mars

Nerso - Exploration of Infinity http://www.psyshop.com/shop/CDs/tes/tes1cd009.html

@Shpongled247 I agree. Reminds me of a party in Ibiza where the DJ was hidden in a tree Awesome videos too. But everyone is free to dance as he wants! Personnally I settle where the sound feels the best and don't move from there.

I just found this site which lists every music style based on Spotify data. http://www.furia.com/misc/genremaps/engenremap.html The more you go to the bottom, the more the music is organic, and on the contrary it's increasingly electronic as you get closer to the top. On the right are more atmospheric styles, and on the left are more loaded styles. And the fun thing here, is that you can listen to an extract when you clikc on a style...And if you click on Goatrance you get to listen to...AFGIN !!! source: http://www.addictivetips.com/web/every-noise-at-once-lets-you-listen-to-music-from-every-genre-there-is/

The first album of Xerox & Illumination is really great. The first Audialize too, and the first Optokoppler. Recently??? Well, nothing.

Fullon is not really boring unless you endure several hours of it straight. Dark is not that boring because there's always a lot of twists in the tracks. I'd say Y2K minimal was the most boring. Tripiatrik, Source Unknown, Etnica's Chrome period, that kind of shit. http://www.discogs.com/Source-Unknown-AM-Receiver/master/44471 http://www.discogs.com/Tripiatrik-Ess-Muss-Sein-Help-Us/release/76166 https://www.youtube.com/watch?v=GpTDbpddwn8

Not at all. I don't even own this album.

Actually we migrated to IPB in November 2005. It's suprising nobody noticed it for 8 years in a row...but possible.

Héhéhéhéhéhéhéhé...someone bumps this thread a few days ago, and yesterday.... Gangnia_-_It_Came_From_The_4th_Dimension-1997-MYCEL I didn't know this album at all. There's really good forgotten stuff out there

Oh I understand now, we're on opposite sides of "the means to an end". IMO both approaches are valid.

There are schools that can teach you properly sound enineering (SAE, Audio Institude) in your very own country. In your shoes I wouldn't ask on forums for truncated bits of information from mostly uneducated people; I would make the investment and go straight to the source where solid knowledge is given out. Or at least ask on dedicated forums. That's a choice I won't do: clearly, when you or us are about to get anything mastered we know the tracks by heart and know deep inside where the emphasis should be put, or in which areas the tracks shouldn't be insisting too much. So I trust my ears and heart and guts rather than equations and graphs and believe that if I cross the line I'll be biaised. Since artists and audience are happy too, I don't feel the need to dig deeper, so far. If you want a way of improvement I'll give you the only one I have: I always ask Tim Schuldt in which areas the tracks were weaker so I can inform the artists and they may find ways of enhancing their production. Who said there's a "label vs label" thingie? I said I abominated these rhetorical "dynamics" discussions. Seems you're more in defense mode than I am actually héhé Nah I'm pulling your leg. My position is the same all the way to the existence of the label itself. We created it to release the music we would have bought if we were regular listeners. For me it's all about feelings, nothing about rhetorics. 95% of what we release is fresh but if, for example...say...we want to reissue an old CD to enable people to enjoy some old glorious release like we do/did, we'll do that proudly too

Here we go again... you guys are a piece of work when it comes to mastering that almost holy word that's been so badly used on your forums: "dynamics". There's no point in answering these questions. I prefer to release music rather than pretend to be an expert at anything and "discuss" endlessly about it in a void attempt at filling empty spaces. In short: we work with a reliable sound engineer that, for the last ten years has succeeded in pleasing our artists, the audience and ourselves, that is not "coloring" the tracks after his own "paw", that has never failed us, never delayed us, never bullshitted us. Good work and peace of mind, which allows us to focus and spend more time on other aspects and other releases that are appealing us. Be sure that when we have more than 5-6 people not liking Suntrip's mastering, of course, we'll use another studio!

Pretty good! Frenetic music, feels weird to see KoxBox images on top of this music. Good visual nonetheless.

I remember watching it on the french TV when I was a teenager. Very interesting.

Phototropic kind of exploded, no ?

Anyone is free to submit a review, it would be published. But I think nobody wants to dive into anything related to that individual.

Except a very few exceptions, I can say Goa artists are friendly people. Filteria, Crossing Mind, Mindsphere, Artifact303, Nebula Meltdown, E-Mantra, Ka-Sol, RA, Afgin, Radical Distortion, Agneton, PharaOm, Imba, InnerSpace, Ethereal, Talpa, Ephedra (met them at various times since 2004) are all cool, down to earth people! Merr0w (met in 2008 and later) is a shy guy, but nice too Shakta (several times since 2007) is a wonderful guy full of energy! Moonweed (2010) was cool too. Psyside (several times in 2002) were the typical new french kids on the block also very energetic. Toï Doï (2002) was a relaxed and precise guy, who like things done in a friendly but stright way. Tim Schuldt (2003) is a nice person, with lots of hindsight, which contrasts with his physical features I had somewhat a bad experience with Dimension 5 (2007)...enough said. Gilbert/Martin Cooper from Asia 2001 (met first time in 2003 ?) also used to be a chilled dude I remember spending some a little time with Toirès in 1998, but I can't recall what we said. Also met Erez from Infected in 99, twice I think. Nice guy. Logic Bomb (2002) were very firendly geeky guys enjoying a lot what they were doing. The Delta (Marcus, Arne, Wayan, 2004) too. UX (Krys and RX, in 2009) were weird but nice to talk to. Power Source, Mystica, Sandman (2009) were super friendly as well. Roy from Shidapu (2010?) was of course extremely nice. Aes Dana, Mahiane, Solar Fields, Asura, Cell (met several times since 2003) are all cool guys. I met Shift in 2000 or 2001, a super crazy and casual guy. Spoke with Psychaos a loooong time ago, nice too. Tegma (2002?) were fantastically friendly although we didn't know each other at all. Virtuart (2003) was OK, pretty cautious about what he was saying I think. The Etnica guys are cool too (I met Max in 99, Maurizio in 2012) Stéphane from Bamboo Forest (2009), Jaïa (2005), Silicon Sound (2003), also very nice dudes Blue Planet Corp (2005), Har-El (2010?), Antares (2011) and Goasia (2008) were more "reserved" persons Lost Buddha (several times between 2007 and 2012) was kind of an ass licker and proved to be a complete idiot. Tetraktys (2004) was very chilled too, despite his super dark music Phatmatix (2006) sounded quite speedy. Gregh On Earth (2006) was chilled Chromatone (2006) was kind of distant but still nice. Ocelot (2006) sounded completely out of his mind, but I heard several times later that he was a nice guy. I probably met him on the wrong day... I was told I'd met Zoo-B in 2002, but I don't remember any of it Of course there's Colin OOOD too, friendly being his second nature as everyone knows Ah there is also Polaris, I met him before he made music, somewhere in 1997...silent dude. Same thing for one of the guys of Gangguru / COP (the tall blond one) met shortly in 2000. Nothing much to say.

