mars

Dolmot told me we should have called for a Psynews meet up beforehand, and he was right, but we eventually bumped into one another randomly. I'm not sure we're amongst the coolest people in the world, we just try to make people happy (even though sometimes it's a tedious task). Anyway I'm very hHappy to have met several of you there! I had a blast too! The Portuguese crowd is amazing. The Belgians and the Serbians too as usual! The Greeks are kickass kind people! The Goa Guardians night alone was worth the money!! I danced so hard then that I ended up having a black toenail, blisters on the right foot and a busted left knee! Yet the rest of the festival went on like a charm. Days passed one after the other soooo fast. Lots of dancefloor time, a little on the Chill (Eat Static and Ree.K were just great) and some nice discussions with pretty much everyone pretty much everywhere (even whilst taking a bath in the lake). The only downside is, despite the fact this was clearly a retro fest, many oldschool artists couldn't resist to stick a few modern/fullon tracks in the middle of their sets. Maybe they're tired to be invited for the music they made 20+ years ago...still, people dance to it! Some guys really made my day: Man With No Name was just incredible as always, Indoor/Tandu/Oforia, Ray Castle, Power Source, Human Blue (that I heard from the Suntrip shop), Atmos, Anoebis, Draeke, Sunborn, Psychaos, Solitaire, Syb Unity Nettwerk, Battlke OF the Future Buddhas... I'm thankful my health has improved in the past coupleof years, else I wouldn't have been able to stand up so much on the dancefloor (no drugs for me you know). Oh yeah, I just turned 40 and I danced like attending ZNA was like my 20th birthday present! I uploaded a bunch of videos on Youtube, on the Suntrip Channel too and am currently sorting the 2000 pics I did there (must have swapped lenses 500 times along the way). I'll post them all somewhere soon.

How unfortunate Kristian didn't show up in yet another party, the ZNA 2017, THE event where all his indiegogo supporters were, and were set on asking for answers or refunds. Unfortunate, really. And sad. As far as the party went, Jean Borelli did the job and played some Elysium tracks. As for the supporters, I suppose they'll have to wait longer till they can kick some ass. Another solution would be to release that damn album and get it over with...

In General, like that ?

