dhollmusik

yeah it kinda does. once you hit 40 things like a couple years ago is recent history

That's quite an expansive collection! Assuming you mean more than a 1000. Is that all only psy/goa & downtempo? All full-length CD albums or also including vinyl-singles? I thought I had a big collection: couple of hundred psy/goa cd's. I sort the comps via year with 95-97 and 05-07 being the most represented due to big love for old-school and darkpsy's golden age respectively. The albums I just sort via A-Z.

comps: 1) Distance to Goa 4 2) Goa Head 3 3) Pulse 5 albums: 1) Beyond the Infinite 2) Dancing Galaxy 3) Self-Oscillation

I did a mix set of vintage full-on back when it wasn't vintage, found it recently and uploaded for posterity. Don't remember most of the track-ID's so anyone who finds the set fun and knows who's who is welcome to feedback

CD2 of this release, it's a fun listen: https://www.discogs.com/Various-Alien-Airport-Episode-1-Paranormal-Activity/release/77837

I've always had a soft spot for this bargain-bin comp mainstay: Airborne - Speed. It has 400 views after 8 years online so deffo counts as not well known It's produced by one of those types who have a hundred aliases which they use to spam content on cheap comps. Normally the musik on such comps is substandard, but I would classify this one as very good...not among the classics or the greatest, but will fit nicely in a mix set amongst such:

I also got this recently. Not cheap but worth every penny. R.I.P. Zolod.

yeah, not fair on new school. To my ears, hardware-based electronic dance musik from mid-90's to early-00's sounds superior to DAW/VST efforts from today. I would agree late-80's/early-90's sound dated & inferior tech-wise.

#wonthelottery 1) buy up all goa trance cd's. 2) give nearest & dearest some* 3) buy a house. ...in that order. *some cash, not goa cd's

I discovered Tromesa thanks to Distance for Goa 10, bought the CD back when it first came out...almost 20 years ago? frak me, where does the time go? Got their album soon after. Check out this killer track from Tromesa: it's unique. Jazz-psy? Fusion-goa? techhouse-freeform?

The Omnipresence comp is very good, what I would call morning psy but I guess you can also call it melodic full-on. Here's a Transdriver:

I've only heard Goblins & Green Star. Impressed by both.

from the Dune film: https://www.imdb.com/title/tt0087182/

This minimal drop from techno is pretty nice...from 2:40: the percussive hi-hats dropping with the kick/bass make it still danceable without feeling deflating or anti-climactic:

Good post, and I do indeed prefer that track to the one you linked before, nice disco stylings. The creator of that Psytrance-is-shit video is Loud, and his album is funnily enough listed on Discogs as being prog, and even has some minimal drops. But as you say it's possible to do minimal stuff well, like here from 6:30:

haha, well you may also have a point there. To each their own is the best response, to be fair

i agree with your observation: for instance techno already had the monopoly on the kick+bass+fx combi. It looks like what modern psy is doing is adding the build-up style of dubstep-drops (which were in vogue a few years ago) with the minimal-techno beat-drops which are still in fashion, then adding the odd 'psychedelic' factory-sound, or corny voice samples referencing drugs that no one takes anymore. I know I've linked this before, but it's still so bang-on:

jesus wept, that is far removed from psychedelic trance. Even the lazy Terence McKenna samples sound so out of place. And with the promo video highlighting only the photogenic girls...I don't wanna sound snobbish but it does all seem quite superficial, i.e. existing or occurring at or on the surface / appearing to be true or real [psychedelic] only until examined more closely. Psychedelic means to dissolve the mind while expanding the consciousness. In music (rock, trance etc) it usually signifies multi-layered elements, trippy otherworldy cosmic hypnotic vibes, progressive structures (progressive as in like prog-rock, for some reason 'progressive' means entirely the opposite in EDM, where it more denotes something minimal). I suppose that's what most people think psy-trance is now. Just like how progressive in electronic dance musik has come to mean the opposite of what it meant in rock, now we've got psychedelic coming to mean the opposite of what it meant at the advent of psychedelic goa trance. At the very least, it's interesting to observe.

