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About Cielspacing

  • Birthday June 15

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  1. Whenever I come back, I know I find You, a community of diverse, intense, quiet (sometimes, some of us), and many adjetives to post here. Just wanted to share a feeling of Oneness. Huuuuuugs
  2. Ok, thanks for the reviews + a rather personal request for BPC appreciators. Some Context: Back on early days, I liked the "Tribute" track, only it could barely fit my sets because it was too fast. My take was that its melodic nature pointed it more for middle or heart-area dance times... at 95, it was rare to find pitch sliders outdoors to solve the missmatch. Anyway, that track was more than enought to keep us attentive for their releases. And then, what came next took us unguarded.... Prana's Black Rain(Blue Planet Corporation remix). This was high, high above most else. Dark and fully psychedelic, with a complexity only matched then by Pete Martin + Kriss Kilven UX's sound and a few other acts. Then we heard the totally-coherent-news that BPC was preparing a full album release on Flying Rhino, we HAD expectations for this one... But of course 1998 and 1999 came full of radical changes in everything; style, labels, personal issues, grupal, global, what not? and thus BPC album release, albeit being a fine one, lost all that "Black Rain" depth (and no, Prana's original wasn't deep, BPC's remix treatmet put it there). FFWD 2009 and I've lost track of BPC releases since(and also lost the french CD with the mentioned remix) and judging for the reviews above no track in this compilation goes to par with that rather elusive release... Hence the question; have I missed something? Is there somewhere a BPC track resembling their Black rain remix sound???. This might be rather off-topic, but surely adds context to some stories behind this release. Thanks again
  3. Precisely that might point to some new conciliation. I saw his Dj/live set aboout 3 years ago and yes it blow any preconception I had regarding his music. I mean he was mixing many layers of sound together, detuning some, de/pacing others,adding voices, substacting beds and in all; juggling the whole thing into a highly complex but b-r-e-a-t-h-i-n-g freqs emission that was just what my dance was longing for a quite some time... However, while at the dancefloor I did managed to open my eyes for a few glances... and not many dancers were tuning like I was. Also after party reviews heard were quite the usual talk; it seems very few people ever noticed or listened to the mooving complexity Hawtin was delivering (or to what was my angle of things)... So what is the nexus with Gnome's phrase? After the Universe is completed, a collapse and new Big Bang, a new fresh beginning is needed. No wonder he started all over again -> went back to basic rhythmic lines -> spent time(and releases) re-sensing the atmospheres and minute differences in sounds (and lack of) -> tried new gear, including A&H's 3D, ditched it, then run 2 twined laptops, put 4 Traktor virtual players together with Ableton's Live and pbbly add the new AKAI midi controller or what else? ...To start growing-evolving again, at some point others could distinguish... he's pbbly been enjoying the whole ride. Obviously followers catched up or slipped out according to their own processes. The nice thing is that -judging from the gear he's recently putting together and the state of Milimalism's popularity->obvious pioneer's tiredness... It all permits to foresee the proximity of a RHawtin's new level of complexity. Inquisitive minds don't tend to stay too attached to the Bang, to the prebang nothingness, or to any situation for too long, and I do wellcome that ,)
  4. Funny that a homemade mashed version of Rock bitch (from the LP + the CDsingle) still comes out sometimes at my DJ sets, usually placed along or near the track Green Nunions. It's amazing that its 2009 already, more than 10 years after that music was released and still it is difficult to find a balanced mix of psy, rock and funky bassline, such that track. If GNNs return I would DEFINITELY look for that bassline (it's said it came from the Brand New Heavies' bassist). ///Possibly because we trance in Southamerica, but me (and a whole lot around) do wellcome notes and interesting composition at the bassline freqs... IMHO PSY acts have been focusing too much on getting the right bass/beat sound instead of trying to compose interesting, grooving, mooving basslines. Getting grandiosity rather than feeling (or both)... C'mon most full on put less than 2 notes in the whole Beat/bassline¡¡¡ Have in mind that between 60 Hz and 125 Hz (where the fundamental of most tracks' beat is placed) there is a complete Octave (12 notes) to use... Green Nuns "Green Nunions" sounds like a very good example on how to solve this... together with a wicked trip ,) . Yes please +1 for the new CD
