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Pleiadians - I.F.O. Identified Flying Object (3CD) Re-Mastered, w/ Live Set Mix (Remixes), EP + Comp Singles & Bonus Tracks DAT Records CD 1 - Pleiadians – I.F.O. Live 1. Pleiadians - Intro 2. Pleiadians - Merope 3. Pleiadians - Alcyone 4. Pleiadians - Asterope 5. Pleiadians - Maia 6. Pleiadians - Electra 7. Pleiadians - Taygeta Bonus Track: 8. Etnica - Vimana (Pleiadians Live Mix) CD 2 - Pleiadians – I.F.O. Re-Mastered 1. Pleiadians - Maia 2. Pleiadians - Taygeta 3. Pleiadians - Merope 4. Pleiadians - Alcyone 5. Pleiadians - Electra 6. Pleiadians - Asterope 7. Pleiadians - Celaeno Bonus Track 8. Pleiadians - Time Dilation (Original Mix) CD 3 - Pleiadians – Vinyl Tracks / Singles 1. Pleiadians – The Pleiadians 2. Pleiadians – Boarding Pass To Balangan 3. Pleiadians – Cyberland 4. Pleiadians – Sonic System 5. Pleiadians – Analogue Step 6. Pleiadians – Jungle Track 7. Pleiadians – Zeta Reticuli (Full Mix) 8. Pleiadians – Deep Frequencies DAT Records have Re-Issued, carefully Re-Mastered, and Re-Released what many consider to be the greatest, if not one of the greatest albums in Goa-Trance. In addition to the improved debut, this 3 CD includes live mix (remixes) of the super songs on I.F.O., as well as their rare Vinyl (EP and Compilation) singles produced between 1995 and 1997. Inside is a 12 page booklet featuring the history of the Pleiadians project, how the music was composed, refined, and remixed along with cool artwork and photos, etc. The re-issue is AMAZING. It is easily the best re-release in the Goa-Trance IMO, a milestone in complexity, sound/melody work, mixing/programming, and direction. I never heard roughly 10-12 tracks here (mainly remixes plus some singles). So I'm reviewing many of these for the first time. One of the coolest things for the record, is that the live mixes aren't just live versions of the song's we've heard. They are freekin remixes!!!! CD 1 - PLEIADIANS – I.F.O. LIVE SET 1. Intro (lets jump to the main tracks) 2. Merope (Live Remix) now has a powerful, complimentary introduction unlike the version on the debut and it's fantastic. The extended introduction here adds more depth to the song, and the intergalactic feel of the album. The echoed booms are great, and the famous ingredients now co-exist with more dynamic elements due to improvements made to the original. Hearing this changes my impression dramatically. The artists had time to reflect and re-imagine the song in some ways. The second act adds more energy, supporting synths, and atmosphere, providing the song with a cinematic edge at times while never sounding pretentious. As I listen to both versions back-to-back, I notice huge differences, creative re-aproaaches, and improvements. The live mix (remix) sounds less rough, and yet the melodies sound more juicy, with better production. The atmosphere is pretty surreal too. I'm pretty speechless. You may prefer the original or vice-versa. Either way, this remix offers a fresh angle to Merope. The song offers so much that adds perspective and variety to the original, while appearing just as fluid, congruent, and arresting. Furthermore, its duration is 12:36; I wasn't bored for a second. Excellent remix. A 3. Alcyone (Live Remix) is like a re-imagining in some ways. Beloved ideas exist along with new modifications and ingenuity. Where have all these tracks been hiding all these years?! The first act is elaborately kinetic. Gripping layers make haste towards the electric world of stronger connectivity and synergy. The first peek at 3:57 is exceptional. This follows a sweet, little non-maximal segment that's surprisingly refreshing before the strong 5:20 band arrives. As with its twin part, this remix doesn't disappoint. Even in its final act, the artists find new ways to change up what we've heard. This is one of the best remixes on CD1. I'm impressed. The production sounds as good, if not better than the original, and a bit more refined in some ways. Already I can see some liking this more than the original and vice-versa. They're both strong tracks. Listen and decide for yourself. Whatever you think, comment below. I love the original Alcyone so anything close for me is an accomplishment. Excellent remix. A 4. Asterope (Live Remix) is also different in some ways from the original. It begins with a sample via F.O.L. I don't think it's necessary, but it's early on, so I don't think it distracts much from the intergalactic feel. the first act sounds nature-oriented via birds chirping, etc. It's different, though somewhat atypical of Asterope. 1:06 sees the return of a familiar melody. Gradually we're taking to more cosmic waters. 