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Background: I have never been a Filteria fan. When he was a new artist I assumed it was kind of new school stuff but when I read all the amazing revews here from Goa fans and the comparisons to Pleiadians, I tried a couple times to listen to Sky Input, but I had a similar reaction to most of the other handful of negative reviewers: there are good Goa sounds and melodies but once the tracks get going it becomes a sort of wall of monoculture, like, I love chocolate cake but I don't want every space in my fridge and cupboards squashed full of only chocolate cake. (I should also mention incidentally that IFO is not one of my most favorite albums, though I do like it and listen to it quite a lot. I feel it has more color than Sky Input). I read that Daze of Our Lives is considered by many an improvement on the earlier albums so I have given it my first couple of listens. I am trying to let go of my biases, but that is hard to do, but I do need to say that the best bits of this album are really good and there are certainly moments where there is a really interesitng and unique sound. For me the really good bits are when he goes more ambient / downtempo and lets the music breathe a little. My favorites are the first and last tracks. I think he should try a whole album of downtempo. The other stuff, I like it OK, and I will give it more listens. It's technically good; the melodies are good; the effects are really good, but I honestly have to say that for most of it I don't get that really magic feeling that I get with older Goa or something like RA. It is hard to put my finger on it and it may be down to preconceptions. It might be something to do with the mastering or just Filteria sliding back into his tendencies for a relentlessly constant level of energy in a track. There are colorful melodies and organic effects yet many of the tracks for me feel a little on the flatter, less colorful, more homogenous kind of side in terms of their overall impression. This is just my subjective personal preference. I should mention this album does have quite a few Posfordlike elements that are done quite well, the warping chords and bright arpeggios. He has also nailed the weird, stuttery vocal effects although I do wonder if these were verging on being over-used here, though that's a minor quibble. This is no Hallucinogen 3 for me though, unfortunately. I award that title to Artha's incredible Influencing Dreams. I give tracks 1 and 9 9/10. The rest, I would have to give it more listens to really rank it fairly but my current feeling is if I was just rating the technical achievement it would probably be about 7 or 8/10 but in terms of my own enjoyment, 6/10. So for the whole album: 7/10.