+1 totally Electro Sun - Higher Than Ever, ahah what a joke.

Reading a Psynews thread can make you slip in another dimension. That's a fact.

Héhé I remember a guy in costume & suit, dancing like mad at a Rhakti Dei Festival in 2003 or 2005, that was fun. Anoebis told me that when he played in Tokyo, he saw people arriving in costume, changing to fluo clothes before dancing all night. Well, there's a few people living for the music, with dreadlocks, dressing in fluoro clothes like Anoebis, but they are rare. Thinking that the whole scene is like that is cliché. When you think about it, going to a festival such as Boom is quite a budget (plane, bus, entrance, food...) and a significant % of the visitors actually have degrees and serious jobs. That's my case, I dress like anybody, have an engineer degree, (used to) work for a big ass coporation...and yet (used to) go to festivals and run a Goa label on the side... The perfect example used to be Burning Man: MANY of the attendees actually worked in the Silicon Valley.

If we didn't have the Balkans, there would be much less interesting Psy music these days. Look at Ten Spins Around The Sun: 6 out of the 9 tracks of CD1 are from there! And 5 out of 8 tracks of CD2 too. +1, definitely

+1

NO email or soundcloud notification from Radi or Radish(2) ever reached our mailbox. THAT is the truth. Radi, when exactly did you supposedly send us that promo? What is that supposed to mean? It's a construction of the mind, a fallacy. If it refers to us, it's complete bullshit. If anyone is doing that, he's an idiot, and if anyone said we did that, I want his name so I can discuss the matter with him. +1 There we are... Radi you are misinterpreting what I said and I fear you will bounce on our statements again and again till the thread goes <kaboom>. We don't want fast music. We want good music. By our standards (human ones). And we also know, from the comments and sales of our previous releases, what people may expect from us. No more no less. Your music is right inbetween uptempo and downtempo, therefore it's hard to find a slot for it. That's all. Now if I can give you an advice, it's to: keep on producing please yourself That way you will progress, refine your style and your music will end up finding its public. Nevermind. I'm honnest, 80% of the music we receive is less good than Radi's. A lot of promos are made by people who don't stand a chance to get released - ever -. Here, the flow is okay, the melodies are good (not so original but that's fine enough), and the mixing is decent. Remains to see if Radi would be able to renew himself after a few tracks. When selecting a compil I have 4 folders: "Good", "Average", "Nope" and "Wrong style". If I found these tracks in my mailbox they would end up in the "Average" folder. Tracks ending up there are never eventually selected but they are respectable nonetheless. Then I would only focus on the "Good" folder, so that would be it. As a non-producer, I tend to be respectful to those who actually create something, as opposed to those who only criticize (no I'm not talking about you in particular, I have someone else in mind).

OK I listened and I have to say this is pretty good. One of the tracks really sound like old Dragonfly music. But I undertsand why it doesn't get any success with labels : Radi's music is low bpm, trippy, partly repetitive. And nowadays people want straight stuff, fast, lots of energy... Radi ought to keep on sending his music to labels like Ovnimoon or Goalogique, he could well have a chance!

Thanks for the huge work! I'm happy 4 Suntrip releases are in the top 10, a little disappointed Cosmic Dimension and Nebula Meltdown didn't make it, but BlackStarFinale, Trinodia and The Call of Goa really deserved to be near the top too. @Paul Eye: for me Androcell was the bast, but like in every election, it shows the consensus.

I like your answer Imba. I never got Radi's promo, so I cannot express any opinion. But if the track wasn't selected it that means there was a reason. The most common are : the flow, the melodies, the mixing. @Radi, PM me with some link, I'll tell you what I think. In the past, we promised to reply to everyone sending a promo, but after what happend in 2013 and the fact we got more and more promos, it became much harder to keep up. I tried to answer to those who'd written to us in person, but I scarcely did it with soundcloud notifications or FB wall posts. Though I listened to EVERYTHING at least for a few seconds. When we selected "Ten Spins Around the Sun", we had to chose 27 tracks out of nearly 500. 200 were total crap, 200 were average, and 100 were good enough (imo). So we had to make hard choices. Some artists we really liked were put aside because their track didn't match the compilation's "flow". We didn't select others because we knew the artist would cause problems (drugs, alcohol, behavior...) And overall, every label A&R has a particular taste. We might not select you, another label might. We're human, yet sovereign on our labels.