Jon Cocco

Psyfactor - Futurised Ajana Recordd 2010 1. Discovering Andromeda - 5:38 2. Flying Dolphins - 7:23 3. Are We Alone - 6:12 4. Futurised - 6:27 5. In Space - 6:00 6. Above And Beyond - 7:45 7. Cassiopeya - 7:03 8. Over The Edge - 6:53 9. Back In Time - 5:52 10. Purple Sky - 6:37 11. Neptunes Waves - 5:58 12. Out Of This World - 5:28 Futurised is the second ambient-influenced, Psy/Chill album by Psyfactor since the release of Endless Universe in 2008. I never heard that album (save for samples) so I can't really comment, but read some positive reviews on it. That said, a full review ensues of this new Psy/Chill release. 1. Discovering Andromeda begins as a dreamy, ambient-influenced score. There's what appears to be an altered goat and/or individual's voice laughing that somehow works wonders. A chilled, downbeat kick drum enters around 1:52. The song moves forward, surrounded by gorgeous soundscapes, emotive melodic and psy sounds. These have been combined very well, producing a heavenly backdrop. I love the beat, and virtually all ingredients throughout the track until the last thirty-eight (or so) seconds, the latter where the track seems unsure when to end. I think that the beat could have continued just a little longer; fortunately, the section with the beat changes up and avoids repetition. An evocative score pours across the layers like liquid at around 3:32. The entire world seems to be swimming in colors and lights; with elements ranging from romantic to intoxicating. The last minute or two could have used a little more touching up (direction and magic). But the first two thirds are engaging, and showcase strong craftsmanship. This is a magical, tasty, and beautiful opening track. It's sensual too. I love it. B+ 2. Flying Dolphins starts out with many psy sounds/scapes that are enhanced with ambient notes, multiple layers of ambient notes actually. There's an curiuos, fast paced sound/melody rising and lowering. It's soon met with more zesty, psy notes. Those notes temporally disappear to front a brief moment of breath before the song takes off via beat at 2:31. I really like this part, as the song seems to balance beauty and sensation fairly well. More notes arrive, some echoed; they carry the song to new areas of the land, and to a calm clearing, before soon taking off again. Tiny, melodic ingredients are gradually placed into the bigger pot, though the beat could have possibly changed up a little. The song seems almost bursting with sounds, for better or worse, and has less of a magical feel than the previous track. Furthermore, the sounds seem almost too layered at times; they don't flow as well, nor seem as congruent as the first. Overall this is a pretty good track with an experimental edge; I give the artist credit for taking risks. I'm simply not in love with the song. B- 3. Are We Alone begins with strong ambient notes that soon melt into a warm and intriguing, psy backdrop. Now THIS is the sound I love from this artist so far. I think the previous track was trying too hard. We're taken through a peaceful aura of colors in the first half. A slow, fairly soft beat appears, soon changing up, and letting the sounds breath in the infinite universe. At around 3:12, a tasty psy sound (like a skipping melody) trips over the reoccurring beat. The song develops nicely, and enters an evolved, celestial realm at around 4:10. There are so many nice elements working together here, yet none seem to overpower the other. In the last minute, the song loses its beat and elegantly returns to its contemplative, ambient-influenced direction. This is one of the most solid tracks by Psyfactor I've heard, and with a more satisfying ending than the opening, psy/chill number. Very good track! B+ 4. Futurised is an energetic and driving, uptempo number. It's loaded with cool sounds, melodic elements, ambient notes, flying soundscapes, and a fast, motivating beat from near start to finish. Although I found the second song fairly good at best, I better see the draw to Psyfactor's non-psytrance, uptempo work with this one. The beat provides an intense energy and gives the album more variety. I'm not bothered that the song seems more beat/driven than that with melodies, although there are many melodic elements. The style, approach, and energy is inviting and catchy enough. Cool track. B 5. In Space is my favorite uptempo track on the album. This is an energetically driving, sweetly textured, and visceral/pulsating electronica/psychill number. The kickass beat, and how it changes up around 3:30 reminds me of some of my favorite electronica tracks growing up by Prodigy, Chemical Brothers. But before the track falls into Psy-influenced techno, the artist changes up the beat in the second half after a fantastic interlude. Suddenly, the vehicle takes off with what appears to be breaks around the core energy and rhythm of the ride. Both my girlfriend and I really like how the song takes off and develops, as well as the break/beat (and all other) work in the second half. I don't quite understand why some people