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recursion loop

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Posts posted by recursion loop


  1. Phrygian mode + syncopation in melodic lines. Why not? Should it be played with synths instead of guitars with some cutoff/reso tweaking it would sound pretty much like goa.

     

    I think some species of metal have something common with goa/psy in terms of melodics and overall mood. I used to be a metalhead myself before switching to electronic music. E.g. these two tracks evoke somewhat similar feelings in me

    Anyway, you can find some goa flavours in very unusual places (well, this one is more like nitzho but still :D )

     

     

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  2. 29 minutes ago, thanosp81 said:

    Unfortunately for me (sic) I grow tired of the whole non-sex, non-binary, transgender etc etc thing. So as a scientist the solution I'll give to the moderators of the forum (and why not everywhere where the male/female definition is asked/used), stop using the outdated male or female, instead ask whether someone is XY or XX and lets get over with that  nonsense of one thousand different genres once and for all.

    XXX individuals? XYY individuals? Mosaic individuals?

     

    It's not that simple :D

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  3. 13 hours ago, RTP said:

    I think that the "big PAs", which are mentioned up there only briefly, play a bigger role aswell .. the sound becomes shaped to sound good on these, so they influence our sound quite a lot imo.
    Was at a party at a "psy trance historic location" (I'd say for myself) the other day ... lo and behold, I didn't recognize the sound much anymore ... it was much louder and much more polished than I ever heard it there. Not bad, but different. If you'd ask me right there on the spot, I'd tell you that a lot has changed since 2016 for example ... yes, it kinda was a similar sound, but the refinement is much more in detail now...

    Yes, it seems that psytrance has pretty much become "sound engineer's" music. At least the mainstream forms of it indeed sound super polished, processed and engineered, often at the expense of musical qualities (imo, of course, but I mostly listen to psytrance at home, and I have much more troubles with finding tracks I actually like among the recent releases compared to, say, 2005-2015. Maybe I'm getting old tho).

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  4. I think the actual quetsion may be one of these: "does any really innovative psychedelic music exist?" or  "where do I find it" or "when I find it, how do I react to it? do I think it's too weird-ass? too far off from what I'm used to?"

    Most people who are into psytrance expect it to sound like this and that. So the first reaction to something really different will be "what the f*ck is that? It's not psytrance" (and the same reaction is expected from label heads). Also i guess most artists, when they start making psytrance, are inspired by other artists and want to do something similar.  So it's not like 1996 when people were inventing goa/psytrance on the fly and nobody knew what psytrance was  and what it wasn't.

     

    Other thing is that "being different for the sake of being different" is not always good.  I'll take something that sounds familar but is really well executed any day over something that sounds just strange sor the sake of it.

    I think Cybernetica is different enough but still very good. He is well known on this forum. Some kind of psy-infested dark and epic DnB

     

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  5. 32 minutes ago, dhollmusik said:

    I think most people would agree old-school goa has aged like fine wine

    Quite a big part of it actually didn't imo.

    Overall, I can agree that an average psytrance track made in 2019 would probably have less differfences to a track made in 2009 than a 2009 track to a 1999 track  but I think the differences are still pretty apparent.

    Anyways, the longer a genre exists the harder it is to invent something radically new. In early 00s you could add some metallic noises from your brand new Virus B and cut down the melodies a bit and whoah! you you have new sound, nobody did that before. In 2019 it feels like everything has been already done. Also you don't have really much motivation to innovate, you know that people who love psy expect certain sounds and grooves and they will be happy when you throw these sounds and grooves at them

     

    Also psytrance, as a genre, very closely follows the development of music production tech. Trying out new sounds, new synths, new processing is basically what drives the development of psy. Todays synth market, especially software synths, feels  stagnant and oversaturated, basiclaly two main trends - digital replicas of 70-80's analogue synth classics and wavetable stuff with very clean digital sound aimed mostly at mainstream EDM production, mostly different variations of the same thing. The software synth devs seem to be focused mostly on workflow and GUI in oder to give people more covnenient and streamlined ways to make the same old sounds.

     

    I have to admit that I'm too old myself to accept radically new sound though. When looking for new music I mostly enjoy new variations of things I always liked, like progressive, some full-on, some goa. Something really new may actually exist and I've probaly heard it but just didn't like because it sounded way too unfamiliar.

    This is as far as I can deviate from my comfort zone

     

     

     

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  6. I think psytrance has changed a lot over the last decade.  Most obivous if you compare the same artists

    Outsiders 2010

    Outsiders 2019

    Astrix 2008

    Astrix 2016

    U-Recken 2006

    U-Recken 2019

     

    I intentionally give the  examples of the most manstream kinds of psy, they reflect what I think are the trends.

    A lot has happened over the last 10 years or so, transition from hardware synths to 100% software production (very different sound overall, more possibilities for sonic manipulation, lesser significance of the individual character of the synth, in the 00's it was almost compulsory to use Access Virus and Nord Lead but there is no such thing as "the default psytrance synth" now), evolution from very melodic tracks (second half of the 00's) to minimal (first half of the 10's) to quite busy tracks with lots of synths and SFX but little melodic content (now), some subgenres died, some emerged.

    Ofc the core concept stays the same - hypnotic bassline, trippy/sci-fi sounds and such but the details change a lot.

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  7. On 11/25/2019 at 11:42 PM, Imba said:

    You make tension, then you put it down, put some primitive beats for stomping than start building again. Imagine 8 minutes track of constant full power and melodies, you get tired after 20-30 minutes. Mood changes are good and people love them.

    This! I wish more producers would realize this. 

    Sometimes i think that large part of newschool goa is made for people with very short attention span who just skip through few random parts of a track, like "3:15 cool acid,  5:25 yeah, powerful stuff, 6:30 well, some melody, okay must be a cool track... Can't be arsed to listen to the whole thing, time to move on, cat videos won't watch themselves".

     

    Progressive is not supposed to be listened like that, you really need to listen to the whole track from the beginning to the end. If the track tells a story that's the only way to actually hear it.

    Some of my favourite examples. If you just skip to random parts, chances are you won't hear much except for the beat and some random synths or samples but when listented from the beginning to the end these tracks unflold in some inetersting ways

     

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  8. Tatarin is a really very good track but i don't quite get how it may be appealing to people who don't understand Russian and live outside of Russia. It's sort of very local thing.  The story behind it is actually almost autobiographical.

     

    How Noggano's music managed to leak into the first world is beyond me at all.


  9. 1984 seems now being implemented step by step by my country's government.

    Seems that people are confusing drop with climax. They are not the same thing. Drop is the release after the tension/buildup, climax is, well... climax. The main point of the track when everything comes together and blows your socks off (or at least supposed to do so... Sometimes it just blows). Climax may happen at the drop but this can make the track sound very predictable. Better tracks tease you with few drops before the climax actually happens

     

    Do listen to that EClip track i posted. It has one real climax at 6:30 and multiple drops before it.


  10. 56 minutes ago, dhollmusik said:

    The creator of that Psytrance-is-shit video is Loud

    I know :) Actually I even somehow like the Psy-is-shit track, at least like it more than some "serious" tracks in that style (ofc it can't exist without the video). When someone has talent this somehow shows up even in deliberately stupid creations like this one.

    I have mixed feelings on 5 billion stars but that Goblins track is awesome in every aspect.

    The Beroshima track sounds a bit generic to me at the first listen but it has the tension/release structure done right. Nice one.


  11. All in all I understand why progressive/minimal can be not appealing at all to someone. I listen to many different kinds of psy/goa/chill and prog is my favourite variety overall - but still there is too much of that generic stuff that relies on tried and tested patterns invented by someone else and doesn't add anything new or interesting. Ofc, if all you have is the kbbb, swooshes and occasional synth stabs, it may be very boring - but not necessary. Some people manage to pull off terrific composiitons of very few elements

    I think it's way harder to write good minimal track because it requires actual composition talent. When all you need to do is to impress the listeners with all the acid/squelchy/trippy/SFX kind of stuff your synths can do things are way easier :)

     

    Classic track, one of my all time favourites. 3:28 - goosebumps :)

     


  12. 17:00-18:09 very cool. Massive melody in the breakdown followed by the riser effect creating the tension which you expect to be released into the same melody playing over the beat - but you get something entirely different at 18:09. Some element of unpredictability ... well, it would be so if the same trick hadn't been already used in countless other tracks, but still it gives the track good flow. 

    34:00-35:05 hate all that mantra crap but the groove after the breakdown sounds massive. 

    38:30-39:40. They have that arpeggiated melody rising up in the breakdown but yet again you get something entirely different when the beat starts palying. Essentially the same thing as 18:09. Good one.

    I love progressive because it when it's made right it delivers the energy in the right way. It doesn't try to kill your ears with billions of notes and layers all the time, like some other goa/psy varieties do. Instead of that it creates tension and release via the interplay of intense parts and more empty/relaxed sections, and it creates anticipation and surprize by introducing the main theme not when you expect it to happen. This is what makes it really interesting

    One of the very best examples ever

     

    2:48  they start building the tension and then fool with your expectations at 3:42; 4:59-5:09 Wow, this is massive!!! 5:10 fooled again...  5:51-6:05 ha! fooled again... but things start coming together ... 6:20 onwards: OH FUCKYEAH!!!!!

    Also the main theme is introduced very early, at 2:19 but it quickly dissapears and doesn't appear again until 6:30. With all these micro-build-ups throughout the track you expect this to happen much earlier. Frigging excellent composition 

     

    Tl;dr I do like these drops and I perfectly understand why people go mad on the floor.


  13. lesser known but definitely awesome olschool track 

    Comes from this compilation

    https://www.discogs.com/ru/Paul-Oakenfold-A-Voyage-Into-Trance/release/12454

    which also has some other gems, like this one

     

    The Mandra Gora track aslo exists in different version, but i like it less, it's faster and more agressive sounding but misses some of these darker/atmospheric qualities of the original. Tovarisch Stalin disapproves it.

     

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