Hmm English is not our native language here and I think there is some sort of translation issue. I didn't undertsand Anu's sentence the way you did. I understood it, more or less as : "DJ Stevo is related to Neogoa, BGF and Neogoa are related both musically and culturally, BGF provides a lot of exposure, so Neogoa is looking in the other direction". A kind of silenced indulgence. Or some "esprit de corps" (group spirit) if you prefer. And who knows, maybe BGF will organize another event in the future, and maybe there will be new opportunities for those who remain indulgent. Disclaimer: @Richpa I'm not trying to put words into your mouth, I'm just trying to find a plausible clarification to Anu's statement. Though, having conduced my own poll, I was stunned to see the same pattern (silenced indulgence) through most of the HR, RS, MK, BH, ME, SI artists/people who attended... Imba, who's one of the only western Balkan artists who didn't attend, is the exception. Well I wasn't there, I was scared the hygiene conditions wouldn't be sufficient with regard to my condition (and from what I see they were really not) but thankfully (or not) I've seen it all from the inside. So I can definitely comment on it. Anoebis had been warning Stevo. We could see it coming from far away, that the festival was organised "on credit" and without sufficient focus/professionalism. We knew that many artists were only contacted once like "are you coming? ok great" with absolutely no further follow-up (fee, schedules, etc). I'm 40 and I've known this scene for 21 years, Anoebis is 35/18, and we've seen it before and we know what it means. This alone, is unacceptable. Though we were in a tricky situation: if we said that everything was badly fucked up, and then the crowd didn't come, we would have been held responsible for it. Also we have 604bookings which wasn't involved for these bookings, but will definitely be in the future even when we believe the promoter is trustable, and which is supposed to speak when it comes to Suntrip artists' bookings. So we resigned ourselves to adopt a sort of "wait and see" posture. With much desperation, believe me, as we may as well be accused of complicity in the mess' aftermath. And because of the lack of information, of the lack of promotion, of the rumours, we started to get them complaints from concerned people, who feared the festival would be a complete scam. Especially from Belgians which is a very tight scene and who believe Anoebis is an icon, pretty much involved in any goa party on the planet, especially if the main organizer is a Suntrip DJ. Complaints to Suntrip. Not BGF. Suntrip. That meant Suntrip's reputation, Anoebis reputation was starting to be stained because of the BGF organizational mess. That was a hard blow. And then we got these complants from the artists, who had understood they wouldn't be contacted again, had asked to be withdrawn long ago and were still on the lineup even after asking their removal; we got them these bloody complaints from artists who hadn't got their plane tickets, who were promised a "doing my best, will solve it tomorrow" until il was too late; or who did have their plane tickets but with typos on them and every typo was 50€ to correct, for which Stevo didn't want to pay of course, and whose fee, when there was one, would not even cover the update. We got these complants from artists who were asked ot pay half of their trip on their own. We got these complaints from artists who were somehow "kindly asked" to hitch hike with their gear. I would, maybe, be able to understand that using a mindset where I'd be convinced BGF would be a big spirutual communion where every attendee shall stop at nothing to make THE magic happen. Man, no! This period is over because artists get their money through gigs nowadays and they can't always lower their standards. And then, I was handed FB conversations screenshots from artists who asked for the bare minimum fee and infos and who were litterally insulted. What kind of promoters talk to the very people who make the music they're supposed to love and whom they book on their festival like that? Or what are they on? Shame. What Imba said earlier is a PALE depiction of what really happened behind the scenes. I'm so furious. Even though we had seen it all coming and we were receiving these complaints, we remained mostly silent because if we'd spoken out, we'd have become the insta-bad-guys who would have destroyed the audience's trust and who would have ruined the party. No way. Alerted by some artists, we finally asked 604bookings to pressure Stevo into publishing the "real" lineup for the sake of the audience; which he did, more or less. It was not long before the festival and some artists were still negociating to get their plane tickets fixed or the typos corrected, so even the updated lineup was very optimistic. And we shared the post because that was the only thing to do so people would see what they're really paid for. And yes, there were things to be read between the lines. In the end despite the chaos, despite only a fraction of the promised lineup, the last minute directions, the terrible hygiene conditions, the lack of supplies, the sound system issues, etc, the artists who were there did the extra mile and the crowd who was there lived it as some roots undergound party and it seems many had some good time. Yet... So damn true, and sad. Like I said, this scene can only survive through gigs, hence their professionalization. Some might argue that's because we're no longer authentic or some bullshit like that, I'll say you're 10+ years behind, and blind to the predicament streaming platforms have put us into. So, in my view, what BGF did is treason. FYI we're preparing a statement to express Suntrip's point in the matter.

I think many promoters don't realize that they are at a crossroad where they MUST be/become more professional than ever. The money surrounding the scene is no longer driven by the releases, unfortunately. Streaming platforms and their economic model have changed the whole ecosystem. Gigs are the last mean through which artists can get a proper reward for their countless late-night hours of sonic manipulations. Promoters can no longer tell them "hey bro, come and hitch hike to my festival with your gear...btw don't forget your tent. Oh and we're a big family, right, no need to talk about a fee". Doing so they are killing the very scene they are pretending to promote. This is unacceptable. Booking pretty much every Goa artist out there is a real good initiative, but then promoters are compelled to the most absolute professionalism. And one cannot setup a festival on "hire purchase"... A part of the fees must be secured to build trust, flights need to be booked in advance when they're cheap, communication needs to be sustained with everyone, advertisement be done, etc. The BGF guys did not manage to build a momentum around their festival out of stubbornness and lack of communication, so they obviously didn't get enough trust from the Goa fans, hence didn't have enough presales that could provide the money to fulfill their promises to the artists and the crowd. This, people, is some sort of Pronzi scheme. A scam. Yeah well, and even if that happens out of bad luck, then the promoter needs to be transparent to the artists (so they no longer block a potential date for a real gig) and to the people (so they know what to expect). What they got instead was silence, false promises (till the last day), lies, lack of professionalism, which are the complete opposite of what we should all strive to work out so our scene leaves its old demons behind. I completely concur with what you wrote, and this is all the more infuriating as, in the end, the hardcore audience had a blast. If only they'd known they were also trampling the very thing they loved...

The Y-Salem Remix does work well on dacefloors and we might as well have released it as part of our EP, to put it that way. The production is super good and the remix is different enough from the original that it has its own personality. The original mix is here for those who didn't it. Oh yeah we'd like to hear NEW tracks/album from AP after a couple of years of remixes, but maybe that's how they figured they'd get back in the saddle. And it works : we can benefit from modern and well done remixes in the meantime.

Ubar Tmar - Ubarpedia, I suppose https://www.discogs.com/Ubartmar-Ubarpedia/release/3718780

@Mahasamatman yes go ahead and come! If it's your first festival abroad, I don't think it's a problem travelling alone to Transylvaliens. The only piece of advice I can give is to prepare for contingencies. For example, there's a lot of transportation, so don't take plane tickets with too tight schedules. Just take your time and enjoy. As for Connection, same thing. It's in a pretty remote place in the countryside and getting there is already a journey. There's no gsm coverage at the festival either, so smsing your friends to find them is not even possible Apart from that it's an awesome festival! Just come and say hello! PS: Yes those arists like Cosmosis are asked to do retro sets at Connection usually.

Rest In Peace man. The founder of psynews's nickname was taken after the "Children" song...

Six months have passed, it's reality check time: The album wasn't released, no further updates on indiegogo or anywhere else. See you in six months.

If I'm not mistaken he doesn't physically play in gigs. So you're out of luck.

