Otto Matta

I mean wrong according to your inner self. You know what I'm talking about.

I don't really care what you want to call it, it's generic. You clearly have doubts about what you're doing, so as you get more and more prestige for your work you would be smart to listen to your intuition - which is now telling you that you're stepping into dangerous territory, rationalizing bad moves, otherwise you wouldn't be asking the questions you are, seeking encouragement for something you know intuitively is wrong. So many have succumbed to the abusive side-effects of esteem. Yesterday's heroes, today's fools. You know who they are. There's a new one every day. Don't fail us. And don't fail yourself. Good luck.

Sounds generic. Like stuff that was playing 24/7 at Sonica and contributed to me leaving early. I'm sensing a disturbance in your force, Lost Buddha, a temptation to the dark side. Stick with what's right, not what's popular. Right will always win in the long run. Cheers.

Message received, Houston.

I can understand trying to hush someone who's not putting the proper work into making the scene a better place, but you immediately tried to hush Mr. Buddha, who has been attempting in his own creative way to contribute and maintain some integrity in this scene, and I found that blatantly destructive.

Attempting to silence (censor) the silencers (censors) is illogical and doubly wrong. Again, to me there appears to be two types of moaning: 1. For the team (Lost Buddha) = positive force 2. For the self (Elysium) = negative force Those who attempt to silence the first type (nemo) are destructive and self-serving. Those who attempt to silence the second type are also destructive, but with the goal of being ultimately constructive (i.e., Machiavellian).

Poor logic.

Some melodies on Multimoods are frickin' fantastic, like on The System for instance. But yeah, I generally agree that Pigs in Space is the superior album. Also, snowball, I was thinking you might want to look into Ubar Tmar's stuff if you haven't done so. There's really nothing quite like it, and for me is a total trip in itself.

You're very right here, Charlie. I can understand now, after my experience at Sonica, why you didn't want to go, even if your hero was playing. It was almost entirely superficial, an excuse to get fucked up where parents and cops won't see you. Sherlockalien called it Disneyland, and I found that to be true in many respects, except that it was a more destructive form of escape than Disneyland, and more expensive to boot. It was disgusting, and it will be my first and last psy fest (unless I somehow manage to find myself at a small but smart forest party in Sweden). I'll also say it again here that the music was profoundly disappointing and generic, with little exception. I started as a home listener, and I'm now completely convinced that I must stay that way. Music made strictly for the dancefloor, to me, is shallow and worthless. A great lesson learned. Regarding your comments on moaning: You do realize that you were moaning yourself, which means I have to wonder about your own endowment. For me there are various kinds of moaning. Some, like Lost Buddha, are moaning genuinely, because althought they try - and their efforts are quite valuable - they don't seem to have much effect, and can't do everything themselves. Then there are others who moan but don't have anything of value to back themselves up, which makes their comments opportunistic and manipulative. Then there are the moaners about the moaners. Now, if you're moaning about the first kind of moaner (like nemo did in this thread), then I think there's a problem, because it immediately disrupts an attempt to initiate a positive force. Whereas if one is moaning about the second type of moaner - the opportunist - I feel it's a good idea because it's an attempt to cut that negative energy short. I won't expound on the moaners about moaners about moaners, because at that point it's merely about attention gathering.

Actually, I just checked and Saikosounds has both albums in stock. Samples!

It was used in a few tracks around the same time (annoyingly), like Hippiehaus' No Peace.

I went through an FSOL phase back in the late 90s. I really enjoyed Lifeforms, but just about everything else lacked substance for me. And then The Isness came along and sealed my right to call them hacks. We Have Explosive is still a pretty good track, though. It's the only track I've kept from all their albums. I remember Dead Cities being a hunk of junk.

Nemo, stop nemo-ing.

You'd probably be interested in Dikovsky's Tandu and Pigs in Space projects. I know the former was re-released a couple years ago, but may be hard to find now, but the latter should be available. Well worth the ride.

I don't know why I decided to listen to that track when I was eating, but I did. Not a friendly combination. Grody, dude. But well done - like everything you do, Billy. I also liked the music in Moni's track. Sounded very similar to a lot of Morr Music stuff (electro-pop), which I'm a big fan of.

I wouldn't say the psytrance scene is dying. I'd say it's evolving into something different, but still called psytrance. Like everything, it takes more and more to satisfy the increasingly short attention span of music listeners. So the music has become what I would call something like "Action Music", similar to a Hollywood action thriller. It's no longer about putting people in a trance, but instead about satisfying their need for action sequences. Thus, the typical progression of a song is now: Two minutes of music, two minute break with overly-clever, sampled action sequence, two minutes of music, two minute break with overly-clever, sampled action sequence, two minutes of music, over. There are of course a few exceptions. Meanwhile, more interesting music is being made more consistently in other genres. That's my take.

5 years is not that far away, but I suspect sampling technology will become far more advanced, and all-in-one programs like Reason will become even more user-friendly with increased production capabilities. According to Moore's Law, computer power will have tripled, allowing for all sorts of things to occur. I also think that the gap between n00b and pro have always been fairly vast. It has always been a question of consistency; n00bs can luck out with a hit piece of music every once in while, but they can't repeat it, whereas the best artists are continually able to produce great music.

There's not really THAT much difference between Extrawelt and, say, Non-Standards.

A tasty and free, mellow IDM compilation here.

Got the new Isan album, Plans Drawn in Pencil, which is, of course, fantastic, and mellow compared to Meet Next Life. Also got a couple compilations from the Kompakt label by recommendation to see what their sound is like. Pretty cool so far, but slightly bad-German-English-lyric-heavy. The instrumental stuff is good, and some is great.

I don't think there are many music fans out there who appreciate materialistic music from artists who have been less materialistic in the past. By the same token, like you suggest, I don't think there are many real artists who appreciate materialistic music, period. That said, the best music will find a way to combine the two: acceptance by fans AND by their wallets. Every artist has the right to sell out, but by doing so they also sell their title of Artist.

Can we leave general feedback for Charlie here, too? 'Cause I have some things I need to get off my chest...

Yeah, that pretty much sums it up. Cool avatar.

Disk 1, Track 3: Justus Kohncke - Krieg BITCHIN' track.

From what I gather morning music by definition tends to be very melodic and uplifting (I always think of Jaia's Mai Mai, for some reason), as opposed to nighttime stuff which is darker, heavier, more minimal. I'm sure others could expound on the purpose better, but I get the feeling it's for welcoming and entering the new day with new energy and enthusiasm, to keep the blood flowing and body moving after a long night of dancing and drugs. So why did the cops chase the ambulance?