don't like song; to each their own. This is one of my favorite songs of 2010. Excellent work. A 6. Above And Beyond seems to have received some criticism, but I like to judge a track for myself, so I'm giving it the benefit of the doubt. This song begins more ambient based, and gradually attains many (to near exorbitant) sounds. A chilled beat arrives around 1:19 after a short, catchy lift. The song takes off, though remains down or mid-tempo. Melodies enter one after another, but the ambient notes really stand out as well done. They give subtle direction through the horizon until around 2:22 where a string of melodies pick up. Currently, the song is good. A peaceful interlude takes place at 2:57. Here is where new sounds arrive, particularly two or three (what I'll call) distorted, echoing cords. These distorted cords unfortunately get into trouble later on. Focusing on the song's continuation, the beat returns, and like a gentle tornado in concept: it absorbs numerous sounds around its deep, yet fairly soft and arresting movement. The beat works very well here, and as we cross over the forth minute. The problem is the distorted cords; they seem to become more out of sync to the point of distraction. There is a lot of overlap here, and in the case of the simultaneous pair of distorted cords; such overlap seems to throw off the measure, the timing of the beats. In this sense, I would have removed them entirely, or added something that better takes place. This flaw and/or gripe is heard without almost all other sounds in the last minute. I find it very distracting, and I have difficulty enjoying the song unfortunately due to this technical complication. C 7. Cassiopeya is a big improvement after the previous number. I realize that the artist likes to experiment, but this is the song I would have replaced the previous one with, as it's strikingly attractive, elegant, and catchy. The first ambient-influenced minute appears to incorporate numerous ticks, clicks, hi-hats, and various other elements that appear to produce a beat-free power. A shortly lived beat (great work) soon emerges, and updates itself into an even faster combination. The echoed melody at 2:24 I find rather simple, less contagious. However the ambient notes around 2:40 are very well done. The song is elevated by a lovely, musical fusion at 2:56. This part is wonderful, transcending. The artist pulls it off to an energetic beat those temporal excuses itself, in place of a beautiful interlude, from 4:17 to 5:03. At this point I've felt involved; I'm now enamored by the vibrant energy and harmonies entering. The beat returns as beautiful hymn-esque sounds layer a wonderous backdrop. Then they leave to accomidate a catchy, beat encore in the last minute before the warm atmosphere overpowers the final seconds. This is a strong and passionately produced number filled with lush atmosphere, elements, and harmonies. A- 8. Over The Edge is a healthy follow up to tasty, psy/chill, ambient-influence. The song sounds quite experimental, and although there are many sounds, none seem over worked or crammed. I really like when the artist takes time to develop the harmonies and backdrops, in addition to having unexpected, infectious elements at times. A psychedelic wave trips across the ambient notes and rhythm projected in the first half. The song seems to be growing, sculpturing itself to the magnetic sounds as it progresses. Then, at around 3:45, and before the track dragged for too long, a bizarre yet gripping sound combination enters. It's as if two insects are talking to one another. However both sounds play off each other to near simplicity and brilliance. The flow well, as the bass line appears to strengthen. Towards the final third, the entire melody approach changes up, though remains intact with the dreamy backdrop. I really like this track. It sounds inventive, creative, and diverse in ideas, while remaining solid throughout. Good track! B 9. Back In Time begins with numerous ambient layers. A strong melody enters at 0:32, and is soon enriched by ambient notes, a soft, but deep and effective beat, hymns, psy sounds, sustained melodies, and we're not even at the second minute yet. The beat soon picks up, becomes harder, more effective after the intro. The melodies are good here too, though the initial main melody remind me of a song I have by electronica artist Velvet Acid Christ. The song has a gripping interlude where the beat changes up and chills in the background to the atmospheric/psy elements taking place. It soon returns with its changed up momentum; the song avoids repetition by rebuilding in a sense, many new elements, and tweaking previous sound walls to the new skyscraper. In the final third, the strong beat arrives; it gives the song a more substantial, supportive feel. This is a good psy/chill mid-tempo number. I like the emotive, harmonious feel, coupled with floating backdrop, and beat work. There could have been some cool break work mixed in after the interlude I think, but that's no big deal. The song flows well and keeps my