RA - To Sirius - 3CD Remastered Reissue This month marks the 25th anniversary of one of the most iconic and timeless albums in the history of Goa Trance: "To Sirius" by the legendary Norwegian act RA. To commemorate this milestone, DAT Universe has worked tirelessly behind the scenes with the band’s visionary founders, Christer Borge-Lunde and Lars W. Lind, to curate an extraordinary triple-CD reissue—a tribute that not only honours this revered masterpiece but also cements RA’s legacy in the pantheon of the genre. More than a mere celebration of their magnum opus, this ambitious project seeks to transcend nostalgia, expanding the reissue into the ultimate anthology, gathering the finest compositions ever crafted by the duo during the height of their creative journey. The painstaking process of meticulously digitizing the band’s priceless DAT tapes and unearthing their long-lost old archives was a labour of love spanning several years. The result is a captivating odyssey through RA’s early foray into Goa Trance, and a definitive panorama of their artistic evolution before their reformation in 2006. Originally released in 2000 by the Taiwanese label Blue Moon Productions, and reissued in 2001 by Nova Tekk, "To Sirius" emerged like a celestial anomaly in the Psychedelic Trance scene—a luminous UFO soaring above a landscape increasingly dominated by dark minimalist and techno-infused influences. Its arrival was nothing short of a revelation, conveying a sonic manifesto that rekindled the genre’s cosmic soul and melodic grandeur. RA’s seminal masterpiece encapsulates all the quintessential elements that defined the golden era of Goa Trance, seamlessly intertwining intricate melodies, ethereal atmospheres, and hypnotic rhythms. Yet, "To Sirius" stands as a bold and visionary endeavour—an enthralling alchemy of spiritual sounds that transcend the boundaries of trance. With its cutting-edge 3D sound design and futuristic precision, the album not only redefined the genre but also reignited a glimmer of hope for its resurgence at the dawn of the new millennium. The first disc presents a remastered version of the album staying true to its original essence while elevating it to new heights—each track now resonates with greater depth, richness and balance than ever before. For the first time ever, listeners will also experience the complete, unabridged version of "Astral Flight", restored after being truncated in the original release. The second disc brings together all previously released vinyl and compilation tracks produced in the 90s, alongside a trove of unreleased gems composed between 1997 and 1999—hidden treasures that never made the album’s final cut. These long-forgotten pieces, exhumed from the band’s secret vaults, have now been reinstated into the original work, breathing new life into this reissue—a true "rebirth". This collection also features a miraculous discovery: the medley "Mooncake – Tribes Of The Moon", born from RA’s inspired collaboration with Kerry Palmer and Graham Franklin of Dimension 5. The final disc unveils the finest previously unreleased tracks from the pivotal years leading up to the creation of "To Sirius" (1995-1996)—a mesmerizing journey through the duo’s formative era, where raw creativity and fearless experimentation forged their unmistakable sound signature. Spanning an eclectic range of tempos and styles, these early productions stand as vibrant testaments to the artistic evolution of a band destined to etch its singular legacy into music history. This reissue also includes a richly detailed booklet chronicling the history of RA, complete with in-depth liner notes from the duo. It offers a rare glimpse into the equipment they used, along with long-kept secrets revealed for the first time—including the origin of the "RA" alias and the hidden meaning behind the "To Sirius" album title. With this monumental reissue, "To Sirius" is reborn—a timeless masterpiece once again illuminating the vast cosmos of Goa Trance. Tracklist: Disc One: RA – To Sirius 01 [Prologue] 02:07 02 Astral Flight 15:12 03 Universal Key 09:13 04 Beyond Control 08:34 05 Initiated 07:47 06 Sign Of Life 08:47 07 R.O.M. 08:46 08 Paradox 07:53 09 Sirius 06:52 10 [Epilogue] 04:38 Disc Two: RA – Rebirth 01 Rebirth 03:30 02 Another Horizon 08:20 03 Spiritual Odyssey 05:57 04 Lifeline 06:36 05 Questions 07:59 06 Azure Child 08:20 07 Mooncake – Tribes of the Moon 08:59 08 Static Distress 07:58 09 Crystals 08:01 10 Unseen Sky 05:04 11 Sanctuary 07:11 Disc Three: RA – The Early Years 01 Gateway (Goa Mix) 09:35 02 Cheops (Spirit Nomad) 07:45 03 Iris 07:32 04 Soul Transfusion 09:30 05 The Calling 09:15 06 Messenger From Beyond 08:34 07 Sign Of Sun 08:58 08 Intermission 02:07 09 Cheops (Caravan of Life) 07:53 10 Gateway 07:38 You can pre-order your copy here: https://www.datuniverse.com/product/datuv004-ra-to-sirius-3cd/ https://datuniverse.bandcamp.com/album/to-sirius

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... one of the best decisions of my life. I used to read this forum like it was a bible when I was 20ish. 15 years later I'm organizing parties in Finland and I play Goa whenever I get the chance. Fullon is SO much easier to mix, but making 1 hour to 1.5 hour sets of goatrance is like finding the genre all over again. Every single time. It feels like I'm creating stories whenever I make my sets. Every single track brings something new, they tell stories that have never been heard, they push sounds and melodies that never been explored before. They intricately have a soul that trancends the life we are so accustomed to. Sometimes it takes 10 hours of goddamn hard work to make just over an hour of goatrance to flow together (even with my insanely vast knowledge of the genre!), but every - damn - time, it's totally worth it. There's like 5 people in Finland putting together goatrance sets during the year and it's a total pleasure being one the very few going against the mainstream of hitech, fullon, forest (that has nothing to do with forest, the fuck is wrong with that genre?) and other minimal psytech types of sounds. Last weekend I had the upmost privledge being able to deliver goatrance that transforms from 140bpm danceable super rhymtic and hypnotic goatrance (M-Run, Radical Distortion) to 156bpm soft nitzhogoa (Goalien & Agneton) and everyone who was in the front row was banging their heads off!!! I seriously could not have believed I could bring these sounds to peoples ears that have never heard them - and get them to enjoy it! This music literally was a saving grace for me. I used to be a nobody. Goatrance was something I consumed alone, skateboarding, hanging around on forums. I still kinda am a nobody, but goatrance made me a person who gives people experiences they never experienced before - I'd imagine that counts for something more than just being an npc. Goatrance, as a genre, is a goddamn joy. The melodies, the stories. People who make, play and consume goa, I've found, are the best type of people. The one's that have the capacity to ask more, the one's that think. The one's that care. Last weekend I had an older couple come up to me that my set from the weekend before was the best.. I was not sure what I heard so I asked them "this one, or the other one?", they answered "BOTH". ❤