2:13 introduces the next part of familiarity, but I'm not a fan of this frequency (pitch?) change. It just seems too thin and over-cluttered to my ears. Fortunately, the one at 2:41 works well. The main melody arrives 3:20. Its arrangement sounds great. Again, it's simply that synth bundle mentioned above that reduces the signature lead's power and effect to some degree. On the plus side, the drums that enter at 3:50 are great, and really enhance this version. The interlude involves warmer, more balanced sounds, and is coupled with an engaging synth at 5:08. The middle act is very nice. The returning synths at 6:29 (from 2:13) are my main gripe. Fortunately the song doesn't end there. The returning drums in the seventh minute work well, and at 7:35, a very impressive take on the finale begins., i.e., a delicacy of complexity supported with a lower pitched melody. I love that the artists made remixes of the songs on I.F.O. These songs are so interesting to hear, even if my favorite song on I.F.O. (Asterope) is unfortunately my least favorite of the live mix (remixes). But that's my opinion. What do you guys think? Cool remix. A- 5. Maia (Live Remix) has more soundscape, drums, and textures than the original. The first act is lush and warm, and reminds me of the original. Early on work that stands out includes 2:52 (!) and 4:01 (!), though around that, it's all pretty interesting and engaging. Some very nice frequency changes in the forth (middle act) further distinguish this version from the original, making it more psychedelic and kinetic. The scenery keeps changing, engaging us with each new section of development just like the original. The result is a fluid, imaginative, and beautifully mixed version with greater textures, twang (to certain synths or new ones entirely) and crunch, whereas the original was more elegant, sexy, and harmonious. This remix sports three excellent acts too and some amazing work. The live mix (remix) sounds inspired in a good way, different for sure. This isn't trying to replicate the original, though it retains classic elements. There's moments that remind us of the original (sometime seem verbatim) while generating much that's new to our ears. As with the live mixes of Ayclone and Merope, Maia's live mix walks a fine line between remix and re-imagining. It took some pretty big kahunas for anyone to attempt a remix to Maia (let alone any track on I.F.O.), but they pulled it off, and while the original will always be my favorite, this live mix (remix) is a gem. A 6. Electra (Live Remix) is another critically acclaimed, fan favorite from the debut. I'll get my nitpick out of the way, and that's the opening voice sample, "Is there a moon..." which reminds me of Family of Light (album). Past that, this live mix of Electra sounds close to the roughness and intensity of its sibling, twin sister. The song has just as much drive and liquid touches; the latter that bounce around at 3:25 before a familiar effect emerges from the self-titled song, Family of Light. The less maximal parts via 4:10 (among others) sound great, as well as the fresh evolutions via 4:15. I love the evolved section in the middle third and finale. The only thing I care less for is the occasional F.O.L.-esque samples. The song IMO feels more intergalactic and otherworldly without them. Reminding me of Earth associations here take away from me fully feeling free in the music. For dancing, the samples may work wonders. To be honest, a few shorter ones here sound pretty cool actually. Musically speaking, the essence and delivery of Electra is strong and intact, i.e., the light, the dark, impressive synths, wicked intensity, twists and turns, climaxes, etc. Prepare for a tasty treat at 8:12 too. Another excellent remix. A- 7. Taygeta (Live Remix) begins with a mixture of sound. The original has been criticized for its reoccurring "whirling" sound that some found distracting from the more adventurous music. Some have said Taygeta and/or Merope are the less strong uptempo tracks on I.F.O. Funny considering a less strong track on I.F.O. blows away most songs in the genre. That said, I was impressed to discover that the live mix (remix) of Taygeta here REMOVED the "whirling" sounds. This may seem like it's finally the nearly perfected song we never thought we'd hear two-dacades later, and in some ways it is -- nearly. When its first main synth arrives at 0:56, notice what doesn't? The song feels more immersive to me without those "whirling" sounds. Production sounds better too, more fleshed out. The song now breathes more deeply and is accompanied with dynamic tweaks, crunchy textures, and other [more psychedelic] ingredients. One of my very few nitpicks is that -- comparatively speaking, the main melody at 0:56 is less twangy than the original. It's still the same arrangement, and the leads in general sound more integrated and smooth. Also, with the "whirling" sounds