So, in addition to not being able to make money from releasing music, artists will now have the ability to get paid for gigs - the only real source of income - in a currency that might disappear one day or loose its value overnight?
As a kind of follow-up to recently released album, Victor Solsona a.k.a. Hypnoxock decided to share with the world a mini album containing unreleased and remixed tracks from different points of his career, dating back to 1999 and up until 2013.
It's a name-your-price album so - if you want - available for free, so have a look:
1. Hypnoxock - Wormhole (Remastered 2002)
2. Hypnoxock - The Final Passenger (Nocturnal Mix 2015)
3. Hypnoxock - Mismo Plastico (Virtualmismo Tribute Remix) 2011
4. Hypnoxock - Dr. Livingstone (Unreleased 1999)
5. Hypnoxock - Progresion Ecliptica (Special Edit Ozora 2013)
6. Hypnoxock - Deluxaflex (Unreleased 2004)
7. Hypnoxock - Blue Monday (Tribute Remix to New Order)
Well, I don't know the details of what happened but it must have been serious to trigger such a strong reaction. Some time ago I was also tired of psynews.org and asked mods to delete my account which I've been using for 16 years (!!!) ...but after few months I was back. Psy/Goa is not just ANY music to me, it's the way of life
In quitting psynews, psytrance related FB/Twitter or Bandcamp you're actually doing more harm to yourself and the artists you love, than to the people doing the shady business.
Also, being older gives me a benefit of reflecting on how time passes and I can clearly see cycles of passion in my life: many years ago popular science was my main thing, then I got deeply interested in gaming technology (game engines, rendering techniques, etc.), recently I switched yet again and got back to writing music. But always goa/psy was there as the undercurrent, providing steady and firm ground I could always fall back on.
So, I'd rather say "see you back soon" instead of "good bye"
And there you have it. Everyone tried to copy a fantastic album and Goa/psy became so formulaic that people lost interest. One of the things that made that album a classic was how different sounded compared to the rest goa/psy at the time.
Worst thing is he said "make it sound as good as" and they understood "copy", which - with less talented artists - was reduced to droning kick & bass and we ended up with 2000+ tech/prog phase which split the scene. I don't think it was a bad thing however, just find it interesting to read that quote as this was something I suspected for a long time.
The guy himself said: " I use the computer instead of going all old school on it. I know folks who go this way, and YES, the sound of analogue is awesome, theres a magic there, but thats not to say the digital sound is worse or anything, its not but it is different, and that took me a while to get used to when I came back to writing again, but its interesting again. I love the environment, or lack of one, in the DAW and using software. I thought about going modular at one point, and still have a hankering after it, but I think it would only be really useful for me if I was to get some kind of live thing going on, and at this point Im just happy to write and explore the options available Maybe I will go modular at some point, Ive certainly enjoyed using other peoples and I sometimes miss analogue synths, but theres so much scope to do all that they used to and more now, and the sound of the new generation of software is extremely good now."
There are some virtual synths exploiting the same concepts as hardware modular stuff and they sound extremelly good, like U-He Bazille and Softube Modular. I believe analogue modelling is current software really nails it and "more organic sound" is just a matter how you program the synths in your DAW.
I know, I conducted that interview
Also I'm aware of possibilities given by modern VST modular systems (I'm myself pondering buying https://www.native-i...hs/reaktor-6/),but I *feel* there's still a difference between the sound of 'real' modular vs. the digital replica. You can fake - program, like you say - a lot of it by adding noise, imperfect tuning, random / LFO-ed changes to the oscillators, filters or step-sequencers, etc. but it requires additional, intentional work and effort to achieve that aesthetics, whereas for 'real' modular it's just there by default. And I can hear that difference in sound of artists I mentioned above or Filteria/K.O.B. or Mindsphere, when compared to the artists doing it in-the-box. What I also tried to point out was that Drezz makes his sounds as if they were modular (everything's changing constantly), but they still sound very clean and precise, very digital.
Nevertheless, coming back to the OP's question - I think this is the "next level" thing happening now, regardless of the means used to achieve that.
Have a listen to recent Hypnoxock's album on Goa Madness Rec.
It's one of very few neo-goa releases that surprised me positively over the recent years. It's incredibly cleanly produced, with very selective layering and the right sounds and melodies entering and leaving at just the right moments. It's not very complex, but is sufficiently elaborate to not sound dry. It's constantly changing and is beautifully melodic, in a way the classic Shakta or The Infinite Projects releases were: mystical, alien, otherworldly but still grounded firmly in 12-note scale so not very 'atonal'. Sure, there will be some more piercing acidy sounds, but that's goa trademark.
Well, well. The one-hit-wonder Power Source is apparently coming back with new album, featuring some collaborations and remixes and - surprisingly! - there's no remix to Goaway to be seen. Sounds good, as well.
What? He's very active, doing a lot of 'artsy' stuff recently. Obviously there's also their alter-ego Minilogue project which spawned several awesome releases and even Son Kite's "Prisma" from 2014 wasn't half bad either.
Well, the sounds are good, the ideas are solid, the dedication is there (25min?! WTF ) but the way it's recorded make it sound as if it was playing from behind a wall or from outside of a club (with some windows open). The sound is hollow, missing the mids completely. It's difficult to focus on it this way...
What are you producing this on? Is it some kind of hi-fi with inverted disco smile EQ preset?
BTW, your album on Bandcamp sounds awesome and - other than being quiet - is pretty well balanced, so maybe there's something wrong with your current monitoring setup?
Either way, wonderful job, improve that mix balance and keep us posted!