  5. Well, I did waited to post here about this one, not as much as I'm still waiting for someone (some DJ, please) to appreciate, err to LISTEN to this music... but now its 3:13 AM, I'm at almost 3000 meters altitude, Southern hemisphere and I'm fearing other 10 years will need to past for it to happen... Hence my typing here: reaaally wish someone nods soon. Can't help to remember that Armin Van Buren is coming to do the "White Sensation party" tomorrow at the capital of these far lands. Saw one of those travelling parties on vid and imho whatever effort all the people involved placed on making it a slick production... musically it cannot even touch the space some of the atmospheres present on this Album do. Wrong metaphor? Possibly, but falling on the short side. Take for example the mix of space and jazz in such a subtle way as "Finissimo" does. I heard one reputed Electroacustic music teacher to signal out one of the reasons why this music has not been fully appreciated as it -eventually- could: "If you monitor your mixes with headphones you may pinpoint plenty of details, whereas if you want to appreciate the atmospheres, you need to use stand speakers, something you miss even with the best hphones". And tracks like "Something is Always Outhere" are built with plenty of detail AND incredible atmospheres which seem to hide the musical content. If you listen it with Ipods, Mp3s,etc. you'll lose half of the story, if otherwise you play it at stadium sized line arrays/Discos/Parties you'll either miss the detail(cause the bad fidelity) or lose the Loudness war, because the music in this CD is recorded in such way that retains its dynamics and spatial cues and thus cannot compit on the Omptha war in which full on has grown up... The Solution to this aspect would be to play this music in audiophile grade High Fidelity BIG sound systems which so far are a rarity to find... or in the sound systems of the future where average loudness will pbbly not be dictated by the masterization process, but by some clever algorytm coupled with capable powerful hifi amps and speakers. Somewhen the sound systems will allow the nowadays obviously hidden chords of "Something is always outhere" ending(carefully listen to its last minute) to shine as it... somewhen had . ...uhmm... Before we reach that technological stage, a good advise could be to gather music like this, play/mix it far from full-on DJ sets and enjoy the journey... That is why to have Best of Gus 1 & Best of Gus 2 releaseed seems as a great idea. Finally Djs will have a somewhat easier way to place some of this gems in a DJ set without fearing to be sound-lost or not understood. This sound is so unique, that is almost unmixable with much else from other musicians/producers... Ok, Ok there are a few compatible tracks out there, but sure you agree with me the search is hard, really hard. The good news is that there's really plenty more excellent GUS tracks outhere... the bad new is that still is very hard to locate them. From fast memory: "Speechless" is an absolute must, Gus FR "Slick Witch remix" is a masterpiece, as "Cheesecake", "Section 8", "People like us","Swipe At The Big Blue", "Hit & Run correct version" and a long list that will easily make a couple of extra CDs to complete the picture. And I have not yet even mentioned or touched here Gus' remaining unique *other* sounds iex: harder, deeper psychedelic journey from "Sweetness", or his colaborations with Pete Martin of which just "Everyday" blowed my mind to new heights back then. Who knows what else could/has come from there?... The Top of most everything? apart from "Something", the timbral, melodic progression of Loop Digit's idem is like nothing I've witnessed before. It sets out fire from sound colors in a much more overt way than H&Run which took me instead years of carefull listening to be able to see Merlin at its back blazing his fire igniting fingers... Straaaange music indeed. Then... why to do the effort of collecting and releasing together these other sparsely GUS released tracks, when people seem not to be able to appreciate even the now accesible ones??? Take Mephisto 'geny for example... dont stop at the infectious funky drumming, dont listen to the clever bass mixed with the unobstrusive and still pumping beat, but focus on the totally rich and vibrant sound of brass of the keybord work. This track could have sprayed a pletora of remixes with variations of timbres varying from trumpets, trombones, tubas and all in the psychedelic expansion of