of my favorite tracks on the album. It's very good, if not great. B+ 08 - Water Goddess enjoys a cheerful intro for the first 0:25 then jumps into the beat, no surprise by now. The number continues the upbeat approach with sustained notes, what appears to be a skipping, chopped up voice posing as a melody, and more. The dance formula works well, but its become quite formulaic by now. The song does have a unique tune however, as if something that could have taken place on the old, classic F-ZERO games via Nintendo. The track packs pretty good energy throughout the middle, and it would probably be more enjoyable to return to hearing this, not after hearing all of the others back-to-back. Clearly the artist was aiming at a consistently strong dance friendly album, and this number adds one more danceable piece to the whole. I really like the Goa melody that begins around 0:42. It sounds very old school and liquid, animated and fun. Sure we've heard altered sounds like this before, but it sounds great here. What I dislike is the direction; it’s very predictable, as if stuck in a square or seriously attempting to remain as dance/club friendly as possible while keeping the Goa vibe. But the same can be said for many of the tracks on this album. The melody work is strong, peaceful, and all of the sounds coming together form an attractive energy. It just would have been cool if the song shifted into a less predictable dance pattern, since it’s Goa influenced. The club or more formulaic influence prevents this song from taking me into another world. Overall, this is a pretty good old-school flavored new school Goa track. I appreciate the less intense speed and melodies after the previous faster digits. B 09 - Guardian of the Gate is now the most refreshing number I have heard on the album, thanks to a desirable change up in speed, thus altering the tone and the overall feel of the track. I wish in some way that this mid-tempo number was followed by a downtempo number to close off the album with a really chill vibe, and by showcasing more variety in the end. This number sounds to some extent like a slowed down concept of one of the previous, less likely to jump outside of the box and go nuts, dance songs. Fortunately, the ambient notes here are excellent, very emotive and chilling. Also present is a floating development and a strong, Goa band that really compliments the more ethereal sound. The interlude around 5:00 is great too. The returning beat isolated from the melodies and in combination with the female-esque chilling ambient notes is super. It isn’t long before the melodies return; also present appears to be some key changes, very catchy in their own subtile way. A new, several note and sustained melody is born around 6:00. The second third of the song’s new melody work isn’t as capturing as the first in my opinion, but the change or shift was welcome. A very good choice was the returning of the chilled ambient or vocal work in the final third. This sound really highlights all other sounds here. It’s the jewel on the crown, so to speak, and creates a very characteristic and gripping lasting impression. I just wish more songs on this album arrested my attention as much as this one, due in part to it being less uptempo, more chill. This is an extremely well done song, closing or otherwise. B+ In conclusion, Amithaba Buddha’s debut is no doubt a good one, but I'm not blown away by any track here. Nonetheless, the artist capitalized his album on uptempo, dancing Goa tracks in his elegant, animated style. It seems very influenced from the classic old school era of Goa. It also appears that this album, unlike Lost Buddha, the name that this artist initially adopted, is more club friendly or club trance influenced than ever before, relative to his previous works. The Goa meets club friendly trance edge is where the album appears the most focused, and where I like it the least. The tracks aren't as unpredictable as the Goa I'm used to. This may be due to the artist's focus on not moving too far away from the selling point, or the melody lead, like a chorus. Regardless of the intent, and some may appreciate this more mainstream friendly concept, the songs often feel composed in a less free world. Fortunately the artist loaded each song with many attractive sounds, melodies, and rhythms. The album gets a bit tiresome at times due to every track, with exception to the last one, being a Full On Uptempo number in the exact same, general style and sound, and this is one of my biggest gripes with the album. More variety in sounds and song structure would have raised replay value and lasting appeal, and I find listening to the album straight through a bit tedious in the middle. Also, track 6 sounds too similar to track 3, as if both were put in the same room with slightly different wallpaper. Furthermore, there isn’t much focus on introductions or general surprises, twists and turns. The main goal here appears to be dance/club friendly well over having the intent to pull the listener into another world. More surprise and less dependency on sticking to a general formula would have potentially made this album a lot more dynamic, imaginative, unique. Production could be better too, as it doesn't sound as clear and well distributed in the sound department as recent releases. Goa Gate still sounds good, and if the listener can look past the weaker aspects, he/she is in for a fun ride. The opening tracks are refreshing, and the last one is very strong. Due to the slower speed actually, the album quickly soaks up the variety of change in speed/sound in Guardian of the Gate like a kid who finally got his/her piece of pie. That said, many of the tracks are solid. None are bad. But some sound more or less similar regarding sounds used. There is still a lot going on in each track that distinguishes it from the next. The album could have been better with a stronger production and some wider range of sounds. Nonetheless, there is a good amount of beauty to be found here, and the heavily layered and dance friendly Goa style should attract the general listener if the marketing is done well. I would recommend this debut to those who like/love Goa in the more Full On Goa approach. I found RA's 9th to be a stronger release in comparison, much more varied, etc. But Goa Gate is its own hand crafted world. And it should turn out to be a little hit with Goa enthusiasts in 2008. Those looking for a fast, nonstop action, elegant melodies, and uptempo numbers well over depth and mid and down-tempo songs will likely enjoy this album. Goa Gate is a good album with many great elements of creativity via melody combinations, delectable sounds, and a warm, dance friendly atmosphere throughout. Favorite tracks 1, 2, 5, 7, 8, 9. B+ Samples / Ordering (scroll down below) http://www.phototropicrecords.com/

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