mars

Artist: Electrypnose Date: 09-06-25 By: Ben Dorrell (5meohd) Q: First off, Hello, How are ya, and thanks for taking the time to answer my questions! A: Hi, I'm doing well thanks. Thanks for your time too. Q: Does the name Electrypnose have some special meaning? Who came up with it? A: It actually does, but in english it's not always obvious. Electric and Hypnose (hypnosis in french) mixed together. Nothing related to trip with the nose, white lines or whatsoever. It's a friend of mine who found it when we started writing music together back in 2000/2001. We collaborated on that project for almost a year, then he left making music to focus on his studies. (I tragically lost this very good buddy a few months ago.) I guess if we were speaking english well back then, we would have called this project « Electrypnosis ». To make it more internationally understandable. Q: How long have been you writing music and was there a specific blip in time where you said "I must make psytrance!"? A: Started with music since I was a little kid. Played violin for 10 years. Began to go to trance parties at 17, and 2 years later really started to stick on the computer writting tunes. I just tried it out and it was good fun, then one thing after the other, you improve your skills and get better gear to work with. After it became a real addiction to go further with it. Including the passion of the technical aspects (gear, computers...). Today, almost 9 years on it. Q: I personally think psychedelic trance has had a revolutionary change the last few years, more funky grooves, fusion of other styles of music did you spend a lot of time thinking that you wanted to follow this trend with Funked Up! or was this just naturally coming out? A: I'm liking Electro and Minimal for a few years only, before I was really not attracted to those genres. Then I reallised how good the sound quality of some productions in these styles could be. Wanted to give it a go. I've opened my tastes a lot since I've started. I'm glad now to contribute a bit to the new fusions. I think it's a bit of both, following the trend and going on naturally at the same time. Never had any wish to make a hit or anything... For me making music has to be fun and interesting for myself in the first place, then it's a great pleasure to share it with friend or other people. Q: I'm listening to Hallucinogen In Dub: Live, right now. Have you heard it? Lots of psy producers claim Simon P. as a huge influence, do you agree? A: I've heard it a lot of times. My favourite is « Angelic Particles », especially the last half. Love it. Simon Posford has given an amazing contribution to this music. I'm glad he got the respect he deserves. I'm his big fan, definitely. For me it's more « The lone deranger » which has been an important influence. I'm less into the new Shpongle works, not so attracted by the oriental/world music side of it. Q: Other than Simon would you care to share a top 5 psychedelic projects you listen to... and a top 5 non-psychedelic projects? A: Hard to pick just 5. But here is some of my all time favourites. Psy : Pretty much all of Huxflux, Absolum (mainly Wild album), a mix between deep and psy techno. Antix or Zenon Records artists for the progressive. Highko/Cosmo/Kindzadza for the mad night moments. First 4 albums from Infected Mushroom stay a big reference (musically and production wise, especially for me BP Empire), Shiva Shandra, Logic Bomb... and the list would be really long. I'll maybe add H.U.V.A network, wonderfull down tempo music. Non-psy : Archive (Londinium album). Heard it thousand of times and never get enough of it. Trentemoller or Tipper have done amazing works. Peace Orchestra, Kruder and Dorfmeister kind of stuffs. Air (Premier Symptomes), like the first I mentioned, can't get enough of it after years of listening. Leftfield, Portishead, Pearl Jam, Deftones... and maybe a last one, Ajja – Chillsome, almost a « secret album ». Peaceful guitar and soft beats. Again, the list would be very long if I'd mention all the music and artists that made my day. Q: Was there ever a gig where the crowd didn't dig your vibe? Which gig in your opinion was the 100% opposite "the best"? A: Of course there was. I'm glad it happens less and less. Some years ago I think my music had good ideas, but the quality wasn't good enough. Compared to what the DJ's would play before and after me, my music was sounding like crap. If you don't take it discouraging, it's a good kick in your ass to do better, improve your work. It happened to me that some people asked me to stop playing. The « best »... hmm, there are a lot of « bests ». From the after party with 10 drunk friends by a sunny day... to the big event with 5000 people. Had lots of gold moments. Q: I'm from the United States and haven't really seen very many psytrance shows, what was your impression of playing here? Any country in particular that has the best parties? A: I played 6 shows in the US. I remember all of them very well and had a great time. Your scene is quiet small but crowded with very nice people. I like the feeling when I'm in a foreign country, knowing nobody when I arrive, and enjoying the same as if I would party with my friends in my country. I had this feeling completely in the United States. About other countries, I must say that I