Note: This interview was initially published in2015 by goatrance.hu which has now disappeared. Draeke updated his answers and submitted to Psynews.org for preservation purposes. "On A Quest For Old-School Goa – DAT Records" DJ Draeke, the founder of DAT Records has long been working on preserving the rare gems of old-school Goa tracks for the next generation of fans. We have made an interview with him on the history of the label so far and on his most recent release. Goatrance.hu: You are renown amongst old-school Goa fans and DJ-s for having probably the largest collection of Trance records. Your collection on Discogs contains over 6000 items. Where does your passion for Goa Trance come from? How did you fell in love with this music? Draeke: Hello Hungary! First of all thanks for this interview, I am really happy and honoured to be able to answer for your website and your scene. I have to tell you a little story to answer to your question. In the 90s I wasn’t so expert in this genre of music and my only contacts with the Trance world occurred by listening to the radio and going clubbing. I did travel a lot back then but yet I never had discovered real goa trance music until the summer of ’97 when a friend of mine copied me a tape cassette of rock guitar heroes (as we both were playing the guitar back then) and at the end of this tape he placed a track by Quatermass, a UK goa project. After repeated listening to that track (Kali), I asked to my friend where he got this track and he handed me a copy of VA – Pulse, This Is Psychedelic Trance (1996). I then asked to a few other friends and with the help of the internet a new world appeared in front of me. I started to collect like crazy, and in those years was relatively easy to find rare discs. I profoundly fell in love with this kind of music, especially when in 2000 I moved to London and it was like being in paradise. Hundreds of hours spent in records stores there helped to build the core of my collection. Since then I have never stopped buying records and I now own what I like to call my little Goa Trance museum on the history of Trance music in all its forms. I know about some other great collectors out there too, and even of some that don’t have their collection listed on Discogs, such as a Texan friend that probably has as much as me. Goatrance.hu: How did the idea of forming DAT Records came to you? Draeke: Besides buying released music, I also got quite interested by the fact that there were people having some tracks that had not been released, and thanks to the Internet I started to make my first contacts during the end of the 90s, thus starting my quest for unreleased music. Thanks to some fortunate coincidences, such as meeting with band members of Etnica and Lotus Omega, both from Milan, I started to create more connections and friendships. But it was only thanks to another channel, the 604 mailing list, that I met some incredible people, who shared with me special music. I have to thanks the first two people who believed in me, Gabriel of Altar Records and Mark Ainley (DJ Solitare – DAT Records). They had been in touch with the Goa world much earlier than me and had a lot of incredible music. So fast forward to 2008, by then I had collected so many unreleased tracks from DAT tapes that I felt it was about time to start a label to release those incredible tracks and I think that I was literally the first to press a CD with music made in the 90s, during the late 00s. That is where the idea came from, and of course the name had to be DAT Records, the tapes I had collected for 10 years at the time when I started my label, a name chosen as a tribute to their magical sound. Goatrance.hu: Your first release of the Crop Circles album ‘Tetrahedron’ has created quite a buzz in the scene. How did this collection of rare old gems come together? Draeke: I did collect a lot of DAT tapes but there was one mysterious release that was very close to me, the mystical Crop Circles album. I knew of its existence through my good friend Mark but nobody seemed to have a DAT tape of it, I could only find a track here and a track there. Most of the traders I met online only had mp3s of it, but the real deal was nowhere to be found. This music was so exclusive and secret, that not many had it or copied it for anyone. Obviously the first search was in London circles and I went to pay a visit to the Auracle Records label. When I went there in 2000, the owner of the label Tom was not there, but I met his mother who gave me his cell phone number. When I phoned him, he was really difficult to deal with and he did not want to help at all. He shared a bit of the story behind the album and his label and mentioned he had lost a lot of money since the album had been paid for in full but never released for frivolous reasons and ultimately denied to give me a copy of it. Then I spoke to the band members, because I had to obtain an authorization to release their music. The first step was to meet with Lotus Omega, they were in Milan and able to help with a couple of the tracks that they produced, but