gone, I notice that other effects have been added. I'm not sure how necessary some of them are. There is a bit more that I prefer to the original and vice-versa too, but I'll let you hear for yourself. This is a mature upgrade in my opinion. Maybe you always loved Taygeta, or you loved the song minus the "whirling" sounds. I personally found the original GREAT with exception to the "whirling" sounds that are now gone. Finally! Strong remix. A- Bonus Track: 8. Etnica - Vimana (Pleiadians Live Mix) is the eighth track on this 3 CD package that I never heard before until now. I suppose they never remixed Celaeno due to it not being uptempo. Poor thing. Reminds me of Pluto. Never getting the full appreciation it deserves. Many have heard Vimana, located on Etnica's Plastic EP (1996). I've heard several versions (still can't find the super skipping lead melody one online). Needless to say, I've been impressed with all versions. Vimana is one of Etnica's best, most famous songs. Some consider it to be Etnicas' best track. So again, the bar is high. I really like the opening sample regarding since the beginning, aliens "...have been visiting our planet and genetically altering the development of our DNA" (according to numerous scholars including famous researcher/author, Zecharia Stichin, the Sumerians preserved these higher truths on their tablets via their written language). But I digress. The first two minutes of the song prepare us for the infection to come. The artists are nice enough to give us a taste at 3:08. After a catchy voice sample (works well here!), that infection arrives in the form-less music of some of the best synth work I've ever heard. The delivery is so smooth, delectably blended, and satisfying. This is a total nighttime track, coupled with mood, adrenaline, and sound/melody work that keeps getting better via the fifth minute, the sixth minute (shall we count to ten? ). These artists knew no limits in their prime, upping the "ante". To them, not even the cosmos was the limit, they kept going. The result here? Combine the best of Etnica and Pleiadians, and you have Vimana (Pleiadians Live Mix). It's mature, provocative, and riveting. Both this and the original are wonderful. Stunning remix. A CD 2 - PLEIADIANS – I.F.O. (RE-MASTERED DEBUT) 1. Maia is the classic, cosmic -- with traces of euphoria opening to the intergalactic debut. It really set the theme back in 1997, and helped to redefine cosmic Goa-Trance as previously defined by Astral Projection. These next seven tracks are re-issued verbatim. They have been lightly re-mastered according to the label. I've always loved the sound/melody (synth/arrangement) work in Maia, the touches of euphoria, etc. The song is so fluid, imaginative, engaging, and memorable. The song's storytelling is varied and eventual, coupled with strong leads, seamless transitions, and flawless direction. Maia tells the first chapter in a grand story (space opera), as if evoked and/or channels from the alleged beings in the Pleiadian star system (for real) just beyond Orion, roughly 1300 light years from Earth. After its wonderful introduction and numerous delectable parts, a beautiful main melody arrives, elevating the voyage at 4:47. There is an elegance, a sexiness that Maia expresses with its smooth rhythm, movement, and melodies. The music's return at 5:29 is more crisp than I recall the debut version being (this has to be the re-mastering). There are no samples that distract from the cosmic voyage, just an ever-expanding flow of infectious ingredients and transitional segments (like porthole jumps) to even greater places in the cosmos. The sound selection, sheer creativity, and technical elements to this day impresses me. Maia was so ahead of its time, and is now complimented with carefully "touched up" re-mastering. Beautiful track! A 2. Taygeta was initially my least favorite uptempo song from the debut. The reason was due to those "whirling" sound I always found distracting from the music. The song also lacks an intro and builds from few to many layers off a unique chime sound, beat, and baseline. Fortunately, the blunt opening develops into an infectious ride. Taygeta is harder and more aggressive, whereas Maia was smoother, more elegant. The first lead arrives at 1:00, a catchy, TWANGY, fast-edged synth that is soon joined with a bouncier one (very nice). More acidic layers arrive next to ones more alkaline in that sense, and a collection of well-blended momentum ensues. 