enjoyed every single country I've visited and played at. Can't rate them out. I'm very happy I had the chance to travel and see all this, it is an amazing life experience. Q: So I'd like to mention that you have blessed us with an oppurtunity to become members on your site and hear EVERY tune you make... Do you feel that you are in a different league coming up with several awesome tracks a month, or do lots of producers do the same and just keep it to them selves? A: I always thought that if I keep my music too much for myself, it will certainly more loose the chance to be heard, than having people fighting to have it. With this idea, I'm happy to share all I do. I actually don't really know other artist's website where you can get it all. For artists, the usual way is still to release on compilations or your own album. For that, the labels will ask you something unheard/unknown. That's why artists mostly don't share their tunes so easily. But, to answer your question, no. I don't feel in a different league, producing faster or slower doesn't mean better or worse. Q: The next album! When? and have you been thinking of any big ideas, or more of just a collection of the best tracks you sort of randomly come up with? A: For now I take my time to think about it. Many confused ideas about a next album. So I won't rush it up. Sorry, can't really tell more about this yet. Q: You have been running all sorts of other projects, web design, mastering, collaborations, record label... can you update us a little? Fun, or dreadful work? A: Also the workshop is quiet an important project we focus here with some friends (www.primitif-workshop.com). Then all these projects are a lot of work yeah, but this way I'm sure to not get bored not knowing what to do. And of course most of the time it's good fun too. When it will be no pleasure anymore, I'll certainly stop it. Web design became a need to do it by myself, because I was too complicated for the web designers. (who are good friends). I was asking them to change or add new things all the time. I'd also say that only producing music can be boring if you overdo it. That's the main reason why I try to find myself some other activities. Then back to production, you enjoy it even more. Latest new projects I'm on are building a DIY (Do It Yourself) analog modular synth. Also opened a new website for artists to share their unsigned music (www.freeqtechno.com). Q: Speaking of the In Dub: Live album, what is your opinion of this fusion of electronica with acoustic instruments? I think its the future... would you agree? A: Electronic and accoustic mixes are great in my opinion. I'll work on it in the future, but more mixing classical music with electronics. I couldn't say this or that is the music of the future. I have no idea and actually I don't ask myself. We listen to music that has been written 300 years ago (classical music), and what I think is that it actually beats much of what is done nowadays. Of course they couldn't make electric sounds back in the time. But our music culture is still very young... lets see how good we can improve all this. Q: Can you give us some ideas about your production setup, essential equipment used on the mojority of tracks, your track building process, also can you only write tunes in the studio or do you do alot of work on the laptop on the road? A: I recon I pretty much need my studio setup. I do some things on the road on the laptop, but that never sounds like a proper mix when I bring it back. The studio setup is a good 4 core CPU computer, using Cubase and Flstudio. Then a bunch of hardware is connected together... Trying to put some of everything in the music I write. You can go on my website to check the setup, that will be easier than listing it here. Also hard to say about a building process. Sometimes it starts with a few melodic notes, sometimes an atmoshpere, or sometimes straight with the kick and the bass... I like to tell to myself that actually, it's not me who really makes the music. But the music takes me on a journey, and « the music » is telling me where to go. Q: Also the same for your live setup... I beleive your useing ableton, do you care to elaborate, maybe discuss the benefits of that amazing software, or maybe some things you can't stand about it? A: I've used Ableton for some years now, with a Native Instrument soundcard and 3 Faderfox controllers. I'm liking Ableton a lot, because it's rocking stable and you can play a lot without having any worry. It's also very flexible on how you want to manage your live set. I like to have a bunch of sequences ready to play, and just have fun... but also to have some solid material to play and mix, to ensure the people will enjoy it. If I'd just play around, I don't think people would actually enjoy what I do. Q: Lastly, a bit of a personal question, where do you see your self in 5 years? Married with kids writing scores to atmospheric films, or flying free letting the psychedelic energy keep you young!? A: I don't know. I maybe have a project to open a more permanent workshop. For people to come to Switzerland, enjoy a bit of the country, have a place to stay, a studio to work in and have some classes. It's still an idea, but about the rest, children and things... It's too early to say. I'll see where this life brings me.

