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Jon Cocco
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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?
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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
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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
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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
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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+
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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?
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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?
C9. 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.
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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.
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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
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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
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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.
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Nobody has said it.........
Tandu-Multimoods
still rocks to this day.
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-
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I.F.O., Multimoods, Twisted, The Lone Deranger, Dancing Galaxy, Another World, Backfire, and Transdimensional.
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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.
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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 - A4. Filteria - Daze of Our Lives A
5. Transwave - Backfire - A6. Tandu - Multimoods - A-
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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
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Ott - Skylon
in 2008
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
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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!
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R.O.M. is superb.
I also love To Sirius, the self-titled track, and now days I love the opening four tracks, back-to-back more than ever. But I didn't feel this way about the album when it first came out. Sounds can be so deceiving to the subjective mind. I was never a fan of Sign Of Life, Paradox, and Epilogue, but I listen to them whenever I hear the album. They're all more or less good, just nothing great in my opinion. Actually the last one I find decent at best.. the final track on the new album is much stronger.
I've been listening to this album a lot lately around 9th. Comparing, contrasting, listening... Both the debut and the long awaited follow up sound so different relative to old and new school Goa. This one sounds and feels more special to my ears and heart, but the new one has the disadvantage of being nostalgic, older, having fond memories attached to it, etc., things that have enhanced this album for me over time.
I love ROM though. It's my favorite Uptempo track by RA to date. The leading melody in this song is just so rediculously infectious to my ears in combination with other supporting sounds, sound fx, the altered/echoed voice samples, etc. Naturally the artist(s) crossed over some of these strong elements on Time Current and Transcendent on "9th," the 2008 release with great results. I love the crossovers on the new album, and I think this album is a classic in Goatrance. -
This album is excellent.
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RA – 9th
2008
Suntrip Records
Track list:
1. Intro ... 1:21
2. Octagon ... 7:48
3. Predator ... 7:58
4. Other Self ... 8:54
5. Ultima Energica ... 7:41
6. Time Current ... 8:13
7. Spirit Complex ... 9:04
8. Transcendent ... 9:13
9. Expand Consciousness ... 7:04
10. Light Receiver ... 8:20
RA's 9th is the official follow up to “To Sirius,” a great 2001 debut in Goa-Trance that's now considered by many to be a classic. While not in my top 5 or 10, it featured some amazing work. RA's passionate, unique, and substantial, visionary style deserves the praise its gotten. In 2007, Goa experienced two magical moments that had not taken place since the golden years of 1996-1999. First, Transwave released a new, albeit “Best Of” album with some of their greatest tracks “never” before released on a main album, or ever, with exception to three songs. Further into 2007, Suntrip Records fully restored, re-mastered, and re-released Dimension 5's super rare and now classic, old school Goa album, Transdimensional. D5's re-release sounded better than ever before, and was finally made available after nearly a decade for all of those who never had the chance to hear back then, before the Goa masterpiece became unavailable to order unless you were willing to shell out a thousand dollars plus, on Ebay or something ridiculous like that. Which brings us to 2008 with a smile.
RA, one of the old, but far from oldest Goa masters has finally released the long awaited follow-up to the classic “To Sirius” album seven years later. I have often wondered what it would be like if numerous Goa masters returned and released a new school Goa album after all these years, but this never seems to happen. Most do not seem to produce music anymore, or they don’t produce Goa. For instance, the once awesome Pleiadians returned with two less members and released a Full On Psy-Trance album in 1997 that merely echoed a shadow of the group’s former self at best. Not even MFG could repeat the compelling and potent Goa vibes from their first three or arguably four classics when they released “Message From God” in 2006. But none of these artists released their works in association with Suntrip Records, the one label that somehow manages to consistently release strong Goa albums in the 21st century. Seven years later, and with 2-3 years in the making, RA returns with something that no Goa artist seems to do anymore, something that seemed too good to be true. RA releases 9th through Suntrip Records. It is a brand new Goa-Trance album with all new and exclusive tracks! But how is it? How does it compare to the debut? Is the heart and soul still there after all these years? And where does it stand relative to other hard to compete against albums that Suntrip Records has released since 2004, including the amazing Corolle debut album by Khetzal? All of these questions and more will be touched upon, as well as a full track-by-track analysis, scores, and more below.