attention throughout. Good track! B 10. Purple Sky is a strong ambient-influenced number. The powerful bass line (without overdoing it) is great, and reminds me of some of Solar Field's recent work. I would have liked if maybe the melodies were developed a little more, but they sound good. There's some clever, dynamic mixing; the beat work is excellent, and sounds great with the melody/sound work, lush atmosphere, and ambient notes. The latter has supported the album nicely. It would have been nice if maybe more were done to build upon the tone and feel of the strong bass line early on. As the song seems to go through numerous sound details in order to hold the listeners attention. Take Solar Field's for example, who adds many details but also accomplishes so much power with grace, and typically less animation. Overall this is a pretty good track. B- 11. Neptunes Waves is yet anther ambient-influenced ride, albeit a consistent (without much of a beat) one throughout. It sounds nice, but I find the overall track more monotonous than the others, lacking in emotion and intrigue. What appears to be piano enters towards the end, but there are very few notes; not much seems to happen. I think piano in general can add good emotion depending on the artist's vision and musical abilities. The song here sounds less ambitious than the other tracks. It's okay, but kind of forgettable compared to many others I feel. C+ 12. Out Of This World utilizes a beat to support the melody work. I suppose the song is more interesting than the previous number, at least for the first half, as it seems unsure where/when to end. Among all of the sounds however, I find very little that arrests my attention. Sure, much of it sounds nice. I would have preferred if less subtle work was incorporated in these final moments, or last two tracks. Many nice sounds take place, but not much relative to structure or direction seems to happen. I'm left unsatisfied in this final chapter. Towards the last two minutes, it seems that whatever support this may have had, disappears; sounds kind of pour all over the place. It sounds kind of random to me, and not as congruent as the previous songs. That said, Psy/Ambient lovers may better appreciate this atmospheric number since it is more Psy/ambient based. C+ In conclusion, Futurizeed is an interesting release with some very strong work/tracks on it. This isn't ambient alone per say. Tracks are loaded with numerous elements. Some involve driving beats of various kinds. Others incorporate a down/mid-tempo feel. There's plenty of uptempo work too. The album isn't perfect though. For instance, the beautiful, sunrise, psy/chill opening could have had a clearer ending, and Above And Beyond "becomes a big mess" (my girlfriend's words, though she loved the opening) after the first several minutes. Flying Dolphins seems to involve almost too many sounds at times, and at the expense of numerous sounds appearing less connected with others. But I like it to some degree, and it's through experimenting in part that the artist's work has matured. While I'm getting my negatives out of the way, I'll add that the last two tracks don't interest me, and a track or two in the second half seems similar in beat to one earlier on, and the mastering could be better (especially track 6 which makes me want to pull my hair out the more it progresses). Relative to positives: Psyfactor seems to break, or at least bend conventions at times, combine sub-genres, and basically come up with his own. For starters, I love the opening, chilled track, which could have been inspired from Goa, to Psy/Chill, and downbeat. Both Discovering Andromeda and In Space put a smile on my face, similar to the way I used to feel when listening to one of my favorite tracks by Prodigy, Chemical Brothers, or Crystal Method, thanks to having strong direction, melody/sound work, beats, and energy. Naturally, these aren't techno songs, but deliciously influenced psy/chill numbers with lots of psy, ambient, down/mid, and uptempo work. The beats (and the changing up of them) are generally great throughout the album too. Furthermore, Cassiopeya is just beautiful. Generally speaking, there's no limit to improving, and if the artist's third psy/chill album can correct and strengthen what was weak here, a masterpiece (yes, it's a subjective word) album may not be far away. Futurized is an interesting, well done album with a handful of very good tracks on it. While there's some room for improvement (the same can be said for every artist), I'm currently adding this to my top 5 Psy/Chill (includes downbeat, ambient-influenced) albums of 2010. Good release. Favorite tracks: 1, 3, 4, 5, 7, 8, 9. B Samples / Orders http://www.saikosoun...ase.asp?id=8409 http://www.psyshop.c.../aja1cd012.html It's on Amazon too and I imagine various other sites too.

Finally had a chance to get it and post a review. The album's great. What do you guys think? The review thread's now open. See below. http://www.psynews.org/forums/index.php?/topic/59923-electrypnose-sweet-sadness/

Samples?