Inappropriate.

Hallucinogen albums Etnica/Pleiadians/CropCircles albums Transwave albums Tandu/Oforia first albums Total Eclipse albums Shakta albums BPC album

Bluntly, I'd tend to say that too, but I'm not sure they still own the rights, as someone mentioned later. So, anyway, that's just a matter of balancing the cost vs the revenue it'd make.

Moved to Music Making forum.

That one is wicked!

Closer, closer...

It took me a while to figure out what you meant. Earth Crossing? No. You know, we also happen to release something else than Goatrance.

Early, early page: http://www.suntriprecords.com/release/cat/SUNCD16/

I think Inner Cyclone was compiled out of old files, I mean, Ali didn't have some files anymore, making it impossible for him to rerecord the tracks (or something like that). And it wasn't mastered by Tim Schuldt. There it would be totally different.

I bet it is! Wicked remix, really.

Extracts, guys !

Ok it's a bit more complicated than that. Minsphere is a great artist and we're happy he trusts us. But to be honnest I haven't heard any Mindsphere's new work yet. Anoebis heard some tracks but was too busy recently and we couldn't talk properly about it. All I know is "they were super good". For the moment, we have plans until the end of the year: Radical Distortion, E-Mantra, probably a kickass compilation, and maybe also...héhé you'll see. So Minsphere is middle-term plans for me. But plans also change often depending who's ready and when. A compilation can shift, etc. If his new album is as good as (or better than) Inner Cyclone, then we'd be happy to release it as early as posssible. ...To be continued...

Oh it would be interesting to dig up some threads here from 2001-2003, there were strong arguments at the time. People found it difficult to undertsand how you coould have good psychedelic moments with that music. I once heard a friend say "before we had trippy music, now we have xtazy music". That summarizes well. Look, we were compleltely drowned into FullOn from 2001 to 2007, with always the same bass, instruments, endless breaks, cheezy samples, etc all along parties and festivals...THANK YOU. Where's the creation? There is some good full on imo, but most of it is pointless because it's the same receipe used over and over again. How many are these? 30000 tracks with the exact same structure? I even wonder how the scene didn't collapse. There was even a time (2006-2007) where really the whole scene was tired of FullOn but the artists would continue, like they made the music just for the sake of making it, not for the audience. Ah well, it's much easier to stick to one receipe you knkow than inventing a new one I guess. Personnally, in the last years I dug quite well Shift/TwistedSystem/PitchHikers, the latest Space Buddha and Chemical Drive. And before that, the first Abomination, the first XI, the first Melicia, some Psysex...but that's pretty much all. On the contrary the most stereotyped of them all are (were) Eskimo, Skazi, GMS, Bliss, Inneraction/Painkiller and all the H2O team. Thanks the worst ones have disappeared from the circuit at last. I've been waiting for that moment for a loooong time.

Hu hum ah well sorry for the disruption. Some post-upgrade deinstalled apache, thus no more websites... fixed now.

It worked without any inconvenience. Incredible. Now we are more secure than ever It is possible that the server runs faster than before. If anything goes wrong here, please report it to me.

Until now everything is all right... -->> continue praying.

Hello I'm upgrading our server to Debian 5. If psynews/suntrip/flteria disappear for more than 1 hour, you'll know something went wrong... mars.

I was 5 when Thriller was released and I remember t was super hyped, and I loved most of the tracks at the time. Billy Jean and Thriller will remain by all time favorites. My dad still has the double vinyl of Thriller. I remember there was a TV show in france for music charts on fridays or saturdays, and they showed the Thriller clip and others for many weeks...wow I was scared but the music and the dancing were huge. Just check the Thriller part with the zombies and you see what kind of artistic genius Michael Jackson was. BAD was also something. But I didn't dig most of his 90's+ work. Like another one said, the best years for him were behind. I doubt he could have made a real come back in 2009/2010 with a smashing album for example. The new concerts were just a way for solving his money problems. Honnestly, besides the musical aspects, I think his private life was a mess and this was obviously due to the very hard education from the Jacksons' father, and the fact he got no childhood. I'm not trying to say he wasn't responsible or what he did. My feeling about the "pedophilia affairs" is that he was actually guilty but didn't even understand that, for, he still considered himself as a child, so entitled to "play" with children. Nevertheless it is a disgrace to attempt anything with kids. Who knows what kind of filthy agreement he reached not to be sentenced to jail? No matter what, the popular memory will probably erase these ugly parts, and he will be considered for long of a real genius who went where noone had been before, and even over the line, like many gifted ones before him.

IMO a shift was inevitable. And once again, at the time, nobody blamed XDream for the Radio music. Criticism arrived after, when all artists turned to making minimal and goatrance almost disappeared. Many people believed these artists had changed their style because they saw XDream stuff worked on the dancefloor. I do believe that for some of them, and it didn't only happen for the minimal. Check Boris Blenn's trajectory for example... Now, just listen in a row to Etnica's Nice Toy (1998) and tracks like Warriors or Robot Rebellion (2000) that arrived during the minimal era. You could understand that some people wanted to find a culprit for this change ahahah [the example is a wrong one I know] Things like that happen in any kind of music. Just look at Rock'n'Roll and how it evolved between the 60's and later the 70's, 80's, 90's. Change is inevitable because there are new artists, because they want to demarcate, because this is art. What people say depends on the context, and more often than not, points of views change over time.