they did not have the whole album. Then I met with Andrea and Carlo, ex-members of Etnica and they agreed to the release but had no tracks of the project either, since they had almost no DAT tapes in their hands. So finally, I had to go to Ibiza and visit Etnica in their studio. At first a bit suspicious, they heard the full story and saw how far I went to get their music and valued the fact that it was since 1998 that I was looking for their album. So they agreed and Max opened his sacred vault and nothing less than 350 DAT tapes were to be found there, his entire collection from the 90s. At that moment the world stopped before me and I was crying for joy, I had worked for 10 years and in that moment a dream came true. So in September 2008 I got all the album tracks in original quality, convinced all the 6 members to allow me to release the album and the only thing left to do was to open a label! However in the meantime, the word spread and a little bird reported to someone in the UK scene that the Crop Circles was going to be released… So I contacted some friends in London and I came to the understanding that a friend of Tom of Auracle wanted to beat me and release it, without even asking an authorization to the band because the music had been paid 10 years ago and claimed to have a signed contract. I felt the pressure of this happening but decided not to care about it and went on with passion with my quest. After so long *I* had to release it. So I quickly opened my label, found a great graphic designer, Miro Moric and a pressing plant that would make gold layered CDs to create my crown jewel release. It cost me a fortune to make this release, but what a blast it was!! I remember the first time I heard it, finally pressed on an original CD and before everyone else on my stereo in Milan. I felt my life was complete, I had achieved something that was unimaginable for most, or dare to say anyone, at the time. Goatrance.hu: Your next release was yet another classic name, Blue Planet Corporation. ‘A Blueprint For Survival’ had 2 CDs full of rare old releases never before complied on an album. How did you decide on putting those tracks out and how did the release come to life? Draeke: This double CD was a very different project. You have to know that soon after I successfully released the Crop Circles album, a long time collector and friend came to me and said, look, I have been working for a couple of years on this project but I am now about to give up and close my label, and since I see you have just released some old music, maybe it would be interesting for you to release this. So I jumped on this wagon as quickly as possible and continued his work. I still have to thank PKS for all the work he did initially on the project, but I was also left with half-mastered tracks (some of which contained bad errors) and unfinished graphics, so I had to contact other people and finish the release on my own. I am very happy to have released that compilation, it was really necessary to complete this project and have it out, for the preservation of this beautiful music. Speaking of Blue Planet I also caress the idea of repressing his original album, and I have already spoken to Gabriel about this, but it needs a little more time. Goatrance.hu: You not only concentrate on old-school acts but you have also released the new French talent Crossing Mind’s debut album ‘The Holographic Paradigm’. How did you discover him and his music? Are you constantly on the lookout for new talents? Draeke: The Crossing Mind album was an experiment. I have to tell you that for me his music was not new, but old, and comparable to the other unreleased tracks that I had. The tracks that I published on his first album were all composed between 1998 and 2001. I had them as mp3 files and I was searching for the man that was behind this mysterious project. Nobody knew who Crossing Mind was. It was a difficult research and finally, after purchasing an obscure compilation from Japan where he had a track released I could discover what his real name was. Then, thanks to a French friend, I could get in touch with him. Luckily he was still interested, after many years, in releasing his old music. Together we selected the best tracks he had from the early years and DAT published the album. The music is very complex and psychedelic but a great part of my followers and supporters told me the production quality of the tracks was not on par with my previous releases. I still believe I did good in releasing his album because I gave him a chance and with that he could restart his career, perform live, create and release more music and so I am happy for him and for his career in this music scene. Goatrance.hu: Your next release was again a double disc with the live set and unreleased tracks from the legendary Etnica. This time however, it was not only released as a CD but also on vinyl. How difficult it is to release Goa Trance on vinyl in today’s mp3 dominated world? Draeke: This is a very interesting question. The Etnica vinyl was another adventure, not as hard as releasing the Crop Circles, but almost. I already had the authorization of the band but I knew releasing a vinyl cost so much money and I had to look for some help. So I thought, well, why not a crowd-funding project? I knew my brother was daily using Kickstarter and Indiegogo and he explained me how people could advertise their ideas and get help from others around the world to get financed. And so did I! I started a massive campaign online to promote my idea and thankfully, even if I did not reach my goal, I could get the support from a lot of people that at that point liked my vision and work. I reached half the funds I needed after one month and decided to invest the rest out of my pockets, risking it. But I was rewarded. I sold so far around 200 of the 300 copies produced and got almost all my money back, but to anyone who wants to try to release vinyl’s, your music has to be THAT good if you want to get your money back. Pressing a vinyl album costs easily over 5000 Euro, so be sure of what you want to press on it… I also have to tell to anyone who wants to release a vinyl that there are insane waiting times with pressing plants. Everyone realized it is a profitable business and the few existing plants make you wait a minimum of 6 months now, to press your records!! So I hardly recommend this to anyone in the goa trance scene. Goatrance.hu: You have also came up with a great incentive for charity in the form of your compilation series ‘Mind Rewind’. How did you come up with the idea? Draeke: The ‘Mind Rewind’ series started as a celebrative compilation for the Discogs group of discussion named “Goa / Psy-Trance” that was founded in 2005. After exactly 5 years discussing Goa Trance someone said it would be cool to celebrate this with a compilation, as most of the people there are CD collectors we decided we could try to gather music from different artists to make it happen. Then I stepped in and said that my label could be used, as it seemed a very nice project but I wanted to make it something unique and gave the idea of creating a pro-charity compilation. For some time we discussed this and the original 30 contributors gave some ideas and inputs. And so we started to gather the funds to make it happen. Since we were releasing Goa Trance I started to look for charities in Goa and it seemed for me the best possible idea to find something to help people in need over there, so when I saw Children Walking Tall, helping kids getting a basic education, I was moved and thought it would be the best choice. Artists and contributors were happy about this decision, To be extra sure about the organization I asked to a friend in India to visit the organization and verify that the people were serious and helping kids in the best possible way, and when he confirmed everything was good, we proceeded. I was so happy to have donated around 5000 Pounds to them in October 2011 with the almost immediate selling out and it felt so great to have helped some less fortunate kids. We decided to have a bi-yearly compilation as it takes time to make things right and in 2013 we released volume 2, in 2016 we released volume 3, both quite successful and once again all the proceedings were donated to the same organization that is now called MangoTreeGoa, because they re-located and have more space for the kids. Have a look here: http://www.mangotreegoa.org/ Last year we finally asked to all the artists involved in volume one if we could repress it because it was sold out and they all agreed, so we did it, also to kill the market of people selling the first compilation for crazy collectors’ prices. So right now both volumes are available and it would be so great if people could buy them, as we donate money to the charity every six months. You can read about the total donation so far here: http://www.mangotreegoa.org/NewsIndex_2016Q1.htm Goatrance.hu: After a number of EP-s and another great compilation (‘Analog Dreams’) you are coming out with what’s probably the most anticipated album of the year, the re-release of Doof’s classic ‘Let’s Turn On’. How did you manage to convince Nick Barber to get back into Trance once again after 15 years? Draeke: “Nick Doof is an incredible person, but who really helped me realize this, and the one you really have to thank is Mark Ainley. They would see each other at parties and were very friendly with each other, so that was the focal point. I tried to contact Nick back in 2008, 2009 and 2010 and never got any answer, but through Mark it was different.” He first approached Nick in 2011 and told him about the pro-charity compilation that we were doing at the time, Mind Rewind (now repressed for whoever has missed it), and he was interested. Because of the nature of the compilation, he agreed to donate one track, an alternate mix of Mars Needs Women that Mark already had in his DAT tapes and that used to play in his DJ sets. Nick agreed. It was a miracle and I was overwhelmed with joy because of this. After that, Zion604 contacted Nick and he also licensed to them a previously released track that was only available on vinyl. I