1. Intro is very similar and nostalgic in some ways to the intro on RA’s To Sirius debut album. For example, the memorable deep voice symbolizing RA returns over the ascending tune. It’s only a minute or so long, but musically, the track is very strong. The only thing that could have been “less of” is the voice that makes a philosophical point regarding a souls unconditional choice to come into the next lifetime to attain life experience for its desires, or to be a guide for other soul's development(s), for other people to learn from, like a teacher. The words are well intended, and these words are written in the inside flip. Was saying it in the intro necessary? I suppose it was important regarding the message of this album. The mysterious voice may come across as a bit dorky and unintentionally humorous to some, but the returning character of the mythological God "RA" makes the opening all the more unique and expressive, and in the end the words are spiritually aware information that is simply getting out there to the Universe for people to hear. It's such a short track that I don't mind the voice so much, but it would have been great if the wonderful musical element continued a minute or two longer, without the voice, before making its smooth, connective transition into the next number. B
2. Octagon is the first real song up to bat. The result is a strong, darkly driving nighttime number. It may come across as fairly reminscent to the self-titled Another World track by Astral Projection, but with the strong and distinguishing trademarks, atmosphere, and melodies of RA. The song spends little time building up into a powerful, adrenaline-pumping ride. From 3:36 to 5:02 is a very catchy downtempo interlude that would make the general clubby atmosphere cringe or stand confused by the fact that the general mainstream clubber is unaware of the wonderful non-mainstream characteristics of Goa. Furthermore, this island of peace is a sign that the RA we all remember and love is back, emphasizing individualistic listening pleasure to deepen the ethnic Goa interlude as opposed to pushing a continuous beat throughout. It isn’t long until several melodies arrive. They're catchy, and they lesson the more aggressive tone to a degree, but they compliment the song in the sense it is less repetitive, more evolved with ideas developed through melody structure, soundscapes. The track does however seem to drag a bit towards the end. It lacks zest and fresh ideas in the final third, and travels through already established motions. While nothing spectacular, this number starts off the album with a bang. B+
3. Predator is instantly more optimistic and upbeat sounding than the previous power. RA is known for generating beauty in the mysterious light, combined with elements of darkness. This is a track that guides the listener to the light with no exceptions. This is also the first melodic number filled with harmoy and euphoric, melodic bliss. A beautiful combination of melodies arrive and develop around 1:46 and again at 3:16. These are the most beautiful, uplifting melodies that I have heard all year on an artist’s main album to date. I have noticed some people refer to morning Goa melodies in the sunshine style, as this one is, as fluffy, cheesy. People can believe whatever they want to believe in their mind, and I've agreed that some morning Goa is cheesy in its happy melodies at times in the past. And I think some people will be missing out on how wonderful this song really is unless he/she turns off the ego and opens their heart and soul. And even then we can agree to disagree, but for each person who doesn't like a song like this, my intuition tells me that more hearts will be touched. In 2007, Goasia released a super song on the From Other Spaces album called Sunrise, and based on that song, many people know just how amazing, how positive and deeply felt certain morning Goa songs can be. While Goasia’s track was more powerful in its second half, this one doesn’t spend half its running time staying in the "pretty good at best zone" before revealing its beautiful soul. Likewise, this track is developed, clear in its direction, and wonderful at reintroducing just a part of RA’s gorgeous light before leading us into other more animated and aggressive parts of the subconsciousness. This is a great song, both touching and sad, yet uplifting with warm, sensitive melodies throughout. B+
4. Other Self is very energetic and aggressive compared to the previous number. It’s great how the previous track built up to this energy as opposed to throwing the listener straight into the higher octane numbers without much of a path to prepare, arouse and stimulate the conscious, subconscious mind. An interesting intro is developing during the first minute. The melody work arrives in bands, one after another. A second, catchy melody plays off an initial flavor including the likes of strong supporting sounds. A moody atmosphere is present around 3:30. And from around 4:48 takes place the most incredible and intensely driving and danceable Goa melody combination on the album so far. It’s addictive sounding, and repeats again before the whole track shifts into an island of breathing space, without the beat, to regroup its energy, thus returning with fresh and unpredictable direction and insight. But that driving climax was both impressive and rush-inducing and I wish it returned with more layers and aggressive emphasis. It doesn’t. But the song leads us into a sensual aura of mystery, accompanied by ambient notes, new infectious melody leads, supporting sounds, warm and delectable atmosphere, and more. Such elements make the second wing on the kingdom just as pleasurable, more floating and developed, but not as intense. Overall, the build up and climax on this track is excellent during the first half. The second half doesn’t lose its motion; it evolves into something different, mysterious, and catchy. This is the best dance song on the album so far. It's great! A-