Submarine, Cordial Family, Entre Palmeras, and This Is The Beginning are great. I find Mountain Landscape less interesting than the others. Both Neverending Story are Tripad wonderful. Listen how (in Tripad) the piano is purposefully off key; the artist creatively makes it fit by adding in sounds individually over each note, thus distorting intentional errors with tedious tweaks to accommodate innovation and emphasis its grip. I think most people missed some of the most (impressive on a technical level) details on this album. Electrypnose's editing, mixing, and sound programming is impressive. Rozococie has grown on me, with its chilled, organic background and instruments. It's a pleasant, contemplative track that nicely separates the more dynamic, intricately designed numbers. I just opened a review thread in the 2010 section (below) for the downbeat/tempo "Sweet Sadness" follow up to Subliminal Melancholies. Both are great. http://www.psynews.org/forums/index.php?/topic/59923-electrypnose-sweet-sadness/

Electrypnose - Sweet Sadness Suntrip Records 2010 Track list: 01. A5sention 02. Histoire d'Histoires 03. A Part Of Myself Is Somewhere Else 04. Sady 05. Triste Gaîté 06. A Wasp At The Fairies 07. Out There 08. Triste Vie 09. Perle De Vie 10. Dramatic Orchestra 11. El Cornio (Second Chapter) 12. Peurs Et Pleurs Sweet Sadness is the highly anticipated sequel to 2006's critically acclaimed Subliminal Melancholies. This is also the first ambient-influenced album by Suntrip Records, and a huge surprise. Some tracks have more of a chill, ambient, and/or downtempo influence, while others are more classical, involve breaks, electro, psychedelic work, or share a combination. The album is filled with sensitive harmonies, soundscapes, atmosphere, and melodies. So how does it compare to the debut? A full review ensues. 1. A5sention starts out with crunchy ambient atmosphere, like a candy wrapper twisting in a tin cup. A slight rush of ambient rises up as warm, tasty melodies appear. Complimented by a gradually building sound; the first half is relaxing and atmospheric, coupled with intriguing sound stimuli. At 4:48, a strong, climactic effect lifts the song forward, like a distorted ocean wave rushing in. Hear it crash and sizzle. The effect is great, soon gone, but provides the track with more energy and appeal. Again it comes in around 5:55; all the meantime a delicate combination of Psy-influenced work and effects blend together, composing unique support as opposed to a typical beat. This is a good opening track that massages the listener's ears and mind before exposing him/her to the bigger world that awaits. B+ 2. Histoire d'Histoires is more harmony driven. It takes a minute to develop a foundation, releasing a contemplative flute-like appearance to the ambient sound. I'm hooked when a delicious combination of melodies appear at 2:12, and compelled yet again at 2:54, when a sensitive melody falls into play with the haunting atmosphere. This sound reminds me of a wonderful sound on Filteria's Filtertraces (Abstract Dream Remix) track, with its beautiful, blinking melodies. Wonderful use of piano enters the second half; providing a more dramatic, substantial feel. While I enjoyed the previous, more ambient-influenced track, I really like the buildup, piano and melodies here. They're haunting at times. I could see this working great in a mature, "self-realization" film sequence. The song feels a little short, but ends well. Great track. B+ 3. A Part Of Myself Is Somewhere Else is a psy/ambient influenced number with dynamic sound mixing. The fusion of concepts is interesting. An intriguing, psy-influenced part is effectively combined with ambient-influenced elements, both warm and soothing. The song becomes even more contemplative when a tune arrives, from 1:36 forward. This is yet another track that I could see working great in a powerful, reflective game (such as Silent Hill) or film sequence, such as when the main character has a "realization" or epiphany. An additional melody enters at 2:30, enhancing the moody backdrop. The mixing seems more rhythmic from 4:19 to 4:50. This is an interesting, evocative, and well done number! B+ 4. Sady begins with gripping ambient, melodic elements, and acquiring a beat around 0:43. The song is very smooth, develops nicely, and has several moments of gentle space where ingredients are added to strengthen the stew. Both the beat, drums, and intricate mixing compliment the melodies; the latter sounds fairly Goa-influenced in the final third. Also sweet is the music's return. I was afraid that the song would end early at 5:40, and happy that it returned both more involved and gripping than before. The work is fairly subtle though; it doesn't jump out but delectably rebuilds itself. The artist