Hello everyone, first post here. Hope everyone is having a good weekend. I've been looking for 130ish 90s or early 2K goa/psytrance/trance/prog trance stuffs. Possibly records. Possibly no upbeat or riding basslines (typical of late 2K psytrance) or too minimal influences (typical of scandinavian prog trance) Absolutely love these: Love how deep this one is Love the melody here and the acid bassline The long now If perfection was a thing, it would be the B2 side of this beauty I'd love some help, thank you

Hey Odeca, there's obviously plenty of that sound you seek BUT a huge chunk of it is released under techno/trance/progressive labels and could prove to be a bit more challenging to find. I thought these two recorded dj mixes I did eh... 12 years ago? might have something up your alley. The mixing is technically just shit... but this is for educational purposes 😅

@acid being Absolutely love this track. Thank you! What a voyage. I feel like with slow goa or trance you can really enjoy the details and get carried somewhere, plus it works really well in any dancefloor, while with goa in general being faster it's only for a very specific type of crowd, and yeah....Anxiety plays a big factor... I'm mostly looking for 90s stuffs only because they are more likely to be on Vinyl rather than digital, no other reason in particualr @Prana4ever I think you hit the nail! Very interesting track this one from Tim Schuldt, it's as if GOA and EBM had a baby. Crazy... The other tracks are good too! I think the best way to put it is what I'm looking for are other generes heavly influenced by goa or trance...or the other way around. Something that is Goa but not quite, not sure if that makes sense. @DoktorG I like these, but I'm also looking for something that I can propone to a crowd and make them sweat, if that makes any sense But yeah, that Encens - Morphic Resonance its wonderful Another good example is Andreas Kruger (Der Dritte Raum - DR.DNA) Some of his 90s work is quite nice and clearly has a goa-trance influence of some sort.

Thank you for posting this! It is a great coincidence because I have also been looking for Goa of around 130 bpm this last week or two and honestly not finding much. Almost all Goa is faster than that and then psychill and psybient are normally quite a bit slower. It is of particular interest to me as I learn to make Goa trance as the track I am currently working on is at 131 bpm. I was tempted to try and make the beat a bit faster to conform more to what listeners seem to expect from Goa, but then my melodies don't work so it will stay at this speed I think. I will have a listen to these other tracks as they may help my inspiration. I too generally enjoy my trance on the slower side these days. A very high bpm does not often play well with anxiety.

Oh, sorry =) It's up to you to find out ^^

That's awkward. 😅It appeared in my Spotify release as a new release, didn't think twice to double check if it was already released. Lesson learned. Thought it sounded familiar. It's still a boring release 16 years later. 😁

Happy Birthday Psynews!!! I started posting here when I was 14!!! 36 now At that time I started chatting with Sherlockalien and met up with him the following summer, we married 3 years later 😄 Psynews indeed was (and hopefully still is) capable of connecting people are any of the old members still active? What happened to Feathers 😁 Jeeee we all had some good laughs.. amazing really that this is still up 👌🏻 Congrats!!!!

I've always wanted to know.. Where does one source such majestic vocals 🤐

You should check out Xenomorph - Totalitarian Democracy.

For me I think it has to be Snakey Shaker. Other tracks like Deranger have more going on but the simple yet beautiful and urgent acid lines of Snakey Shaker are surely what you get when you distill Simon's talent into its purest, most concentrated form. That square wavey sounding choir of synthesized voices is so cool as well! It helps that I had not really heard any Goa trance (with the possible exception of a B side released under Paul Oakenfold's Perfecto Allstarz moniker) before buying Lone Deranger on sight, so the second track was by far the hardest, trippiest thing I had ever heard and left a lasting impression. After that, I would probably say Horrogram for the great melody, followed by Deranger and LSD.

One of the very few to do it right constantly. Even the weak tracks would usually be the better ones on compilations.