indeed...prog is lost in the K-Hole

What is the minimal drop? Thanks to the timestamp-comments under the following video (I personally couldn't stomach watching more than a minute of this thing): 39:15 - holy shit 35:00 omg Why does the drop at 18:00 sound so amazing So what happens at these drops? A very digital-sounding pitch/filter-sweep upwards, sometimes lasting forever, and when finally the beat comes in at the drop, all we've got is a flat plastic-sounding kick and bass. It's such a massive deflater, yet people seem to love it. What happened to the drop signifying when things go all-out crazy? This trend of the minimal drop has long infested techno, and nowadays it's very dominant in mainstream psy. Why do people love it so? #iblamecocaine

the cd will arrive soon, if i can improve the sound with my studio racks i'll re-upload it on soundcloud as downloadable wav...assuming it's ok to do that from a rights-perspective. Ezel-Ebed is no more so i'm not sure who the rights-owners are. The youtube-bots don't flag anything either (the full comp is on youtube, doesn't seem to have any auto-track-id's).

Oh I missed these comments earlier. Yes, I think this explains why 'brickwall' mastering has become so ubiquitous in the digital-era. It can truly be stressful for those on mixer/engineer duties at parties if he's constantly battling different loudness and wild peaks. Even the impact of the kick can be very different. Back in the day this didn't bother us on the dancefloor so much, we even welcomed different kick-impacts, it changed the vibe (and change was good). I guess ravers nowadays want a more consistent experience, or at least the crews do It would be nice to have two CD/LP/digital-releases, like how Tim Schuldt did with FTANNG: one for big PA's (brickwall) and one for audio-philes for home listening (maximum DR). But that likely means extra costs, the mastering studio may treat this as two jobs for example. And if there were two versions: would it really significantly increase sales? ...looks like we're stuck with the brickwall.

Oh my...fine stuff! Great example of what can be done if the artist is brave enough: there's progression here, build-up, excitement, energy and euphoria at the climax. amazing what a key-change can do haha

Agree with all the criticism, bullet-pointed here for convenience: - no adventure in the composition, you've heard the first 2 minutes then you've heard it all already. - too many elements fighting for space, just sounds like a wall of sound. Even if you can fixate on something, it doesn't really take you anywhere. - the mixing/mastering makes the above issue even worse by squashing this space. How did it come to this? I blame these things specifically: 1) computer screens. The modern producer spends too much time in front of one. His senses are focussed on seeing, not hearing. Back when Goa was made on hardware, the producer only had tiny screens. He was working with an array of knobs, sliders and keys. The senses used were very tactile: combining hand-to-ear coordination rather than eye-to-ear. Would a guitarist play his instrument with more soul if he could play a software version? 2) the loudness wars. It's ruined a lot of music, not just Goa. Check this video out from 2006: it demonstrates how the loudness war ruined the seminal Dire Straits album, which originally came out in 1986 to demonstrate & promote optimal dynamic range from CD audio. Dynamic Range which has subsequently been crushed by cash-grabbing 'remasters'. 3) the drugs don't work anymore, or rather they've changed. There's less psychedelics in the scene, more narcotics (uppers/downers). 4) emphasing the kick: old-school often had low-frequency kickdrums with the envelope starting a little soft, which sat nicely in the mix, allowing the other elements centre-stage. New-school often has higher-frequency sharp-attack kicks, which have a harder presence and a higher volume, this doesn't encourage focus on the other elements (presuming the other elements are worth focussing on). I've tried a lot of modern goa, from different labels. The only artist who stands out so far is Astrancer, unfortunately his work has also suffered from the loudness wars. Ra's 9th is ok, but that samey metallic kick sure does get tiring. There's still a lot to try out, some highly-rated Suntrip CD's I haven't spun yet so hopefully I'll be taken on a better ride, but I had to turn off that Epoch Of The Terrans comp as it was just numbing to listen to. Putting on an old Goa Head directly after was truly soothing to the ears. More I think about it, the more I see Forest-Psy as the spiritual successor to old-school: tells trippy stories, weird surprising stuff can happen, decent quality control of CD releases with the loudness wars thankfully not being able to destroy all the elements (because the producers tend to mix their individual tracks with awareness of space). Some forest-psy pieces are works of art, just like some old-school, and will be enjoyed decades from now (just like any good music regardless of genre). Disclaimer: as I mentioned in another thread the above is from the perspective of home-listening. I understand and respect the argument that this new-school sound works well at big parties. I do still party myself, tho' rare when compared with my youngling days from late-90's/early-00's. The only recent festival gig which really got me dancing like old times was Goa Gil's monster-set at Ozora 2017. At least there's light in the dark...