sculptures the design into the final third, providing an ultimately more satisfying feel, conclusive feel. Good, if not great track. B+ 5. Triste Gaîté begins with beautiful, soft notes via piano. Soon, an inhale and exhale sound, like breathing enters reminiscent to that via Electrypnose's ChillinBerlin song. I love how the music picks up, takes off, changes, and returns here. If down or mid-tempo songs can have climactic elements, or climaxes, this track seems to incorporate several. Simply raise the volume and listen to this. It's driving, atmospheric, infectiously arranged, and filled energy. This is a far superior follow up to Electrypnose's ChillinBerlin song on the Opus Iridium compilation from 2008. The energy throughout is great. Excellent work! A- 6. A Wasp At The Fairies sounds closer to Subliminal Melancholies relative to its emphasis on breaks, beats, staccato editing/mixing, melodic chimes, and sound effects. The song starts slow, and becomes fast paced and engaging. It sounds great actually, which is why I'm surprised by its short running time. It's catchy while it lasts, but could have developed into something more fulfilling and superb, or a sequel of sorts to either New Wave or This Is The Beginning from the debut. Cool track, but this is the only song I find lacking on the album. B 7. Out There continues as if it could be an intriguing, atmospheric extension off the previous track. The ambient notes that arrive early on sounds good. Soon after enters psychedelic sound-work, like pop corn crackling, popping, and snapping. At 2:04 however, the cool experimental work melts away to accommodate a wave of emotion. The ambient layers form a beautiful relationship with several melodies, as a gentle beat enhances the backdrop. A wonderful part of the album takes place at 3:50. This includes piano notes; the story travels deeper. Beautiful soundscapes float across a fantasy/ambient world, as the piano leads the developing path. A shift in emotion takes place around 5:25 relative to sensitive melody work. The song sounds excellent, until a harmony arrives after the music fades at 5:55, which is outstanding. I love the piano, feeling, and harmony throughout this track. It oozes with passion, and is captivating and provocative from start to finish. A 8. Triste Vie follows up the previous track nicely. It begins a strong albeit heartfelt piano tune complimented by various other instruments. A second piano via higher note soon arrives; the two are integrated well together. The first 1:30 roughly is great. The track then enters a cloud walking interlude. It's fairly interesting I suppose (depending what mood you're in). Since my attention was arrested on however, I was expecting something less floating-in-space. To the interlude's advantage, the peaceful sound is very relaxing; it creates some space between two wonderful, story driven segments. After a minute or two, the piano returns in the third minute with simple notes, and picks up a stronger direction around 3:54. The lower, sustained keys are beautiful and affecting. At 4:50, the swirling ambient backdrop via interlude pours into the piano's view, and the listener is immersed in the structure's core heart of the story until the very end. This is another track that shows how versatile the artist is; he's convinced me that he can produce ambient-influenced music on par with some of Solar Field's finest work. I find this song so beautiful, meaningful, and occasionally sad. At times it reminds me two souls, once together on Earth, whose spirits are now free. The music is really poignant anyway. This is a beautiful track filled with heart. A- 9. Perle De Vie has more energy after the previous, piano-led, floating experience. It begins gentle, with a different piano fell entirely. A slow, plodding beat arrives within the first minute. The vehicle soon acquires a unique, catchy melody. Atmosphere is projected as the plodding beat's joined with multiple supports, altered Psy sounds, tweaks, and melodic elements. As the music fades, a solid piano-driven tune enters, and is soon complimented by another. Floating soundscapes move through ambient, as the warm melody becomes the gentle, now softly floating away piano. A warm atmospheric interlude emerges, involving animals, running water; sounds as if we're in a jungle or by a stream or waterfall. I find the interlude more interesting here than in the previous, otherwise strong number. After the intriguing center-space, the music with more angles, layers, development, and appeal. It's like a beautiful creature opening its wings (showing its soul at 7:31). The sensitive/piano arrangement from 7:31 forward is superb. Moments like these elevate an already great track. A- 10 Dramatic Orchestra starts out soft. It takes full advantage of an