Probably ‘The Lone Deranger’ …

Good review @acid being I have my own bias and that's the cleanliness of the mix and the quality of the sounds. I have a habit of ranking this higher than the actual music sometimes. For example, Wormhole. To me that sounds incredible from a sound design standpoint while the music is great. Anyway, thanks for the great review 😊 As far as his music is concerned no matter the quality I'd say the following is his best Birds lingva franca Amnesia reaction Rotate to vibrate ze remix And his best one: perpetually delayed voyage. This is where the quality fully meets the music. Look forward to you listening to them, as there's much to explore of filteria just like there's much to explore with ap and Simon.

"For me the really good bits are when he goes more ambient / downtempo and lets the music breathe a little... but I honestly have to say that for most of it I don't get that really magic feeling that I get with older Goa or something like RA...It might be something to do with the mastering or just Filteria sliding back into his tendencies for a relentlessly constant level of energy in a track." Tend to agree: Filteria is wonderful in small doses, but the manic layerism in track after track becomes monodimensional, relentless, and tiring after a while, unless you are in that manic body/headspace I guess...

Psynews-25 🐈 https://dropout-productions.bandcamp.com/track/ocelot-happy-birthday

Oh wow, I didn't even realize. Happy 25 years Psynews! I'm arriving late. This is wonderful! Mountains of excellent information, from albums and songs to so much more. I own and am aware of HUNDREDS of so many great / excellent albums thanks to this website! So inspirational and life-changing. Many sites don't last this long. Shout out to the community, Mars, Joske, and all of you / us - the WE that keep it alive. Thanks for sharing this positive milestone!

25 years but not going strong. I try to contribute regularly, but there are seldom any replies. We need to ramp up. Let's make 2025 a good year for psynews.

I can confirm that the Hallucinogen singles box set is indeed superlative quality. It is well remastered and repressed and the box is high quality and beautiful. The mastering is more uniform than the original 12s, which were highly variable. Recommended.

Hallucinogen singles still available for those who thought missed out, scalpers having a field day for those who thought was only preorder can't say weren't warned, if sitting on fence you don't want to miss out on this https://hallucinogenmusic.bandcamp.com/album/the-singles-remastered

Filteria/Cosmosis' Ultravibe album is on repeat at the moment, god damn that is incredible. Surely we need a review thread for it soon!

And we love to do some more (hopefully) Thanks, it makes us and the artist happy that even after so many years it is still standing: means a lot (quality wise). ...and that is what we still keep aiming for @ cronomi : albums that can last the time!

Happy to read 'negative' critics too and i exactly know what you think! But i already stated that i was focused towards modern sound. I didn't want to recycle old sound so i choosed something 'new', something you don't have much in Goa these days - clean production. Just like Morphic Resonance leaves his signature trough darkish and crazy sounds, Crossing Mind trough melancholic melodies, mine signature is 'my production'. But when you compare bass or melodies to rest of Goa trance is not much different, it's just more EQed, compressed and sidechined - modern As you noted i need music theory and yes i have 0, everything i make i make by ear and i was never attracted to study it while im 'addicted' to mixing. To be honest i had total freedom while making it and i am super happy because that. I expressed myself at present time and there is nothing better than that - full freedom and no rules or limitations for your creations. Every single little sound and noise was by my wish. And that's my vision of Goa trance these day. These days i got so many msgs, hourly and most of them are about modern sound. People are happy that they have 'compromise' between old and new sound. And yes, dancefloor exploding non stop and i was shocked to see that, i didn't expected such thing. I am trully happy because all of this but i am really sorry you are disapointed. As they say, you can't satisfy everyone Hopefuly you will enjoy some future releases, there will be few more old sounding tracks. Thank you for feedback!

In fact when I stopped overthinking this I started actually finishing my tracks. Before that it was an endless recursion loop of "this is not good enough, that it not thought-out enough". My first completed psytrance track took me more than a year to finish (If I discount my another poorly mixed half-assed effort which has been finished and self-mastered when I was dead drunk but was surprizingly liked by some people here). I still don't consider myself good enough and sometimes i feel that my next track sounds worse than the one I've made right before that - this used to frustrate the hell of me but I now stopped bothering about this, it is counterproductive.