their timbre as the track already shows and acomplishes... It is just a dream... I just feel the same as Yerg up here Sure somebody noticed this one already... but then how to mix this one? Not with Goa, not with full-on, not even with most progressive out there, but then it still is totally psy... ...OK, if we Djs care, then we do the gathering of the rest of those masterpieces... That is the underlaying thread, right? At any case, thank you for the music already and my words here are party to see if I(or ideally plenty of people) get caught with the dancin' shoes on at some party with these vibbs I totally and we just :posford: :drama: :clapping: //////I am begining to notice this is getting far from a review, and Ok I may have a far out focus regularly haha But seriously, the scope of this music is such I sense needs introduction. Best 1 & Best 2 is an excellent one, but Djs on vinyl or just getting this two CDs are still at a loss at trying to consistenly DJ with them and imho will appreciate some extra help. C'mon this is a new style in itself!!! As a DJ in a dreamworld I would ask for a companion release of *instrumental* versions of most of these tracks, notaby the addictive Bugged beat, but in this case: No Gus, nop... I might be too bland here but as a DJ I wont play a tune with the sample "suck your brains out" to the dancers in my audience. Or repeat again the "hold me, Beautiful" message regardless the incredible rhythms it is sorrounded by... Nothing wrong with the last sample, the truth is most dancers -even good ones- wont remember the track if the lyrics and some of the principal melodic lines, are removed and this alone will allow DJs to mix it in new inventive ways. Some Djs could be proficient enough to use the digital editors so we could do some adaption to the tunes to ease that intermixing, but considering what its been said above, why not help us from the multitrack and really help this music lift off??? This DUB versions concept and the release of close-but-different versions to the same tracks is to some extent a lost art (from Reggae, Disco and 90s House) that -particularly, when the rhythm section is good enough- helps LOTs to us Djs to vary our sets from one event to the other... Imagine remixing live (with or without Ableton) our favorite tunes: skip that intro, load again that mid section, etc all in response to the feel. Niiice :drama: Ok, Again thank you, thank you, thanks for this release. It'll open some ears, hearts and eyes for sure. MASTERpieces in it/10 PD: Imho do not mistake any of what is said in this post with Bus "Link you there" album. Sound-wise that CD is another unconnected chapter and it is pbbly better dealt with, at its specific review thread.
  6. Whatever you call this music, it is fully psychedelic. I'm so happy to witness their completion of the full round arc. At the early nineties few of us were prepared to read and dance to Abduction and Implant, just from the sleeve. To me, only after a simply amazing ride with Pierce at the knobs, mutants and travellers around, rolling sea a few meters away, and the planets strangely syncing, -only then- the music unleashed what it holds inside. .:Too spacey atmospheres, too crazy sounds or too varied polyrhythms and brakes were hard to digest back then. Now might be the time for such a genre-defying ride... Curiously after Implant the Statics forgot all about multitrack sound architecturing in favor of linking the keyboard riden live experience with their records, and so they released several "rawer" albums in which they explored whatever had to be explored with the machines (rhythms, grooves, synthesis, effects, plug-ins,etc) in order to be able to create live the same to what they put on their albums. For some of us, this was a terrible decision from them, since the talent and the magic still could -here and there- be guessed at their 96-2006 releases... but the full atmospherised "inside-the-spaceship" experience was mostly lost, and many times replaced by the typical "Oh, they are using that keyboard", "interesting grooves", etc.. or other earthly comments. 2007, ten years later. They show us they have been able to synthesize and connect live (obviously also at the back of soft and hardware developers who have also come a long way) whatever they required to form the ship and lift it into space again ¡¡¡ And carry us in it. Full circle, but to a new level. ///Thanks Statics. Some might say it took quite long, but I guess timing is something that gets its best perspective by the pass of it. And I am amazed to discover what it will create now ¡¡. Did already something to Buzz up here, and possibly to frost somewhen. Over the scale of 10, we'll need a new coding for this one.