Well, all this depends on your point of view. A point of view of 1998 or a point of view of 2009? You have to place yourself on the spring of 1998 first. Tandu and Oforia albums had been released, Xerox & Feeman too...3DVision in France and Twisted, Dragonfly, Phantasm in the UK were raging too. Parties were completely crazy; it was 100% absolutely uplifting Goatrance all over the place, and reaching heights. Looking back at it, maybe we had actually reached the top and the movement was about to be longing or something else. When "Radio" tunes arrived in DJ hands, with their earthquake bass, pounding rhytmic, etc, it was a real eruption, something so different, almost refreshing despite its heaviness. The Delta track "As a Child..." was also turning around and, well, people went crazy on them all. At the core of the night it was compulsory for a DJ to play XDream tracks. At the time everyone, absolutely everyone loved the music. It is absolutely right imo that "Radio" changed the face of Psytrance, and very suddenly. It initiated the minimal phase (1998-2001, remember Intact Instinct, Shiva Chandra, etc) during which melodic goatrance almost disappeared. And I remember that, at the time, many people blamed X-Dream for that, not for Radio itself. The same peoople that praised the new musical approach in the first place See how little it takes to pass from a "changer" to a "destroyer", and the contradiction? But looking back again from my 2009 POV, I wonder if "Radio" didn't actually save the movement before people got tired of Goatrance, by introducing something totally new! Radio is kindof the same as Atmos' Headcleaner in the sense that it introduced new Psychedelic music trends, created discussions and criticism, and finally became all-time classics (difference is Headcleaner was much more criticized and is now recognized as one of the first progressive albums).

I second that. Joujouka is also verry experimental and Matsuri released a couple of very experimental stuff (Excerpts from the Databass)

Well, there was this Trance Dimensions party back in autumn 2007, in Belgium. Shakta was booked to play an oldschool live set. Before he played, Anoebis and I met him, said we were preparing a new compilation and that we'd like to see him on it, would it be uptempo or downtempo. He apologized, saying he had lots of work (Kaya Proj, Hibernation, 8 Ball, Alien tears, etc) and a real work and family life...something like that. So we understood it wouldn't be possible. Then he played. And there was this kind of explosion we see sometimes in the Belgian crowd. Everyone danced and shouted and cried! The man himself really enjoyed the show. After the set, he came straight back to me, and said he agreed to make one track. Just like that. I guess his set made him realize his oldschool tracks were still the bomb and he enjoyed the party so much that he changed his mind. A couple of months later, we had a first version of the track, then a second, and that's the one that's on Opus Iridium. I think the crowd that night allowed that miracle. But I don't think Seb Taylor is much into Goatrance anymore. Just have a look at his latest Kaya/Hibernation stuff, that's what he's into. It woould be cool to work with him again, goatrance or not, because he's a nice person and a great musician.

Well this is a lot of bullshit for not much. And worse, it's not unexpected. Anyway. AM I reading right? Are we discussing in order to make Inada confess the name of a track? Héééoooooh wake up!!! The unreleased craze & hide & seek is over guys!!! If someone would be kind enough to put back this video (private now) I might try to identify the track too. Oh, and bwhale, maybe it's wise not to interfere here anymore. Maybe it's time to realize that dicks bitching 24/7 behind their keyboards are frustrated morrons. Imo you should go ahead and try to do something useful out of your fingers, not just venom and shit. I shouldn't be expressing a personal opinion, but I think I'm also expressing everyone's opinion, so here we go.

I used to know Silicon Sound and I know he's been working on it. One year ago he told me the album was about to be released...and nothing happened. I don't know how much he has lots of things in progress or if there's a lack of inspiration or something. I just don't know. I have an addition to make to the lists above. There was an album from Absolum called "Colours" that was planned on 3DVision back in 1998. I don't know why it was never released (OK, I know more or less). A few tracks were released here and there however: Indigo, Metalizer, Green Light, Orange. Caramel was also another unreleased track from the same album that turned around. I even saw the artwork, because I met Loops (the guy who just made the BPC cover) at the time and he showed it to me. I rememeber the front cover looked like grey fish scales. I wish it was released now. Federico ???? When I think I even saw Elixir live twice....they should have done an album too. Definitely cause it was crazy.