That's very true! Some other stuff, that always bothered me: - the transitions always needed to be smooth, e.g. the new parts couldn't just enter abruptly, they somehow had to be 'announced' or 'signalled' which obviously is great for flow, but at the same time undermines the energy and surprise factor of the track, not to mention it's challenging technically, - I always somehow felt and required from myself that my next track needs to be 'better' than the last one - longer, more sounds, more complex, more emotional or weird, etc. which is destructive for a creative process, because in reality the quality of your output (and to be frank, your assessment of your work) is changing over time and even between the days, so it's practically impossible to be 'better' all the time - this results in quickly scrapping off the ideas that were good, but 'not good enough' for the track to be better, - time - there's always to little of it, be it because of family & work commitments, or simply because people need to sleep - who ever thought this was a good idea!?!!

When I started making electronic music almost 10 years ago i used Reason 3 and didn't have problems with that. Then there was a break for a few years where I started using ableton every once in a while. I struggeled using that DAW in general to that time because i never constantly used it. By that time i always had a lot of unfinished loops and never finished anything. Then 4 years ago I had a lot of free time and suddenly finished one track. That was the point from where i was able to finished one track after another. Here is how I work now: I always start with a kick, bassline and snare loop. Then start experimenting around with synth, loops and crazy effect chains to get something nice and interesting. So I end up with maybe a 1-4 or 8 bar loop i really like. Once I have that I often create a simple intro or build up before it. This gives me the right feeling of how this loop will sound in a complete track. By having this i already have a few elements i can play with. I take these and change them to get the next few bar. What really helps then is closing your eyes and listen to what you've got so far. Imagine you are standing on the dancefloor having a lot of fun enjoying the music and dancing and now try to figure out what you would like to happen in the music in this situation. Do you want it to become stronger, more loaded with sounds or do feel that it's time to go down a bit and get more emotional or maybe it's already time for a break? Of course you can change everything afterwards. i.e. on my latest project i started with a great bassline and a pretty nice drop. This part is now located in the end of the track. mixing and making everything sound good is something i do on the fly. Of course when the track is almost done I start to polish things here and there, sometime for hours. changing some sounds because they are rythmically good but just don't work in the whole mix. compressing, thinking about my stereo field and so on. I do these already while working creativly bot i redo this again and again in the process and especially in the end.

of course it was more work back then, but i rather appreciate the finished piece of music than the amount of work put into it. no sane person is going to say "lame, he's modded his 303 with a midi input and doesn't use the built in sequencer that's a pain in the ass to work with". and i don't care about how many microedits some psycore artist did to achieve his fx, i still don't like the music. my opinion depends on how it sounds.

Depends. I was born in 1991, discovered goa in 2004, first goa party in 2010. In Serbia we didn't have goa parties until we started doing some parties last september, since then goa became loved and wanted here and now we have 3-4 parties every month and more and more people engaded to scene. For me golden ages are now! 1) Remaster / rerelease - like now so in 90s masterings were different, some really bad which can destroy release. With good new mastering you can give life to some stuff. And then obviously price... lets take Asia 2001 as example - same mastering, almost original cover art and just for 10-15 euro instead of 50-100!!! 2) If goa was founded when new school started it would be something new, but it was founded in 90s and too much artists made too much tracks. Goa have it's scales and styles, standards... ofcourse after 1000-5000 tracks what ever you make now will remind you on some track from past. I don't know what you expect, jazz saxofone or rap beats in goa? Personaly i prefer new school because is more groovy and agressive 3) Old artists made too much tracks - albums, eps, compilation tracks and ofcourse after doing it for sometime you will lose interests and ideas and want to do something different/new. And most of them probably live from music. Why should they make goa where is no money or really small amount when they can earn 2000-5000 euro per gig with fullon/prog? They will do what they like and they don't really care why few of us induviduals are not satisfied with their music these days lol I think you should live for these moments now. Looking back is not answer. It was 20 years ago and won't happen again. Today we have very different technology, music just like people evolved in something new, something different. Standards and demands are different. New people on the scene prefer new goa rather then old one. But if you don't enjoy what music become now find something different and enjoy it. Easiest thing is to sit behind your PC and complain, why not this why not that, that's not original, nah it's not 90s, this is plagiat music... we all have ideas how music should sound or be. Do it yourself, make your perfect music and show it to world, show how it should be and why. It's 2015, not 1995, time to move on

Hello my good Sir ! First of all, it is obvious that you need some hugs. Here is a picture of some kitties. I sincerely hope that it'll make you feel cheerrier. Now, you do have a committed a monstruous sin toward the Goa God ! You have lacked some faith ! May you be forgiven, o fool ! On a more serious basis, you base your thinking over a misconception. That conception is that this scene is only about old guys who gigged in the 90's, and that Newschool producers are all frustrated by that time. That is wrong. We are quite a few to be young here. In the scene, we have many people that are born between 1990 and 1995, and that haven't known the Golden days (I myself am 22). This scene is younger that you think. Of course there is ! You don't know this scene enough obviously. The Neo Goa scene is at the moment is the most creative niche within Psytrance these days. There are many examples, but i'll just tell you to listen to Kolovrat by Lunar Dawn. Give it a head, and you'll see how modern and creative they are. Also, I will confess something. I don't really dig Oldschool Goa. I love Newschool. It's more modern, less dusty, and in my view, Neo Goa is not the attempt to resurrect an old corpse, it is the ultimate developpement of modern psytrance. It's something fresh that brings more magic to the scene, and that gets more and more trendy. So, no obsession with Oldschool. Also, some artists do produce Oldschool style. They do it very well. Space Tribe and Dickster - Alien Sex Fiend OOOD Astral Projection - Mugen remix KURO, Masa, Matsuri The Muses Rapt - Human More generally, there's nothing wrong with keeping coming again and again to Oldschool. It's just like metal and rock music. There are classics that people never get tired to listen. Cheers !

I think this is a highly personal opinion... Chasing our youth? Well, to some extend if you are 30+ there is some form of nostalgia in your mind... but don't let that nostalgia close your mind! This will result in the typical blatant complaining about the good old times... I try to stay as open minded as possible and I am enjoying the music last 3 years much more as the 10 years before that! What sound dull or copying for you, can sound blisfull and original for others... I think lots of modern musicians managed to capture the vibe of the 90s and brought it to another level! Which was my dream when I was stuck in 2003 with progressive/Full On on EVERY party. I started partying in the 90s, and still, my best party/music experience ever was Samothraki of course and also Goa Balkan Fanatics last year... I felt 20, and had the shivers the whole time, danced untill I couldn't walk anymore! So I disagree, but hey, that's just my opinion

Eh it's still a highly relevant and an interesting tangent. I think it's totally crazy I didn't even think of people mastering for festivals or parties, but I guess that's because my music consumption is home listening 100% Personally I listen to so much music that I do notice the differences(Unless it's a trashy audio system, but then everything sounds equally shit regardless), it is a massive change whether a track is flat, sharp, bloomy, soft or whatever you want to throw in here. You don't even have to get technical about it, just the way it sounds is enough. And as said, newer equipment get more and more revealing as the years go by. On parties people will pay even less attention to these things because everything is loud regardless and the sound systems already colour the music pretty heavily(There's a saying everything sounds great in a party). At least to me, mastering can make and break a track as I automatically gravitate toward things that sound more enticing and pleasing rather than boring and flat and the production has a huge impact on how the bass sounds, how sharp or dull the highs are, how busy it sounds or how much breathing room the layers have. Homogeneity is also an issue I agree, not everything should sound the same, but for the sake of consistency for an album that's a different thing.. Now obviously people who do mostly notice these things are not the majority, but why does one have to always go for the lowest common denominator? This is why we have the loudness war in the first place. Musical quality is the most important one yes, but again if something sounds like it's been through hell like the tracks in my original post, then it doesn't matter, the tracks will be forgotten. a couple pages back I posted a comparison of D5 iron sun and it's remix, tell me you don't hear a difference with them. Or another album I find unfortunately lacking in audio department was M-Run, he had 2 tracks on Erta Alé mastered by Colin and they sounded much better than anything in the album. I still find the album brilliant in it's own right, musical-wise, but I do not go back to it as much as I'd want! And to note this is not directed at anyone in particular even if it might seem so, just talking general principles what kind of a change you can achieve just with how things sound.

Anything off the recent singles box set, sounding better than ever