found only logical to think that maybe the time had come to see if more music could be released from this mystical project. In 2013 I said to Mark, man we REALLY have to ask Nick for the “Destination Bom (Live Mix)” that you heard back in 1996. Mark was always talking about this track as being an incredible killer track but nobody on earth seemed to have a copy of this, and trust me, by 2013 I already had ripped over 500 DAT tapes myself, so there’s that, but yet no traces of this mystery track. So we thought we had to ask. Nick said he would look in his shrine of tapes and there it was, the forgotten lost mix. He sent it to us and we could not believe it, it was as magical as Mark remembered it. I thanked Nick and asked (a bit insistently) if he had more remixes/alternate/live mixes around, and he searched for more. When he started to send us more tracks I realized we almost had an entire version of the “Let’s Turn On” album that was different from the original! Knowing that the old TIP CD was rare to be found and that the repress of 2000 contained a pressing error, I thought it would only be logical to re-issue the original album together with the remix/alternate album. But Nick said he certainly did not have any other version for all the tracks and especially of “Angelina”. I said to Nick that I knew that back then every producer recorded different mixes of the same track, so to excuse me but that I could not believe he did not have another session/mix of it. So he got the master DAT tape of Angelina and listened to it from the beginning to the end, and there it was, not even mentioned on the DAT cover, an alternate mix of Angelina! My reward was there, the next day, awaiting on a wetransfer link, a track that as Nick said, nobody has ever heard because he did not even remember making it in the first place! My mission was complete, we had alternate versions for all the tracks. And so I started to work actively on the album. This whole process happened in 2013 but because so many things that happened in the meantime, including the production of the triple vinyl, the album got delayed, but fear not, we are almost there now! (and now it is actually released – psymon) Goatrance.hu: How do you see the old-school Goa Trance scene today in Italy and around the world? Draeke: In Italy? Non-existent. I know of a few people who listen to old-school tracks but beside me, nobody really DJs it here as far as I know, and almost nobody ever did in these last 15 years. I was very passionate in the early 2000s and wanted to make old-school parties in Italy but people smiled to me and said: playing old music? You are crazy, nobody would come to your parties!! So I didn’t do anything as I didn’t really like most of the party people that I met in my country, with the sole exception of the Contact Trance Family from Milan that is made of good people. I also don’t consider myself an Italian, but more of a citizen of the world having lived in the last 10 years mostly abroad in different countries. The old-school scene, that I think I have helped to re-create together with Suntrip is now mostly active in Belgium, Israel, Switzerland, Portugal, Spain, UK, Brazil and Germany. I have heard that there are events of this kind of music also in Hungary, Serbia, Croatia, Bulgaria, Romania, Russia and Ukraine, as I know there are a lot of producers from these countries and I’d be happy to see it someday. I also want say that is very interesting to see how after DAT Records opened, other people launched their label focusing on the old-school sound, but I tend to think that I was the first with Suntrip. Goatrance.hu: What were your most memorable gigs from recent years? Draeke: In recent years I was not very active. I DJed a lot during the years 1998-2003 but after seeing that nobody wanted to hear old-school in those years, I stopped promoting this sound as it was pointless and there were no old-school parties near me anyway. But after launching my label I was finally booked much more and I went to play in Belgium many times. Also this year, being my 20th anniversary of DJing I have been invited to play at Old is Gold XX in Belgium, at the Balkan Goa Festival in Croatia in July and at the ZNA Festival in Portugal in August, a real honour!! My most memorable party is without any doubt the Fractal Gate outdoor party in Belgium, year 2011, THAT, was an incredible experience. As a final note I want to add that I don’t do or ever did any psychedelic drug, and it is for me an absolute love just for the music. I do not support the the use of drugs, I’d rather spend my free time with a lovely girl. Goatrance.hu: What are your plans for your next release? Is it going to be another old-school name or maybe a new talent? Draeke: I am about to release the Morphic Resonance – Trip to the Stars EP that features the remixes of Etnica, Pleiadians and Crop Circles classic tracks with the approval and support of the band and after that I will reiusse a 3CD of Etnica – Juggeling Alchemists Under The Black Light and much more! See you and thanks for the interview J

