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Fixed that for you

Stop that, that's just silly. you're most certainly a Real producer and a fine one at that.

It sounds as real as any producer I've listened to. Reminds me of Goa trance a bit But seriously, good sounds, you should put it out. Submit it to labels at least.. It's at least as good as anything out there, and better than most.

Just want to let you know I received my order today. The vinyl are real

This is a bit insulting, I watched the video and even asked some questions about it...also explored some other content by the OP (or as some would say gave him clicks). That the thread turned the way it did, shows even threads with no future can be turned into something worthwhile to read imho. Even if OP does not care about his thread at all At the melodic topic, guess the British industrial pioneers or Einstürzende Neubauten had very little melodies at all (as the name implies it was more noise and rythms), however somehow started a music movement and are considered "cult" or groundbreaking to this day. Later mixed with Kraftwerk and early wave it became ebm and techno and... in goas case added Indian and Hippy music influences

I think someone who is muscially trained or can play a musical instrument will make better electronic arrangements even in non-melodic genres because when you can actually play music you have better feel for things like call-response, tension-release, climax etc., also you can drop an occasional key change or a small melodic line to make things more interesting. That's may be why electronic music becomes less exciting as a whole despite all the cool software we have in our disposal, younger folks never saw anything but a DAW in their lives and they learn various production tricks from Youtube having zero musical backrgound. It's a kind of polarizing topic whether psytrance needs melodies, some people cosider psytrance should sound challening and melodies, especially of more accessible, pleasant sounding kind, should be avoided because they would make it more cheesy and less psy. I, for one, think that a great melody can turn an otherwise forgettable track into a masterpiece. I listen to various kinds of psy but 95% of my favourite tracks contain at least some melodic parts and most of them have some elaborated melodic work.

fair enough. Boris Blenn makes nice music. Etnica was great precisely for what it represented and sounded like when it first came out, with respect to everything else going on at the time. Endless attempts to "clone the magic" look like some plastic surgery ducklips. Message to the world: Stop living in the past and make the music of the future so I can nitpick it errrrm test my new car stereo with it ... i mean since we have a topic free-for-all I'll just drop my usual refrain that you will see me repeat in all threads always henceforth, lol

Just like goa trance died in 1998 when X-Dream released Radio

Interesting. Seems even a 10 year old HW unit can beat even the best SW units thats really what its all about though. god damn bullshit is what it is, that we cant have that SOUND in SW. that "thing". at least, out the box (of the plugin)

Two essential projects you must explore: Decoy (a progressive psytrance project by two actual jazz musicians from Australia) and IMPS (Decoy plus Minilogue). This interview might also be of interest: https://australiens.net/features/decoy/

Old is gold, that's also true for Zenon Records. In my opinion this is probably the most underrated album in psytrance history. It certainly is very jazzy/funky. I love it!

A sense of wonder and exploration... ...but that might just be from my own journey and the music and things I've experienced over these decades.

I'm so very sorry for insulting you personally rather intentionally, clearly. Back to the point: Are they being remixed? (Einstürzende Neubauten) and isn't Kraftwerk precisely being remixed due to their iconic melodies? I rather agree with the video's point. Without an iconic melody or, i don't know, hmmmm "musical hook", a song has little to offer a remixer nor cover by another musician. I'm not sure that you challenged this point here. The OP was referring to a song's virality, durability, re-digestability, and while I even provided avante-garde cover for being able to consider an iconic rhythm or abstract sound to be memorable musical content that could be remixed, I don't see a single comment referencing the 500 word essay I provided you on the topic. Don't worry, however, as I'm not insulted

I think it's a well-thought out proposal: a SONG (has a signature melody, the chord changes/modulations under it, the name itself implying ones ability to SING the signature melody, which I consider less important as I will describe) can be done in a Polka version, a Psytrance version, a Bossanova version. I'm sure you can picture "Happy Birthday" done in a million different ways, yet still retaining that signature melody. You will even EXPECT that a jazz version will alter the chord changes while still allowing the same melody to be contextualized over it! It's true that mere sound-design accompanied by "contemporary rhythms" (as you say) will not have any CONTENT to be recontextualized. Melodies are sequences of notes. Notes are ostensibly "pure tones" with a base root principle frequency, which is a lie, of course, as we understand that even a single note on the guitar string will have an entire correlated frequency system (harmonics/partials) related to a central main basic root frequency (tone), nevertheless, as all physical vibrations follow the physics of the harmonic series, regardless of medium, we will perceive a coherent "note". There's some debatable degree of cerebral processing involved beyond the physical mechanisms of the human ear and the frequency "bins" it can perceive activity in. (resonant single-frequency sensors) but one can expect some memory of patterns here, and so one may expect some characteristic and unique "sounds" to be readily identifiable, regardless of their musical content. You will recall that being able to recognize the roar of a predator likely precedes music, lol. Additionally, much as the sense of smell is pre-cognitive, there is also pre-cognitive auditory function, and I'll not go into this at this juncture. What are the limits of human-recollection of distinctive sounds and how does this compare as far as broader definitions of a melody? I'm going to go out on a limb here and also note that the vast bulk of dance music is a beat and bassline, whose primary purpose is to make physically impressive sound waves when projected over large sound systems, such that one feels suitably impressed and one feels like moving and dancing in response, as surely such an overwhelming force can be the equivalent of darkness in the discoteque, aka "normal" folks who would "normally" be embarrassed to dance and prance around do so with great abandon and alacrity. Rhythm and characteristic sequences of this are an equally viable conduit to memory, however. Our societies are biased against a rhythm-centric approach, but it's interesting to note that that 3/2 ratio is both a basic unit of cross-rhythm syncopation, and, when sped up, is the musical interval known as the 5th, which your fellow Greek, Pythagoras, is credited with noting in his studies of the tuned string and harmonics and musical intervals. Ask any Punjabi about the Bhangra rhythms and if one can remember them as distinct musical patterns of some kind. Or, those characteristic 60's and 70's funk soul motown etc drum-grooves, such as Clyde Stubblefield (James Brown's drummer) and The Winstons "Amen" grooves that are featured in countless hip-hop and electronica songs. (or rather, "tracks" as we know that they aren't songs, lol...even though a track is like a single instrument recording (1 or more channels, but commonly characterized as a single mixer "channel" even if there are 6 channels stuck inside, as in the case of 5.1 surround, lol...) Alas, all 4 on the floor disco-based dance music styles bring absolutely zero to the table on the subject of rhythm. Future people will not be quoting our beats, lol