5. Ultima Energica takes the torch from the previous fireball. The intro is not too lengthy and very well done. Just one of the many great things about RA is the artists' ability to create intriguing intros that lead the listener into world created. The track shares an attractive characteristic to Octagon in that it also has a strong undercurrent rhythm. Although I prefer the faster melody work from 1:05 to 3:15. At around 3:16, a very Indian influenced and gentle melody takes place until 4:34. I like the idea. It gives the song more substance. However it doesn't get my heart racing like the previous number. The song sounds masterfully crafted, but a bit tame. That is, until an unexpected, vivid, and almost angry or fierce, albeit seriously cool and welcome sound arrives at around 4:55 followed by an interested, echoed voice sample. The aggressive melody was a smart choice to mix into the song. I was less engaged until the gritty texture occurred, and the brief voice sample compliments. Actually, the more aggressive sounds compliment the softer melodies. It presents an almost ironic battle between light and dark relative to the melody work. In the end, the darkness seems to win, but not entirely, as spiritual development essentially flows from one number into the next body and mind. Overall, this is a good, possibly great dance number, and I found the previous one more infectious. B
6. Time Current is a super, new school, up-tempo Goa number. It may also be an indirect follow up to the super and now classic track ROM from the debut. This track may bring back some wonderful memories of ROM. For starters, it includes skipping voice samples, although so short lived, you may forget they ever existed while being distracted by the engaging music. Also similar to ROM is a very strong build up, and the greatest climax I have heard on the album so far. The fourth track had a strong build up into a driving climactic rhythm, and this one seems to get better and better with multiple listens. This is an excellent Goa song with a degree of club friendliness. Fortunately, the song is powerful and not too clubby, or many Goa fans may have had a problem with it. It’s more Full On Goa/Psy-Trance, with a fairly present, although definite club trance edge at times, but the Goa exceeds and over powers any sense of this number ever thinking of falling into the club trance genre. Push that thought away because it thankfully never happens. In other words, this is probably the most mainstream club/dance friendly song on the album, but it isn’t a mainstream club trance song per say. Famous artist: Man With No Name once combined Goa with club trance with a song called Vavoom! Many people have fond memories of that song, and Time Current can be placed up there with Vavoom! But it has an even less club trance connect, a positive thing for Goa fans. I see this song edging out the other numbers on the album due to its strong, infectiously climactic wave, and its focus to stay on the hook to keep us dancing. This climax advantage is something Other Self did not achieve in its second half, and both should be appreciated for their successful differences. A weakness here is that it is so capitalized on being dance friendly that it lacks developing intellect, being thought provoking in comparison to another wonderful element of RA's soul. However this is a well earned song, just the way it is. It’s smart in execution and direction. It knows where it's going and does a great job getting there. Consider this number, or this part of the self, so to speak, the more fun rocket that lacks spiritual awareness, but it's a fun part of a beautiful spirit. This is one of the best Psy-Trance songs of the year. It's Full On, new school Goa, and one that will really lift people off their feet and make dancing grounds nuts in a positive way. A-
7. Spirit Complex is a strong new and old school sounding Goa fusion. It's a solid return to more emotive story telling too. This story compliments the previous number because while that was more about high octane energy, sensation over depth, this is less charged and intense. It has an elegant, catchy introduction, and a smart, classy build up. The number is more contemplative, thoughtful in sound design than the previous rocket too. It’s not dependent on climax and in that sense it makes the previous number even more appreciated, the album is less tiresome and more unique because of the strong song variety. The first several times I heard this song, I found it decent at best, almost uninteresting and repetitive. But the amazing thing about RA’s music is that the general, mature listener continues noticing details and catchy elements the more energy he/she invests with a RA album. It’s really perspective changing because an environment or mindset can bring out a totally different outlook on how a song is perceived. Over multiple listens I enjoy the melody work more and more. I especially love the elegant part from 2:13 or especially 2:25 to 3:30. The song may come across as a bit dry in the middle, from 3:53 to 4:23, but the music returns after the interlude just as catchy as ever, and brings the song to higher ground by adding some beautiful melodies, fresh sounds and development in the final third. The melody work echoes D5, especially during the opening, the first, and the final third in that the melodies are very attractive, juicy. They are like little golden treasures, mixed into a very thoughtful piece. This is a solid, traveling song that is not quick to impress due to having no climax or strong build up. It’s a carefully constructed blend of both old and new school Goa, a song that will likely grow on the listener in a very good way. The old school edge makes it one of the more special sounding tracks on the album. B+
