Jikkenteki

Whether you wasted your money is entirely up to your tastes. I have Digital Stimulant on vinyl and saying that the new album is "different" would be something of an understatement from what I recall of it. I'd have to listen to the new album again, but from what I recall its full on with a lot of hip-hop and rap sounds thrown in here and there. I remember getting it because I liked the work he did in Save The Robot and thus was a bit disappointed in the album. Admittedly I will say I remember that I feel asleep while listening to it so it never got the total listen it deserves. Actually maybe I'll throw it on now....

I bought this a couple months ago when it first came out over here. Listened to it once.....

Who cares about the case... I want the CD...

Seems Everyone has there own take. For me it is.... The Gathering = Pretty Good Classical Mushroom = Very Very Good B.P Empire = Excellent CV = Terrible I'm the Supervisor = Average Although I still say their best track is "Domestic Mushroom - Scotch" and thus not on any of the albums. As for the new album. Take it for what it is... not what they did 7 years ago.

Hydraglyph has been my favorite new find of this year. The track they released on Event Horizon called "Cigarettes + Silver Bullets" has been in regular rotation here since I got it. The Evolution Of Expanded Conciousness has definately been overlooked as well, included by myself as I got it with a mess of other cds and have only really sat down and spent some time with it recently. This has been an odd year for me music-wise as most of the stuff I have listened to the most has been from new artists who are just now getting stuff released. Goa heads should look out for Japanese artist 01-N's album which should be out in December.

Just checked them out. +: These new tracks are a definate improvement over the stuff you showed me last year (actually a rather huge improvement). The track development has improved, the layering is better, and all and all I'd say good job. -: I'm pretty sure we had this conversation before, but personally I'm not a big fan of the kicks in either track. I realize the soft kind of "basketball bounce" kick was a staple back in the day, but I just have a hard time getting into them now a days. Personal taste and all but I prefer "thwack" kicks more than "boing" kicks. I'd say that all and all you have definately gotten the skill of copying the original goa sound down. Now I think the next big piece of the puzzle as an artist would be for you to break out of that mold and find your own voice, obviously incorporating the old school sounds, but with something different to make it your own. Right now I listen to these tracks and good "hey, these are some nice goa tracks", but I don't put them on and go "hey these are some Lost Buddha tracks" yet. Obviously this is the hardest part for any artist, but I think its the most vital. If anyone needs any proof of this we just need to look at the scene in general today. We have tons of artists releasing who've generally gotten a solid grasp on the production aspects of trance, but every few of them have developed their own unqiue and recognizable voice. Love or hate them, the big names in any music scene are the ones who you can listen to and after a few seconds go "oh, this is an XYZ track". But I digress.... Anyways, good tracks here. Anyone looking for some old goa vibes shuold grab them while they can.

Sitting here sick with a cold, generally in a down mood and am listening to... "Jikkenteki vs Symphonics vs 11 - Three Blind Mice" from the next PAR-2 compilation. We made this track almost a year ago and I can't believe its been 8 months already since Shin passed on. Listening to this is kind of weird because it is a very good memory. We'd been talking about making some tracks together for ages and FINALLY last Nov we got together in Tokyo with 11 and whipped out this track in like 6 hours. It is one of my best memories in recent times (not to mention a good track to play live), but it is also pretty depressing to think about. All the possiblities, all the plans that all vanished so suddenly... Even stranger that he has SOOO much music that we haven't figured out what to do with yet. By the end of this year 3 tracks will have been released on compilations, but there are like 30 plus more tracks waiting in the wings. Damn boy was pretty productive to write nearly 40 tracks in less than a year.

As a label I can say with 100% certainty that Saiko Sounds will just pull a random date out of the air if they don't receive an official release date from the label as they did it to one of our releases. Since they don't use ny sort of "coming soon", but rather dates in their database I can see why they do it, although I have occassionaly been burned date watching their myself. lol

Today's trip to the post office yielded: Total Eclipse - Can't Do That / A Little Bit Of Heaven http://www.discogs.com/release/94047 Green Nuns Of The Revolution - Conflict / Cor (TTT Version for Japan. It's the same as the TIP version but just with a white label on the info side and a printed info sheet inside with TIP and TTT info on it) http://www.discogs.com/release/144941

Ah, missed that. Looks like gibberish to me. I threw it past a couple Japanese friends just in case there was something I was missing and they all said its glibberish as well.

Have any kanji, or at least a context?

I'll be writing a review of this later, but I'd say this is probably the best Elf release since the Phi album (although the slum album is up there as well).

In regards to having an actual "degree", as in graduating from a college/university with a degree in musical composition, very few artists have one (included a lot of the ones listed above), but being formally trained is a different matter and I think there are a good chunk of people who've had a good deal of formal training in music (see Colin's case above).

I actually did this once a couple years back for a house party my friends in a different prefecture were having. I hooked my mixer up though MSN Messenger and they played it over their system at the party. Was kind of funny really.

How about HDJ (Hard Disc Jockey)????

http://www.discogs.com/release/706745 http://www.psynews.org/forums/index.php?showtopic=38949 http://www.par-2.com http://www.saikosounds.com/english/display...ase.asp?id=5872 There's a review thread on Isratrance as well, but they are down for their daily coffee break at the moment so I can't hunt down the url at the moment.

Jeeze, way to put the pressure on a guy right as he's working on the follow up.

Here in Japan its still pretty easy to get original TIP logo t-shirts brand new,both the face and the "TIP" letter one.

One of the better recent discussions on the topic of melody and psy-trance can be found HERE I personally find arpeggiators the most useful when they are applied to a melody that is already solid without it, but like everything try it and if it works use it, if it doesn't move on to the next thing.

http://www.trackitdown.net/search.php?sear...earchButton.y=0

I can't speak for other countries but I think due to international copyright treaties the idea is generally the same in most places, but anyways in the US registering your copyright means that the government actually has a copy on record and is THE best proof of copyright ownership in the case of legal action. People often mention the mailing a copy to yourself and not opening it thing, but I've heard of some cases where the court hasn't recognized sure measures as incontrovertable PROOF. When you register it, the government keeps track of when it arrived and all that information so its not your word against their's, but the government's word against their's. If a case comes up with one person having the work registered and the other not, the registered person will pretty much always win barring some serious evidence to the contrary. I can't remember the exact costs off hand, but you can save money by registering a full album as one complete "work" rather than the individual songs. Its not terribly expensive or difficult. Go to any large library and get the form, fill it out, mail it in with your payment and a copy of the work, finished.

Technically you own both at the moment of creation, but registering them in your home country is a good idea. In the US if I remember correctly when you register your sound recording the composition part is automatically registered as well.

Lucky (?) you then. Where I'm from Japanese cds are almost double the price. I still prefer to buy from Saiko Sounds because even with shipping its so much cheaper, but as you say, when its in hand. Whenever I head down to Tokyo I have to be extra careful during my visits to Quintrix and Cisco.

Any double killed by paying Japanese prices.....

I've been saying this for years, but no one seems to listen...