  7. Excellent ¡¡¡¡¡ From first days, it was amazing how the Bass line could swirl and then the midds(keyboards and the rest) followed, which makes perfect to allow the dance to grow from the base of the body into upper more complex movement of chest, shoulders, arms, ...and even fingers at the case of Soundbeams. That track is particularly interesting; it has key changes and it evolves from a strong, basic sound into higher freqs getting finner and more beautifully complex... "Soundbeams produces sympathetic vibrations". A sure interesting ship to revisit with nowadays habilities... The bass-driven melody was also present at Joty's previous colaboration release in Order Odonata Vol1, called Arcturus "1000 Planets", very early stuff... still hardly reached(in that aspect) elsewhere. And there is always nice memories with the harder "Psychaos" track harder, meaner and addictive. ...I wonder how was the Psychaos remix Mark Allen mentions at his top10 at the booklet from "Deep trance Ritual beats"? Never heard about it afterwards. Anyway, best energy to Joty and Psychaos, past present and future, I am sure his music has inspired several of us; to dance deeply, to play music deeply, to have a deeper connection with these ways. Thanks
  8. :::I´ve always felt that "Atoms" was just a ticket to a deep deep innersphere in its concept and particularly in its exquisite and strangely evocative melody...however the simplistic Hihat(in all its available versions) spoiled that possibility by clouding the High frequencies(in the audio spectrum sense) and hence disturbing the otherwise suggested delicate perception. I've also always had the vague intuition that I've already heard this track in a clearer and deeper version somewhere, somewhen... it might be possible. I've just dont know if it was in dreams, in some remote dimension, at some hidden past... or as a close friend says: "It migh be a memory of the future". In today's words, in here I would say: I just hope such a track is released sometime ¡¡¡.
  9. I think the hidden psychological meaning being: FPsychiatrist lost Youth. Unfortunatelly ...err, Whatever that means. PD, Though I would agree with above that for some reason; whenever I've did attempt to, I've could never DJ with Youth's Trance tracks... his other style tracks being other thing altogether.
  10. Hey very good news to find that this music is so well received ¡¡¡ ...Maybe it gets to be a new Psy style, a new dimension, a new tide. ///////////////// Just Yesterday I was lucky to take part at a Solstice Celebration where apart having amazing times, I Djed a playful and trippy music on a morning/afternoon set right at a few meters from a calm sea at a totally natural place(its summer peak in here). Since it was mostly a Yoga/Reiki/arts/etc + Trance (note the + sign) gathering and the people were venturing around the rocks, close-by forest, clifs, swiming, etc. I went for a mixed set of ambient, somewhen beating Trance, and inspired bits ranging from Flamenco to samples, to anything really that flowed then... The main point being that I was able to witness -again- BUS's track "Something is always there" in all its glory. The interleaving chords near its end mingled with the sun rays and the full exploding colors all around... WOW. Not to mention the incredible subtle and ethnic hihats, the Deeep kick drum, that gives a strong base to the sound but doesnt get obstrusive at the middle freqs(800Hz or over, where it is not present) plus allowing for more musical composition to be placed there... I guess many lines could be written just about that track...and it was just the first one. What else? except to thank Gus and whoever helped that to come to us. /////////// And Trolsk, good to know you go deep and sharp in this subject. Good also to know we agree and share the liking of this music. I guess I should apologize to give word here to such unsubstained story. My intention was to point out a certain quality of sound and to try to trace its sources. I know many musical colaborations are done without the request of $ or credits and hence they usually go unnoticed for us listeners. Also people at labels strive for a level of sound and so colaborate to bring out the best of those other acts released there. Add to that the importance of mastering and there is a whole area where sound could be the result of the input of several people. It is my belief, that Gus has contributed quite a lot more than the important musicians he declared to have worked with at the interview cited above or what the CD/LP credits him for. ...It is probably a matter of humility or limited space for him to talk of just those few and of way-of-doing-things at the case of the music's written credits. ////////// Anyway my order is on the (long)way and I am very happy for all this. 'appy Festivities from another point of this same planet, sharing same vissions, same heart...same music ¡¡¡( I feel grateful today)
  11. Well That is good news¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ Bus/Gus Music has been the highest % of my DJ set... since 1999. Psy Music is supposed to fade fast...bust this subtle crystals just keep unwraping their magic, over and over. And Trollst nope. Gus' tracks were present since quite earlier at Psy Trance than you mention. First Third Eye CD (very few were pressed) was Olli Olsen+ Gus Till. Also do you remmember how Slinky Wizard's "Supernatural" track sounded so new, so superb? Gus hands were behind that new spaced(as opposed to contrived/crowded) sound. And the still unparalleled Track "Something is always out there" was Bus first track to be released as such -if I remmember well- but also his hands were all over the track "People Like us" from 97's White Rhino Compilation and all the "Fists" Sacred and all from Black Rhino were mostly his. To me that "People Like us" is the first PsyTrance track that opened the Progressive(as it is named now) current in Psy, ....plus entirely retaining the Psychedelic flow, as very seldom progressive(either Trance, House,Techno) tracks manage to do. For instance anyone noticed the "Section 8" Track on the Dragonfly's Complitation? Gus/Bus Tracks have a distinctive sound, and they are scattered at several labels, but numerous enough to release a couple of albums already. I am very eager to listen to what is finally releasing... around 2001 the tentative name "My body is my nightclub" was talked about but nothing was released... On a fast google search I found a good Gus's projects review at: http://www.planet-ben.net/planet_ben_records_side.htm But the trippy and starry story there may deterr some from realising the vast amount of high High inspired and acomplished PsyTrance tracks he was able to release nevertheless. If you are lucky to find a copy of Loop & Digit's track you will decide if I am talking just as a fan or if this reply actually has a good reason to be here... Or the deep deep trance "Sweetness" gets into. Plus I have a good source that says that many colaborations he did, were not credited to his name, a noticebly one being Atmos' Klein Aber Doctor... But this is just rumours... I particularly favor Gus & James Munro's colaborations and Gus & Pete Martin's ... My question now is: Why I still feel so isolated with these opinions??? Is it 2005 too soon, yet?. Everytime I get a revealing enough sound system, it proves that "too late" is not an adequate way of considering this music. I dont want to sound arrogant but I just hope the copycats, the inspiration hungry musicians or any Trancers really... step down from their shallow MP3s or their noisy "PRO" pioneer gear and get to discover these forgotten spaceships in their backyards... before Madonna does...
  12. i didnt like heard it ...yet, but 134 BPM!!! that is fabulous, like some of the tracks of The Great Unknown. And if the bass is as moover as in that one, then hall would be giving us such a treat!!! I am so happy by just the idea of it, that i wont listen to the sample... yet Out of topic, but I am getting latelyn the notion that waht amtters is not the BPM , is more the hits per minute, meaning if you have counterhythms(polyrhythms) inside then those counts as extra hits; like complex drum patterns (funky drummer here)sometimes make for extra dance activity... Hence slower BPM (that gice space for groovy, interesting rhythms to fit in)and more bongos, drum, claves(wooden solid percussions, whow you say that in english?) etc make for extra dance cues. Trance?, is defined by the state you search for, not by the 4/4 rhythm or the motorized-like-bass of lately, as some would like to define. Got carried away...too long without posting.... hi to all, love you. hallucinogen! Simon insopired and flourishing again...love springs...and spirals... and you. I am emotional today, all truly felt anyway Nice to share here
  13. Yes, a trilogy would surely mean n°3 is related in some way to the others. A new radical dimension? not when you are still completing a Universe...and I asume many, many millions havent yet heard NOTHING of this. I hope many many would have a loong looong 3 parts orgasm when they'll finally do, as certainly Raja and Si also do. And frestyle? Yess. Latin rhythms, polyrhythms, D&B, breaks, funky/voodoo drummers, complex rhythms, minimalist, newly textured, woody perc sounds, delicate little trebles, TUNNED DRUMS, pleassse, tunned drums playing with the bass or the high hat, beatless tracks!... OOops I got carried away this is not a wich list, its a guess for something already done... but can I affect the time backwards? Anyway. All that just excellent!! What do you want? slow, predictable 4/4, boring-noisy-forgeteable or solemn(urging us to FWDD) throughout the LP???, not me please. Each time I see it, I think its great! Just like the name: "Nothing Lasts", very long time since I haven't come across to a name as great as this. How nobody thought of it before? ...Apart from that I do sense Simon, is going to new territory or coming to a new synthesis of what he already discovered a decade ago(and most of the rest cannot yet catch up) ...just now.