8. Transcendent is a wake up call to spiritual awareness, but the mid-tempo music tells the story after the well placed opening voice sample. The altered, echoed voice sample around 1:40 is compelling, and one of the coolest little voice samples I have heard in new school Goa album as to how it sounds with the music. It is amazing how effective and gripping one little detail can be. The psychedelic sample repeats only several times, but I soak up every second like a sponge. I actually think this voice concept, or something similar was on the debut. If so, it’s very cool that this artists crossed over and modernized such classic elements from the debut to this follow up. Also wonderful is the interlude just over the halfway point of the song. It’s magical, mystical, and one of the best interludes ever produced by RA. This artist made a smart choice by not overdoing any voice samples on this album as I felt took place on track eight in the first album. This is a far more mature and infectious song. Also established here is that Time Current was the last of the high-octane number's to focus on climax. This is a good thing because RA is very powerful when it comes to less climactic, less up-tempo numbers as well. There is a repeating two-note sound that takes place throughout much of the song in the background. It is very noticeable, described as a deep, lower pitched melody, and this is the icing on the cake, especially in the second half. It brings the consciousness deep into Egypt, the pyramids, the soul, and the overall essence of RA. Do not be fooled by RA’s traveling, generally less climactic, mid and downtempo numbers. I remember a track on the debut self-titled track called To Sirius that is one of the most gripping and unique sounding mid-tempo tracks out there. RA's mid-tempo style has the potential to be very trance inducing, and having a number such as this creates a wonderful flavor and a rare approach to Goa in the 21st century. Songs are often so fast and up-tempo now days as if to grab the attention of the nearest person with A.D.D. But this vehicle is filled with interesting details, secrets within layers of liquid pyramid walls and feeling. I recommend trying not to focus on one particular sound too much, and letting the music flow over the body and mind. That’s how people meditate successfully; they calm and detach their minds from all thoughts, desires, and this number may be great to meditate on. I'm not sure yet, but it's very powerful for being a traveling light. Transcendent is one of my favorite songs on the album, and of the year. It's superb. A
9. Expand Consciousness is an ethnic, mid-tempo number that moves closer to enlightenment. Both this and the previous track reflect the unconditional, deep, and more spiritual essence of RA. These final several songs are actually some of the more elegant numbers on the album. The song is traveling, motivating, and contemplative. I love the mid-tempo speed; it’s wonderful after the album provided us with uptempo work. I appreciate these more traveling, intellectual numbers. This feels like a follow up to the self-titled To Sirius track from the debut to some degree, with emphasis on ethnic, heart, and soul. It's engaging. Great song. B+
10. Light Receiver is one of the most beautiful, magical, and emotive downtempo closing tracks I have ever heard. Imagine RA’s interpretation of Heaven and Earth combined, an attraction from what once made New Age act Enigma so wonderful, but RA's song is not New Age per say; the occasionally appearing male choir idea seems inspired from few of the more beautiful ethereal songs I have heard in various genres. I’ll leave the rest of this number alone, except to mention that there’s a part from 2:20 to 3:00 that is one of the most novel and refreshing moments I have ever heard. I love the melody work on this song. And this number blows away the closing track from the debut. Its only weakness is that it gets noticeably less capturing somewhere towards the end, as if the artists ran out of innovative ideas, thus resorting to less fresh character development. However this is a small quibble in relation to the success of the whole. Receiver is a beautiful number that is sure to win many plays throughout life to those who also recognize how soulful and catchy it really is. I don't need to mention production because all tracks are well produced and mastered on this album. And stay tuned for a little something in the end that doesn’t correlate with the tracks running time on the back cover. A
CONCLUSION
RA’s 9th is far better than the 4:00 samples had me believe. This is a beautiful album, and many people who love Goa music are going to like if not love it! RA’s tracks are generally more traveling than they are quick to put a big, bright wave in your face, and that is one of the reasons why I think many people will appreciate 9th more over time. This is a more contemplative, mature, intellectual and spiritual style of Goa. RA thankfully included some strong Full On up-tempo GOA numbers as well. I love that the artists never sold out. They stayed true to the awesome mid/down-tempo gems too. Furthermore, 9th feels very connected to To Sirius, the exceptionally well-done, slightly more organic sounding, but still electronic, Goa debut in that 9th follows up some very wonderful elements that made the debut so special. 9th is mystical and magical, especially in the last three tracks. Moreover, there are some classic elements here that have been carried over from the debut. From the unique, low pitched voice of RA and the beautiful melody stream in the opening, to various sounds on the super animated, climactic, and attractive Time Current, to the mysterious and atmospheric, mid-tempo Expand Consciousness. Even the moody, emotive male choir from Astral Flight in the debut has crossed over to some degree on the gorgeously floating Light Receiver, and I'll leave other small details for you all to find or notice when you least expect.