No, there is one, made by Time Schuldt, and it will be the same for both the CD and digital release. It's also the mastering you'll find on our site and on soundcloud, Youtube... The extracts you'll hear on Arabesque and on shops such as Psyshop, are mastered too, but K.O.B./Filteria dit them. Explanation: We wanted to release on May 13th, the same day as the OldIsGold XX party. And we need to submit shop-extracts 5 weeks in advance, whereas CD manufacturing only takes 3 weeks. At -5w, Tim Schuldt was busy with some festival, so we needed to have another mastering for the shop extracts, and Jannis did them. Then when Tim came back, we got our "usual"/official master which was used for the CD/digital release. Simple as that.

Long extracts are online!! http://suntriprecords.com/release/cat/SUNCD46/

It's from the mp3.com era...ouch! As far as I know there is no archive of this site's mp3's (which were in 128kbps btw). The best, imo, is to ask the artist himself, if he agrees : https://www.facebook.com/evan.bartholomew

I did Connection three times already. Wonderful experience. Last year the camping area was pretty crowded though, and not enough toilets. Apart from that the dancefloor experience was fantastic. There's another retro festival you should check: ZNA: http://www.znagathering.com/

Just FYI the extracts that will be posted on Arabesque and some shops are not the "official" mastering.

Extracts! http://suntriprecords.com/release/cat/SUNCD45/

I have to say, I expected this album because Martian Arts seems to be an authentic music lover, his performances are cool and he's also a long time visitor of Psynews Well, this album is very enjoyable! It's not following full-power-banging recipe used by so many other artists. It's not knocking you off.... ...It is breathing That's no suprise TIP released it. Very intelligent psytrance. Very good collabs too. Good job Martian Arts !!!

NICCEEEE !!! Thanks for all the work. Thanks for those talented artists for all this great music !

I'd recommend a festival where there's a solid chill stage, so she can take a break from the kick-bass-kick-bass chaos.

No, I was covered by my Belgian private health insurance (except the excess fees of course), but got the invoices nonetheless. I think they do it to give an idea of how much the insurance is "helping", so you feel grateful. I quickly checked the Dutch healthcare law (ZVW), there's a mix of public/private healthcare policies, pretty similar to Belgium's, and I think it's better for Dutch national to go and be cured in the Netherlands. There is another possibility: the treatments Bansi has to go through are very specific and I'm not sure there's the necessary hospital units in Ibiza. In Barecelona, certainly, but then, you have a to make a choice: be lonely in Barcelona, or be be near your family in the Netherlands... Seen the level of distress/suffering ahead, clearly, I'd do like Bansi!

Hmmm. I had an acute leukemia, spend 6 months in a hospital and got a bone marrow transplant. I saw the invoices. I counted ~150K€, in Belgium where the standards are equal to those in the Netherlands. But every cancer/patient is different and different products/procedures are used... Plus, my health insurance my job was paying for, kept giving me a (fair) part of my salary for 2 years, so I could provide for my family. Maybe Bansi has a sickness that will require some research, specific treatments...also since he had an artist's life, he may not have a solid insurance, or no insurance at all, and he may need some money just to pay these treatments, and also have money to pay for a place to live, for food, etc, once he gets out of the hospital. Furthermore, do not believe he's gonna be punching his arms in the air on stage in 3 months from now. We're counting in years with that kind of sicknesses. e.g: it took me 2 years to feel solid and be able to work again, and every doctor I saw said it was exceptional. I'm no doctor, but I guess you should rather count 5 years, especially as the guy is probably around 40, and the older, the harder. I suppose a part of this money will also fund the long recovery period. Who knows, maybe he's got a family and needs to provide for them too... Clearly if everything has to be paid for, we're talking in hundreds of thousands. But 3 Million, and even 1.8 Million look excessive to me. Now that's only my 2 cents. That shouldn't prevent you from financially supporting the guy, and like everyone else, I'm sending him all my support.

Like every year on January 11th, let's celebrate !!! This community is 17 years old now. The baby has never been closer to being an adult, and in 5 years from now, it'll be as old as we were when we started it (ouch)! I wish there were a few more reviews but, hey, social networks and discogs are here too. Over that time, some of our friends have gone, and we're remembering them. Most are still there thankfully, and the sole party we ever held is still memorable:) As for the guy who created Psynews in his student bedroom, he doesn't come often, but he's alive (oh and he's just turned 40 by the way). Let's wish ourselves the best for 2017, especially no trolls Ah, thanks to Manu Psysurfeur for hosting this site for the 10th year in a row! Give him a hug, and possibly a few bucks to help him finance the hosting. By the way, the mods have been talking about some crowdfunding for a new board license. As you may know we're still running an Invision v3.4 and, like many other boards, have been denied the upgrade to v4 despite the fact we're owners of a perpetual license. Reason is "v4 is a complete different product blahblahblah bs bs bs". One day or another, a serious security flaw will impact our board, or a php upgrade will prevent it from running properly. Either way, we'd rather be safe than sorry, and we shall either pay for that damn v4 license ($50/semester, definitely reachable); or we shall move to another board (XenForo, phpBB, etc...), and migrate all our existing data (sounds like some tedious work). WDYT ? Any suggestion to make this website/community evolve is welcome. Have a good year!

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