  14. Sure it is good to know there're some ccompletists out there and what music are you completing about. And Ukiro, I see you are quite thorough in your music. The thing is that time ago, I've made friends of a recordstore owner here that used to have his bussiness+mail order at London over the 70s and eighties. He used to tell us stories about record collectors who searched countries(and decades) for rare LPs and get really to know their stuff. Of them, the three or four at the top used to have invested quite a lot in their collections and where sort of widely known in the field over several countries. Obviously getting some special items raised them in status. He also told us those incredible stories about how they've found a particular item, which -of course-is part of the fun(or pain) of collecting. We can all identify several types of collectors/sellers and their ways. Easy to spot them at fairs or if you check at GEMM.com where thousands of small shops distribute their music and most certainly comprise many collectors. Talk about memorabilia people! I guess those have similar completist behaviour but taken to extremes, it may take your life!... Personally I have done it several times with some of the music/goups of my liking(see the signature), and at some cases I am very happy with the results, specially when they allow me to be able to mix(or to gather a compilation)in a much more fluid way, by placing alike sounds together or by letting me rework unpredictable structures and such... For me there are never enough remixes of a good track! A turning point was when I meet a musician who was part of an important label and then he showed me all that music that wasn't released, -not because it was not good- but because "the label cannot release all". That much music could never fit over the limited commercialization timetable, based in what us consumers are able to handle... Since then, the coding attached to each release(whatever hard to find or not) looked much less important to me... And now I tend to look for the stuff I am going to be able to utilise...not always .
  15. Excellent that is what psy is about; CHANGE. This thread is similar to the case if some people built an expensive machine that bakes good music the same way over and over, so they soon get tired of ideas and refries and then start to point it to unused horizons like pop or Einstein or whatever, so then someone comes out and starts to point out that it is not psychedelic. ...but the point is that it wasn't psychedelic the moment creativity was gone. Psyche=soul/mind + Delic=movement Something that mooves your psyche... Repetitive things wont guide your mind to change...unless its very repetition(like in mantras) helps you to rise to new levels. Elevated not by sequential distraction but by letting go your attachment to the repited perception. Precisely, the Psy idea is to drive high and low, travel all places, minimalism and maximalism, getting us to unrepeteable dances... Then, does it HAS to go thru low places. i would say that Low has been gone thru very much already(or we ARE going thru very much every day), just look a the terrible mankind History to corroborate that, so if it is appealing it might be an unfinished "phase", as part of the cleansing. And I am thinking in music that takes you thru stages of low emotions like anger, fear and such, just briefly, so after that dancers may soar high anew afterwards. Similar to entice or suggest trancers with whatever info during the trance as part of the journey to build upon. And "whatever" means just that, including; britney, disney, rock surges, melodic touches, intelligent intrincate layers... whatever. . ..depending on the sort of creative journey its built. For some playing Psytrance is just building inside a musical quality they have built upon, wether psybreaks, Full on, complex, melodic, and the myriad of subgenres psy has. When the "importance" of such build makes it rigid enough to allow for violence/fights in the dancefloor ot bashing, relegating, not being creative enought, etc... they are just overprotecting something that is liquid and mobile by its definition, at least to some degree, otherwise it melts itself, and the dancefloor is cleared... You know what I am talking about; building a musician ego story or destroying a dance, both are not psychedelicly-complete builds just part of broader life stories. Then to reach a new High... Well, you also know some of the high posibilities and at least we keep open to discover them, yes?.. . Nice to share!
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