Is 2008's 9th better than 2001's To Sirius? I don’t know. On the debut, I found ROM an extremely infectious up-tempo number. Here there are two excellent, super climactic ones in RA's accomplished building-up-to-something-special-or-great style. On the debut, I fell in love with tracks 2, 3, 4, 7, and 9, but it took years. ROM is one of my top favorite RA tracks of all time, and the self titled, mid-tempo To Sirius track on the debut is nearly matched and/or topped on this album's final last three tracks. The last song is on another level of greatness when compared to the less memorable closing on the debut. Furthermore, the artists were very tactful with where and when to incorporate voice samples on this album. I felt that the voice samples were overdone on Paradox, the eighth track from the debut. Such overuse put a dent in an otherwise solid gem, for me at least. I don't like being too distracted by repeating voices in trance inducing music. Fortunately, RA's 9th can be very trance inducing, and it does not overuse voice samples ever. People will see these aware choices acknowledged in the follow up, and I feel strong that overtime, many listener's will really appreciate this album that RA/Suntrip Records have released. It may be just under Khetzel’s magical Corolle album in terms of where it stands on the greatest Eastern-Indian influenced new school Goa album's list. Some may like 9th more. Either way, it will be interesting to see how RA’s 9th continues to be perceived, both now and over the coming years, and yes, even ten years from now. But for now, any old and new school Goa lover would be passing up a potentially wonderful opportunity by not listening to this strong and rare comeback by RA, the magician(s) behind Dimension 5. RA's 9th is the best Goa/Psy-Trance album by a main artist in 2008 to date. And I think some people are expecting to be blown away the first several minutes or they're quick to compare nostalgic feelings from the debut with something that cannot be nostalgic when it just released! If you’re looking for all flash and no heart and soul, this is not the album for you. It doesn’t shoot cannons off as soon as you press play. And if that was the case, RA would have less heart and soul because "quick to impress" is not the essence of RA. Yet the album manages to have some excellent Goa/Psy dance numbers that are likely to impress right away, just as ROM did on 2001's To Sirius.
Last but not least, I see how some people may feel that the overall album has a bit of a different feel from the older school sound of the much loved debut, but expecting this to sound exactly as the debut did seven years previous to this release is setting up unrealistic expectations. The follow up somehow manages to incorporate the older, classic sound into new school Goa. The result is a stronger production with all new RA tracks in the old and new school Goa spirit. The artists did a wonderful job with this album while developing their passion, soul, the spirit of how they perceive RA, or how RA is channeled through them, even if some tracks are not as mystical sounding as others. Not every track on the debut was a peach either! I know because I heard it several times around hearing 9th and writing this review. And to be blunt, not every track on this album is superb, but nine out of ten tracks; not including the introduction, is no less than good. For instance, Transcendent is more powerful than most people will know based on the first several listens. It's provocative, very reflective, introverted, artistic, and complex, with fire and passion. Same with both numbers that follow. And the ending three tracks top the famous debut's final three numbers in terms of greatness. Actually, the last three tracks on 9th are like an extension of beauty and excellence right into the heart of the sun. Getting there is a lot of fun, positive, spiritual, and well worth the price of admission for a nearly 80 minute ride that you'll likely want to hear soon after the little bonus secret I just revealed.. fades away...
Favorite tracks – 3, 4, 6, 8, 9, 10
A-
Samples / Ordering:
http://www.saikosounds.com/english/display...ase.asp?id=7266
http://www.suntriprecords.com/blog/news.php
http://www.psyshop.com/shop/CDs/sut/sut1cd007.html -
This is an awesome compilation, period.
I have probably heard it 20+ times since I got it, straight through, both CD's. And it is still excellent. But I don't want to overdue it, or I'll get sick of it because of my own inability to take space from something and let it breath when I truly appreciate it. So I've removed it from my car CD player.
Now to get back to listening to the long awaited RA album titled 9th. It's one of those albums where the samples don't give it proper justice IMO because the songs are always evolving in the spirit of Goa.
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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.