3:24 sees the return of the first synth; it compliments the progressing rhythm. The vehicle loses some weight as it approaches its next upgrade, a powerful and relentless lead at 4:03. Enter psy-scape (spinning particles) that create interest between the more intense/layered segments. The relentless wave returns for a second boost before fading, leaving us far from the shores where we began. At 6:02, we see a light; a psy-ambient layer signals new scenery. Jumping into the lush atmosphere is the dynamic "tangy" little lead who came to enhance new changes. In its final act, the song develops greater energy and variety, accumulating sounds. Preparing full speed. Taygeta takes off at 7:32 for the great finale, leaving all sounds unable to keep up in the dust. Taygeta's re-mastering seems clearer, more crisp. See you if notice it. This is a GREAT track that's further touched up thanks to careful re-mastering by DAT Records. A- 3. Merope is rough, intense, and determined, whereas Maia was smooth and elegant; Taygeta was somewhere in-between. Here the leads come fast and hard. 1:42 showcases the first (fantastic!) lead that really carries the vehicle. Another surprise is the key change at 2:36. The supporting sounds are great too. We're given a moment to catch our breath at 3:25 before a buildup that instigates greater complexity and rhythmic synths in the fourth and fifth minute. An effect at 5:55 takes us back into the storm as the artists find new ways to hook us. Merope is like a giant space storm full of fury and debris, and we, the listeners are caught in it. Possibly the only thing Merope lacks is a more memorable final act, though I hesitate to say it needed a climax since Taygeta had that. Merope has climactic energy throughout. Fortunately, the last act is nice, with the arrival of a colorful melody; it [the last act] is simply less masterful in relation to the final acts that surround this track. Merope is an excellent song, and at 19 years old, this is the best version of the original. A- 4. Alcyone is the next chapter in this evolutionary leap in consciousness debut. The opening is drenched in alien goo. Layer after layer are near seamlessly added to the growing ball of energy. A super synth takes over at 1:32. The established sounds shift to support it as new melodies arrive. 2:53 introduces a highly animated lead. It's so in our face and addictive that it nearly bounces off the page (track), and at 3:33, the signature lead enters with great arrangement, carrying the vessel for nearly a minute before unhooking itself. To pick up the baton, a non-maximal (very cool, adds variety!) segment via 4:40 to 5:20 takes us to the next upgrade. Turns out, this next part is an electrifying, a super-charged synth equipped with sharper weaponry (supported psy sounds) until a calm (interlude) where the song's energy re-collects. The energy can't be suppressed for long though. The pressure builds toward combustion, and at 7:20, Alcyone climaxes. This song is one incredible lead after the next, accompanied with infectious supports, engaging segments in-between, absorbing atmosphere, and much more that captivates throughout. Superb track. A 5. Electra is another fan favorite, along with Maia, Ayclone, and Asterope, and its clear why. This thing is like a super-imposed, highly energetic snake just broke out the gate. All hell breaks loose. The brief introduction via psychedelic rattling sound, and the elegant (sexy) synth work at 1:30 works incredibly well. The development grows infectious as the music intensifies. The beat disappears for an interlude around 4:30. Sonic textures fly by as our vehicle reaches new scenery. Worth noting are the sustained, moody notes in the second act that blend together, resulting in a smorgasbord of leads. Dozens of layers fight for supremacy, yet work together towards the greater whole. The result is a revolution of rhythm. Have you ever heard an abrasively beautiful track? Now you have! Electra is daring, full of rough (stylistic) edges, aggression, and energy. This is one of those tracks you show your friends, play at an outdoor dance party or jump off a plane listening to without a parachute. Even in its last two minutes, the song impresses. The climax at 7:34 is wonderful. The re-mastered version sounds more realized, with sounds more fully fleshed out. Electra is an intense, exciting, and infectious ride from beginning to end. This is another superb track. A 6. Asterope is my favorite song from the debut. Those diving/rolling synths enter around 2:15, and are supported with magnetic ones at 2:41. Some artists are fortunate to have one beautiful lead. Asterope has several. Yet THE one that takes the cake here is at 3:07. It's one of the most memorable leads I have ever heard and elevates the song. The journey re-collects energy during a calm moment. New scenery emerges at 5:10 and by 5:36, we're surrounded. This section gets progressively catchier past the sixth minute, until the signature lead returns at 6:30. I love how the main lead is utilized; it reprises like a wonderful chorus. As if Asterope couldn't