Basilisk

I've started to post free music from psytrance netlabels on my site: http://www.ektoplazm.com/section/free-music/

I wouldn't say it is THE BEST but it is certainly good for those who like the straight-forward cosmic sound of classic Goa trance... the reason it goes for so much cash has more to do with obscurity; it was released on their own independent label... it's a wonder the same thing doesn't happen with the first Deviant Electronics album, or has it?

The general sentiment is that we can expect no more blinding classics from AP... but I have an idea - why not dust off an oldie and give it a spin? Plus there is plenty of obscure Astral P to explore... unless you have it all already

By all means, these artists should feel welcome to do commercials, game music, radio, movies, and other such jobs. Choosing a new name to signify a new direction and intent is a fail-safe way to avoid pissing off old fans.

Untrue! If a few simple guidelines were followed, we wouldn't have all these bitchy topics... easy stuff: Do not add vocals. Do not add shitty guitar. Do not add obnoxious full-on bass lines. Do not put your mug on the cover. Do not release with Chemical Crew. Do not make your stuff sound like everyone else (especially so if you already have some great original material out there). Do not remix Switch again, for the love of fuck! Essentially... DO NOT DUMB IT DOWN! If you put out a release built exclusively for dance floor damage, don't expect favourable comments from the vast hordes of home listening addicts. I think the essence of the widespread dissatisfaction is simply that album after album is the same stuff, and it lacks the cerebral quality that initially drew many of us to this music. When the artists give up on making tunes with real spirit, in favour of catchy lyrics or cheap guitar hooks, the music no longer possesses any kind of timeless magic... the anger and the discontent is a by-product of frequent disappointment. Really, I don't think it is too difficult to avoid pissing off the common critics with the music you make - what is really tough is getting it released by the labels

Check out this cover art!! http://www.discogs.com/viewimages?what=R&obid=617171 Hommega doesn't even need to design anything new... this fits right in with all the trends, 12 years after the fact

I guess your email isn't coming through on eBay I'll PM you here.

Isn't that what all psytrance "live" acts do?

Maybe you mistake the point I am making... what self-interested party, either label or festival organizer, would actually give you the time of day on this little project? Surely a few will pipe up about how equitable they are, but the shady elements of the scene that are the target of your crusade have no need to participate. Unless you plan an interrogation, who is going to say "sure, we fuck the artists around"?

Who is actually going to answer those organizer/label questions? I understand artists getting back to you but the rest? Hmm... good luck on that.

http://www.ektoplazm.com/trading-post/music-for-sale More retro vinyl for sale...

I see it on ebay a bunch... and saikosounds might have it in stock.

I never understood what everyone was on about with that one it IS crazy though... wacked out, gone down the road, psycho!

C'mon it's a few low-res jpegs of blotter sheets mooched from erowid or something...

BLT & Danny Makov - Anything U Want FREq - Strange Attractors Prometheus - Robot-O-Chan 12 Moons - Solid State Jaia - Fiction Ticon - Six Years After

Set 5 is easily one of my favourite Iboga compilations! I wrote a review today, in honour of the nice summer vibes all around: http://www.ektoplazm.com/reviews/set-5/

2LP vinyl but still, didnt think it was so super rare... it doesnt come up on ebay tho, so maybe!

I ended up selling BP Empire for $189USD the other day... what a surprise!

Easily the most insightful comment yet. No. Right in the early days of electronic music the BPM was down below 120... read any article on early UK or San Francisco scenes and they will note the association with the speed of the heartbeat in the womb. This was thought to be the proper speed to guide people into a sacred inner space... surprisingly, this was thought of as fast at the time (at least by the reporters in the various articles I've read). As for modern times, the elementary struggle over tempo fetishism is fucking idiotic... but it is the same force that strives for homogeny of style. Part of the reason that I have begun to hold events once again is precisely due to these feelings of disgust that Elysium and others express in this thread. Not only is there room for slower music on the main stage of a festival, in my view, it is a requirement. There is no journey without storytelling, and no storytelling when the festivals want peak sounds at all times. It is as if trance isn't trance any more... it is the new hard dance. Captain Tinrib gave up the goose and Spun Records moved in to fill the void. From my perspective here in Canada, the trends and fads of Europe completely boggle my mind. There is only one thing to do... DIY!

I had this msg waiting for me when I woke up: <-SideBot-> want to win skazi new album??! skazi and shakazoolu - gay party . register to win, type +homo in main

Imagine how much those jeans could fetch on eBay... total skazipants!

Now that completely boggles my mind... that was definatly one of the best albums in the last few years, and it could hardly be a better 'resume' for a live show... just ONE show abroad, 1.5 years after? There is definatly something wrong with this.

I think there exists a strong desire to interact on a friendly basis with people in the business context of booking and releasing music. After all, isn't this an underground counterculture where everyone is supposed to respect one another and get along? The problem is, there are a lot of shady characters out there, and it becomes prudent to follow some sensible business-like practises... aside from the obvious stuff like "get it in writing" (an email record which both parties can agree on is a great beginning to long-term understanding), checking credentials might be a wise idea. Ask about their previous experience, and talk to some of the acts they've booked in the past, or released, or whatever. Most of all, be prepared to accept less gigs by being a little more strict than the next guy when you are engaging in what is essentially a business transaction. Or maybe it's Europe - things are fairly cool out here These kinds of things are probably not a problem if you have worked with a group before... Elysium, have you not had a good festival experience somewhere where you have gone back and had a great time? Also, you mention preparing long weeks for your live set... ever thought of trying an approach in Ableton?

Agreed.

Here is fine...