Otto Matta

Very cool track, fluff. I love how you manage to keep thing deceptively simple and transparent, and how you walk that fine line between synthetic and organic. Really cool beat and bassline. It had me bobbing and grooving from the start, all the way to the perfect ending.

It's a real shame about Off-topic. It's family and friends in one. So much history, and I've learned a great deal from people there over the years, even if it hasn't always been pleasant. Still, I understand that there's really no underestimating the lengths to which some will go to destroy good things. I'm glad the site in general has survived, and I hope at some point we can have the full community back where it belongs. Cheers to everybody.

Definitely Kettel, like p(sy)ayam says. He's got lots of releases, and I've yet to hear anyone as consistently intriguing with melody in electronic music (although he did steal a lot of his stuff from Plaid, which is also very good, especially the first few albums before they got abstract). Also maybe try: M83 (like Schnauss but more angular) Four Tet Proem Arovane Casino Versus Japan Isan Loess Murcof n.Ln Higher Intelligence Agency Ochre Move D and Pete Namlook Boards of Canada And psy-wise, definitely check out Krusseldorf's album from last year. Top-notch.

Open Office.

6.5-ish, and I've never adjusted it. Cubase 4, M-Audio Delta 1010LT, AMD Athlon X2 4800+. I freeze tracks when they start to cause problems, which can be a pain, but too much latency is like nails on a chalkboard for me.

It's got the intensity right, but it's soooo cheesy. Barf.

Yeah, BotFB's Twin Sharkfins is essential, as well as the stuff on the Schlab comps. I also recommend Stone Age Records. Not entirely forest, but with at least forest tendencies.

Boshke Beats in general. And Anoebis' mom's covers!

A surprisingly awesome little VST. I've used it here and there. What do you like about Synth1? I'm not familiar with it. Edit: I checked out Synth 1 at KVR. Seems its sound capabilities are high and that it's very lightweight. I definitely have to check it out.

I haven't personally, but one of my favorite sets of piano music, Première pensée et sonneries de la Rose Croix by Erik Satie, of which this is the third of three pieces (the first, Air de l'Ordre, is, to me, especially breathtaking), was created using the Golden Ratio. I don't know how it was used, because it doesn't immediately seem to be involved in the very austere chord or melody rhythms, but maybe in chord construction.

I listen to psytrance mainly for the adrenaline rush. So I like fast, gritty and intense tracks, with catchy melodies and a rhythm that maintains its groove, and with prominent, honest elements as opposed to too many that are all swirling around without purpose. In that way I enjoy my trance more on the tech-ish side than the psychedelic. Both of these are near perfect for me: Man With No Name Presents Yogy and Gray One - Big Trouble in Outer Space (Oforia Remix): Love, love, love the instensity, clarity and grit of this track. From the Pigs in Space album. Ka-Sol - Pricken: One to make the heart race and palms sweat. From the Tales from the Dark Forest comp. And in general, as few samples as possible is good, unless they're unique and not taken from Hollywood. Definitely much more serious than happy is good, I hate any kind of humor involved, and the horror stuff I find largely goofy. And then it's got to be a journey; it has to lift me off the ground and take me somewhere.

No.

Definitely check out some of the .

Pretty cool track, Prio. It's creative and interesting, although I could personally use some more drastic change and variety in the sections to keep my interest all the way through.

A must-listen. Downloaded and ready. Thanks for making this available, Kasper.

Spirallianz - The Re-Entry

OMG. I almost want to make a joke about this being an English-speaking forum, but I'm way too impressed by your uber-production-speak, Colin. My own technique (not that I'm very good with "awesome percussion"), while keeping in mind Aeros' very solid overall advice, is to do what I think the track needs in each particular part, and then not be lazy about making it right. I go by feel first, not being afraid or too tight to experiment (because that's where the interesting stuff happens), and then do my best with the production knowledge I have to refine it to make it fit well in the mix and the overall groove (although too much refinement can take all the spirit away from it). To be lazy with percussion is a killer where electronic dance music is concerned. People, like myself, who get off on electronic dance music usually like to be entertained by detail and nuance, and that often happens in percussion. So dedicate lots of time and attention to it wherever necessary, but don't overdo it. Doing it right and finding that sweet spot, like all matters of music production, seems to me, comes with dedication and effort.

Agree. It's probably the case that the longer time goes by, the more the output of earlier artists will sound similarly. Conformity is what ultimately defines a genre, and relatively few are willing or able to stray from the middle and make non-conformist music. That said, if you hear what truly non-conformist music sounds like, it doesn't really sound much like music at all. Creativity and conformity are entirely relative terms. Cryptic Crunch was interesting for its time. Meanwhile, knowing your taste and habits a bit, I think you should check out and other Music Concrete, if you haven't already.

What's even better is if you scratch 'n' sniff her torso she smells like singed nipple hair.

If you want to have a discussion like this it would be beneficial to separate the emotions you feel listening to the music with the actual methodologies of composition from recent centuries. We're all experts with the former, whereas very few if any of us are experts in the latter.

Besides the fact that the two types of music begin with more or less the same rules, there's really not much to compare. Good Classical music, compared to good Goa/Psy music, is written on a much higher level of discipline, theory and thought. You wouldn't seriously want to compare the paintings you find at Goa/Psy parties with Rembrandt, to take a random example, would you? I'm sure other genre devotees would love it if their music were like Classical music, too. My opinion is that you should listen to Goa/Psy on its own merits. It's its own thing.

If you like Arovane (the melodic side of IDM, as opposed to the more abstract, Squarepusher/Autechre side), definitely take a look into Robin's suggestions above. A nice list. And Kettel is a must.

I listened to it earlier and agree with Prio that it lacks flow. Too many odd, syncopated beats that don't lead the listener along a path or inspire one to bob one's head. I think it's a good first experiment, Lemmiwinks, and I appreciate that with your odd beats you are at least experimenting rather than merely copying. I recommend you always listen to criticism, but not too much or you lose that personal voice. And the only real way to learn, I find, is simply to keep at it. If you're really interested, you'll get better. Good luck!

Check KVR.

LOL. That would've been a better cover. Yeah, that was my impression too. A bit chav-ish, but still fun to listen to.