get better, the song evolves at 7:38 . Here the song's complexity morphs with intricacy. The song is elevated higher, finding a perfect balance and somewhat of an ascensional, absorbing groove. Complimented with atmosphere, warm ambient notes and heart; heart is what I felt was lacking from Electra, which was otherwise intense, dark, and vivid, like a cerebral ice palace. Asterope on the other hand is full of feeling, heart, and cosmic adventure. Gorgeous song! A 7. Celaeno was my least favorite track on the debut. I always felt distant from it, that it was too slow, moody, and robotic for its own good, and not as catchy as the other tracks. I love the few Down-Tempo Goa songs by Pleiadians, i.e., Seven Sisters, Deep Frequencies. For years I alienated myself from Celaeno, seldom giving it a listen, unsure of why the song is composed the way it is. Maybe one day I'll see the light I imagined, since it's a part of I.F.O. The song is unique for sure. Other Pleiadian songs take off early on, but Celaeno gets off to a slow start. My take on Celaeno is this: We're surveying the terrain of an unknown planet (Celaeno) with little to no life. The song begins with a psy-insect synth scouting our position before the entrance of a slow beat and bass line. I always found the first 1-2 minutes dull and plodding, though the two-minute mark is nice. Fortunately, this behemoth grows catchier as it progresses. The song provides a pleasant coming down after such an extraordinary roster of rockets. At 3:03, a stronger synth arrives, lifting the tempo. The strong beat and synth work elevate the solemn mood to confident. The middle acts grows engaging, more evolved; it appears to reflect great change and/or tribulation. Maybe the race was wiped out; their energy traces remain on these desolate lands. We enter a clearing (interlude) at 5:23. The movement slows as we take in the surroundings, exploring the vast, ancient landscape. The sixth minute reveals a change of scenery, or the realization that we need to make haste. I infer this from the tone and buildup at 6:25, and at 6:55, we're off. What happens next can be described as a boss fight in an old, classic NES Metroid game, but through the artistic vision of artists. More to Goa, this section is like a moving painting full of psychedelic images (rhythm) emerging and unraveling, as if the painting is bleeding out textures. It's beautifully composed to the thumping beat, a terrific moment. I simply wish that it lasted longer and developed more, considering how long it took for us to get here. So my gripe is that the catchiest part of the song barely lasts a minute! After 7:44, we slowly descend, returning to the ambient-influenced downtempo similar to the intro, a homogeneous closing. In the end, we are left starring at this massive planet. The vastness of the Universe surrounds us along with the inherent desire to explore further into the great beyond. A- Bonus Track 8. Time Dilation (Original Mix) is a continuation into the vast exploration of the Universe. This is the definitive version of Time Dilation to my knowledge. The introduction is heavenly. Lush ambient merges with harmonious synths, like an ascensional sunset beaming out across the universe, soaking up the higher vibrational energy through every pour of our being. Talk about emotive, engaging intros that aren't cheesy! It's wonderful. Next up the beat, coupled with melodies that blend, enhancing the senses as we move through various states of consciousness via our multi-dimensional Universe (the songs depth and how I'm perceiving its positive approach). At 3:11, the song takes off -- thanks to a beautiful main melody with strong arrangement to boot, and complimented with lush ambient. They provide a heart and feeling to this dynamic (spiritual) vehicle that may or may not relate to ascension, considering our perception to time becomes less relevant as our vibrational frequency increases. Anyway, an exciting, dance-friendly lead breaks out around 7:15, taking us higher. The song is so smooth, with ear-friendly sounds mixed into seamless unity. The old-school work of Pleiadians is marvelous! The vibrationally-raising (positive!) approach here is non-maximal (it doesn't have to be), and it does wonders, magic. Even in its final moments, the artists re-work the arrangement, keeping their high expectations up, and in return us more than satisfied. The ambient-esque closing is wonderfully appropriate. I'm a little jealous, or rather so appreciative that music this catchy can be made. This is a beautiful track with excitement and heart. I really love it, these artists contribution to music and their agreement with DAT Records to release these tracks. Thank you so much. This is a gorgeous track full of love, inspiration, and vision. Well done! A CD 3 - PLEIADIANS – VINYL TRACKS / SINGLES 1. The Pleiadians is fast and energetic. It grows increasingly psychedelic, like a band-wave being adjusted in hyper space. A foundation of synths are built, but it's the lower pitched one at 1:40 that grabs my attention. It's soon accompanied with a second one at 2:05, and the rhythm grows catchier. We're given a moment to catch our breathe at 3:50. Being halfway through, there's not much in terms of evolution or memorable leads. After a brief interlude ends at 4:10, a new melody enters arrives with nice development. Also returning is the lower pitched tune supported with numerous sounds. This segment is pretty good! But it's not until the song evolves in its final act via 5:11 that I feel like more fulfilled. The climax at 5:11 is exciting and refreshes the song's impression, thanks to spontaneous sound/melody work, new arrangement, and variety. Initially I felt like this song was too thin (speed over substance) via one trick pony. Now I see it like a missile gone astray, collecting energy along its trajectory until exploding in an attractive display of melodic bliss mayhem. The song is a unique, fun burst of energy that nicely leads up to the more substantial, ambitious numbers. A- 2. Boarding Pass To Balangan has more variety, texture, and range than the previous song. There's more for me to sink my teeth into here, substance wise. It seems to tell a story whereas the previous felt thin on plot, with style over substance. The sound selection here is very nice, and showcases more of an exploratory element over the previous zippy energy pill. The slower approach is pretty atypical of Pleiadians. It develops gradually at near-mid tempo, reflecting thought and contemplation. An uplifting segment at 3:53 provides some light to the darkness. Also interesting is the emotive arc. The song is very downbeat, mood wise. There are some nice atmospheric elements, crunchy sounds, and textures. At times I'm reminded just a little of Celaeno, though this sounds completely different; I find it more accessible. I like how it remains consistent in tone, never breaking out. The song is not really eventful; rather the event is the ride and vice-versa. Boarding Pass is solid and moody, a brief excursion to the mysterious, fairly darker channels of space. Many Pleiadian songs walk a fine line between light and dark, utilizing both energies via duality in addition to spiritual/Universal discovery and higher consciousness. But not this. No. This could be perceived as a train ride to the intergalactic dead zone. A- 3. Cyberland begins with a very catchy, unique, metallic synth. It sounds as if vibrations or water droplets are bouncing off metallic objects. Each one was (in theory) then altered, echoed, and meticulously selected for arrangement. Welcome to the first layer. This creative material-esque synth is soon joined with a more synthetic one at 0:14 before the beat arrives. A catchier synth arrives at 0:41, and yet another at 0:55. Meanwhile, those echoed, metallic droplets bounce across the ears, producing an intricate, bubbling fusion to the growing stew. The current result is an intelligent, detailed, and articulative rhythm that's as unique as it is engaging. Next up is an ambient-esque interlude, a wave of immersive calm followed by an exciting buildup beginning at 3:42. I really like this part, especially the increased tempo and release at 4:09 (my favorite part of the song that will later reprise) via a climactic lead takes the music to new levels. The forth and fifth minute are terrific, showcasing new work and a return to climax. The metallic sounds return like accents to compliment. The song began like a computer quickly arranging metallic fibers before blossoming into an complex, self-aware, and rewarding, fun dance number. Also note-worthy is the arrangement in the seventh minute. My only nitpick is that the song seems to take off in its last fifteen seconds. So it ends a little abrupt, though efficiently. Excellent track. A 4. Sonic System has an interesting, grinding sound that much of the song is built around. Similar in concept to Cyberland, though approached differently, is the concept of mixing metallic synths with smoother ones. Pretty cool rhythms ensue, though I find healthier sound variety in the previous track. Initially I didn't like this song. I thought it recycled its ideas too much, was fairly repetitive and similar sounding. If I focused on the song too much, I found its general sound began to wear, even grate on me. Yet other times, doing activity without my direct attention, the song seems catchier than ever. It's interesting how our brains work, our preferences to sound, taste, etc. The song's synth-heavy approach can be pretty trance-inducing, or zone setting. Whereas the previous song was more articulative and intellectual, Sonic System's power seems to work in more subtle ways. I like the warmer synth at the 2:00 that reprises at 4:45. For me, the song felt too mechanical without its presence which adds balance. My issue is that the second half, to some degree sounds similar to the first half. The song develops, but not with a whole lot of evolution (unexplored terrain). The final act has some nice changes, adding variety. I'm still not quite sure what I think of this one, but I'll let it further grow. B+ / A- 5. Analogue Step is simpler than what I'm used to from Pleiadians. The synth that becomes more noticeable by 0:25 grows catch in addition to one at 1:09. They integrate well before being swapped out for new sounds. A nice, groovy rhythm is formed by the third minute. The less layered, more minimalistic (for Pleiadians) approach works, though the song seems a bit simplistic in its second act. I don't think the sound effect at 4:20 was necessary. Same with its return in the end via 5:27 to 5:45. This effect is a little distracting and doesn't blend well with the other sounds. Fortunately as it finishes its bars at 4:27, the song plateaus in a burst of energy. It's catchy and the best part of the track. One perspective with the song overall is not a whole lot happens. The approach is fairly tame and uneventful, maybe a bit too simple for its own good coming from Pleiadians. Another perspective is that it's interesting to hear different approaches to their style. The LESS ambitious/complex/layered approach allows listeners an easygoing break around the more involved songs. Sometimes I really like this song. Other times I find it lacking in some ways. Just don't focus on it too hard. Some tracks are meant to explore, and this seems designed to kick back and/or dance too, even if some may consider this a rare example of Pleiadian-lite. The song lacks "wow" factors, but offers something different and remains pretty solid for the most part throughout. B+ 6. Jungle Trax is a fun, danceable number. A catchy voice samples enters at 0:42, beginning a forefront for more energetic, dance-friendly ground. An exciting lead arrives at 2:00, complimented by a lower pitched synth that provides balance to the growing craziness. The song breaks out in the second act, upped by intensity and climax. There's some gripping sounds to boot too. The fifth minute sees the most engaging work yet. The overall song is coupled with minor transitions to bigger, more energetic, dance-friendly segments. It's no wonder Jungle Trax is a fan favorite of their singles. There's a touch of Eastern/Indian melodies in the last act. It works nicely considering the song isn't going for the intergalactic approach. The synth work just keeps getting better and better thanks to a well crafted vision that comes to fruition in the final act. This is a total outdoor forest party, dance track. It knows what it is and it knows the crowd wants. The ending lifts into all-out climax, incorporating key changes, and an terrific effect akin to ascension. When compared to I.F.O. or the remixes, Jungle Trax may seem fairly simple. For a stand alone track however, it's great. The song is filled with strong ideas and delivery. Most of all, it's fun! A 7. Zeta Reticuli (Full Mix) is in actuality a wide binary star system close to the Pleiadian and Orion star systems. It is also home of the Alien Grays most associated with abductions according to many claims who recalled trauma or whose subconscious remembered in hypnosis therapy. It seems that the artists incorporated the concept of hostile and/or projecting fear forces via atmosphere to set the tone. The song wobbles and shakes with volatile energy. There is a really nice buildup/climax in the third minute. But its the dark under-current tone that adds to the intrigue, character. Chock full of smart delivery, tempo changes, and a dark vibe, Zeta Reticuli is also among the fan favorites. It takes risks that often pay off, peeking in the seventh and eighth minute where additional its gears shift. The seems dance-friendly too. The only part I feel mixed about is the melody at 9:48 that sounds almost circus-like, too cute to be in the song. Was its purpose to make us feel like we're being toyed with by darker forces? I'm not sure. I imagine its part serves a purpose to the story. The good news is that it's rarely used and doesn't hurt the song, though it doesn't seem to compliment it. Zeta Reticuli (Full Mix) is another great track that resides on the darker side throughout. A 8. Deep Frequencies is like a planet being sculptured, articulately designed in the hands of its creator to the point life begins to grow. The song grows increasingly more infectious and dynamic, from skipping hymns drenched in ethereal atmosphere, to progressions in the melody/sound department that beautifully construct a world, possibly a star system, maybe even a Universe. The increase in energy at 6:42 is excellent. The song gets more moody and personalistic (with a spunky little attitude) at 9:40 too. At nearly fifteen minutes long, I'm not bored for a second. Naturally, one needs to be in the right mood for deeper, more contemplative, home-listening tracks. The artists continually come up with little nuances, new alterations, melodies, sound techniques, and arrangement to take us deeper, further hypnotizing our senses, and detaching us from our everyday distractions. I really like this song, and at times I want it to keep going for twenty, thirty-plus minutes. It can be pretty zone setting in the right mood. Deep Frequencies is a wonderful, exploratory track for home listening. Put in your earbuds or headphones, shut off the lights, take a deep breath, let go, and immerse yourself. The song is creative, intriguing, and engaging, and an appropriately strong ending. A CONCLUSION I.F.O. deserves an award for imagination, complexity, programming, mixing, and sound/melody (synth) work. This is one of the few albums that really raised the bar in electronic music, Psychedelic Goa-Trance. It defines intergalactic Goa-Trance. Many scholars consider I.F.O. to be the magnum opus of the genre, though you'll occasionally hear a few others mentioned, i.e., Hallucinogen's Twisted, Astral Projection's Trust In Trance, etc. All superb albums of course. I.F.O. is the only one I'd describe as labyrinthine. Of all the albums in electronic music, I have returned to I.F.O. the most. Maia, Alcyone, Electra, and Asterope are some of the most engaging songs I've ever heard, with Taygeta and Merope not being far behind. Thanks to the re-mastered version, live mix (remixes), singles, and bonus tracks, the replay value and lasting appeal for this release is through the roof. All three albums are packed with superb, phenomenal work. Once in a while you hear a less superb track and then you're blown away (or likely impressed) for 3-5 more songs in a row. Virtually every track is a world in itself, showcasing amazing craftsmanship and attention to detail, articulation, innovation, and infectious appeal. I wouldn't be surprised if much of I.F.O. was channeled by the real Pleiadians to Carlos when he supposedly (somehow with a broken arm according to the inside booklet) created most of the album in a month. There's more in the booklet but I won't spoil it all. I initially thought an album of I.F.O.'s complexity took 1-2 years, so however this came to be in such short time is stunning (even if ideas were channeled to him, and thus he felt inspired in our conscious Universe according to a growing theory since everything is connected). The remixes of Alcyone and Maia are excellent, followed by Merope, Taygeta, Electra, and Asterope, though the latter is my least favorite of the remixes due to a frequency change made with some of the synths. Nonetheless, it's so interesting to hear new (previously unreleased?!) versions to the super songs on I.F.O. The rare vinyl (EP and Compilation) singles are excellent (some are outstanding!) too. Some are new to my ears. Some took time to grow on me. FYI I find this work to be so much more satisfying, comprehensive, and immersive on a good pair of earbuds or headphones. But it's great to hear when out and about regardless. THANK YOU DAT Records and Pleiadians for your love, commitment, and dedication to making this happen. Special thanks to DAT for the Re-Mastering plus the live mix (remixes), many songs I had never heard. THANK YOU Pleiadians for your amazing contribution to music. Your work encompasses the spirit, love, and energy of its creators, and has taken electronic music to previously uncharted (unknown) levels. Without all of you, this wouldn't have happened. And now more people can experience and appreciate a comprehensive collection via improved versions, the previously unreleased (?!) remixes, etc. How does something so good stay hidden for so many years? *cough* Atlantis. Intra-terrestrial civilizations er.. allegedly . This triple album is a DREAM COME TRUE, the definitive version of what is IMO the greatest album in Goa-Trance, the best electronic [uptempo] album I have ever heard, and it just got upgraded. What more can you ask for?! HIGHLY RECOMMENDED HIGHLIGHTS / FAVOURITES CD 1 - 2, 3, 5, 6, 7, 8 CD 2 - 1, 2, 3, 4, 5, 6, 8 CD 3 - 1, 2, 3, 6, 7, 8 A Orders / Buy Online Shop (Direct Sales) http://www.datrecords.it Discogs Entry https://www.discogs.com/Pleiadians-IFO-Identified-Flying-Object/release/7000604 Bandcamp page for whoever wants to only buy digital http://datrecords.bandcamp.com/album/pleiadians-i-f-o-i-dentified-f-lying-o-bject