instrument, making it quite possibly the most paramount sounding number on the album. The track builds extremely well (no spoilers). It's smart and rewarding. One may not realize the songs sheer power early on, but the work is nevertheless impressive. The first two parts are great; they flow very well with final third. This is easily one of the biggest, best tracks on the album. It's excellent, sounds epic, and defines the term dramatic orchestra. Superb! A- 11. El Cornio (Second Chapter) incorporates a variety of zippy, crack/pop, twisting effects to the sound of a piano, altered ambient notes, and more. Around 2:00 is where the song seems to grip onto something more substantial; with an echoing thud, the deep ambient stands out. The beat is slow, and picks up speed at 3:16 which is catchy. Moving through various musical instruments, a contemplative, eerie tone takes presence at 4:00. The artists approach to storytelling appears throughout the album, and I'm reminded of it at times here. A chilling atmosphere, with what seems to include literal, tediously mixed water droplets, compliments the notes. There is a subtle, psychedelic touch here too that is cool. While the previous song captured me more by its sheer power, this song is refreshingly different, less musical, and more ambient/textured-influenced. It's cool. I like it. B+ 12. Peurs Et Pleurs is quite possibly the most ambient-influenced song, or at least of them here. It's floating, atmospheric, and calm. Ambient extends the opening of the track, which develops nicely around 2:23, when various elements, a moment of drums arrive. The work seems more subtle here, the tone is most relaxing. There is a strange, eerie sound that arrives later, almost like a wink to the artists darker work. I like the sensitive soundscapes and distorted piano in the second half, accompanied by the ambient notes. I think that the first half could have been a little more interesting, but ambient-lovers may really appreciate it. After hearing the entire album for the tenth (or more) time, I don't think there is anything quite like this release. This is a peaceful closing to a strong album. B In conclusion, Sweet Sadness is a great follow up to Electrypnose's Subliminal Melancholies. What the debut had in eclectic mixing via scratch pads, sound effects, Sweet Sadness makes up for with strong ambient-influenced soundscapes, warm melodies and atmosphere, crisp sounds, beats, harmonies, and rhythms. There is even some electro/breaks, psychedelic, and experimental work integrated into the whole. Tracks reflect a variety of emotions, from beauty to sadness, determination, contemplation, and peace. I enjoy listening to the album straight through, as it flows well, especially in the second, more harmonious half. If I were to gripe and/or nitpick, the debut had more scratch pads, drum kits, and sound effect/intricacy that I occasionally miss here. Also, A Wasp At The Fairies is too short. I wish it was longer. That said, the energy of Triste Gaîté is great. The surreal, haunting soundscapes of Histoire d'Histoires is excellent, and tracks like Out There, Triste Vie, and Dramatic Orchestra are some of the most enjoyable songs I've heard all year. Sweet Sadness is one of the best, most interesting, diverse, and provocative downbeat/tempo albums. Thank you Vince le Barade/Electrypnose and Suntrip Records for releasing this long awaited, beautiful, and compelling follow up to Subliminal Melancholies. Sweet Sadness is one of the best albums of 2010. Favorite tracks: 2, 3, 5, 7, 8, 9, 10, 11. B+ Samples / Order Suntrip Records http://www.suntriprecords.com/releases/ Saikosounds http://www.saikosounds.com/english/display_release.asp?id=8572 Psyshop http://www.psyshop.com/shop/CDs/sut/sut1cd020.html Beatspace http://beatspace.com/dettagli/dettaglio.asp?id=5893 Goastore http://www.goastore.ch/product_info.php?products_id=4064 Play http://www.play.com/Music/CD/-/8/33/-/16317132/Sweet-Sadness/Product.html .

Please remember to post links to samples and where to order it. Update: See my review and longer samples below.

Finally got the game for the PS3. I love the First Person feel and soundtrack. The story, plot, cutscenes, and combat leave room for improvement (some trial and error approaches may turn a few gamers off). The game could be lengthier too; at roughly 6-7 hours it's kind of short. The sense of speed, fluidity, and gameplay movement in the First-Person View (seeing actual realistic camera physics, movement) is exciting, a rush at times, at other times disorienting; I feel a bit nauseous. Sometimes I put the game on just to hear the wonderful, "introduction" theme song in the opening. Learning curve: Medium. At around $10 dollars, worth checking out for fans of Pakour and an innovative approach to FPS. