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Artist: Fiery Dawn Title: Lost Astronaut Label: Global Sect Release: 16 Dec, 2020 Tracklist:- Interplanetary Station Lost Astronaut Phase (With Astronobios & Atlantis) Inside The Lunar Crater (With Merrow) Prana (With Atlantis) Screaming Through The Universe (With Alienapa) Oxgen Red (With Centavra Project) Proxeeus - Walking Between The Worlds (Fiery Dawn Remix) Dimension X Enceladus (First Contact) Big moves from Fiery Dawn, The more i've listened to it the more i've liked it, and I already liked it a bunch to begin with. Interview with Fiery Dawn - http://globalsect.ru/blog/fierydawninterview?fbclid=IwAR06tXy6Uo1NdciFnoRZQ_bwJJ6sg03cZOdb36YQvSAV7n6XmGeTCOudRXIDownload Bandcamp link - https://globalsect.bandcamp.com/album/fiery-dawn-lost-astronaut Soundcloud - https://soundcloud.com/fiery-dawn/astral-projection-aurora-borealis-fiery-dawn-remix?fbclid=IwAR2gKUuin2UwrKcGkk6y_6HUDbEtitqPk1L9sLJ9jYSBOGsPQ52rYMaMK34

When you make "modern" psy, it's much easier to make leads when you already kick/bass/drums. Making kick/bass/drums when you already have leads is a total nightmare. Been there, done that. In case of more freeform music I think it doesn't really matter, you may start with a cowbell or whatever. For this track let's say G Minor (or G Phrygian), 138 bpm.

Battle Of The Future Buddhas – Tigerhill (1998) Battle Of The Future Buddhas - Faster Than Light (Wormhole Edit) (2019)

Production quality can't be a bad thing per se. When the mix is good, everything is loud and clear, the kick and the bass are in perfect alignment, each sound is perfectly polished, the listening experience will be much better - the track will sound equally great in a club, in a hi fi sysetm at home, or even in earbuds plugged into a smartphone. Thing is that the current production quality standards requre that the sound-engineer mindset must dominate over the musician/arranger mindset. I think that's why there's so many perfectly produced but boring psytrance tracks these days - they are made by people who know how to make perfect mixes but either don't care much about the musical content or make some compromises in this aspect to make the tracks mixable better. E.g. when you have a melody that requires a lot of key changes in the bassline, or a lead with a lots of automation/realtime knob tweaking with harmonic content radically changing along the way and wild resonances randomly popping out, that will be very challenging to mix, especially if you want your track mastered loud (and you want this if you want your music to be accepted by a known label) - so you will likely leave this out and use sounds that are less tricky to process and mix and simpler harmonies that don't make a nightmare out of the bass processing. Also less layers overall, because less sounds = less frequency conflicts, less volume buildups and other "undesirable" things like that.

Man With No Name 2000: 2021: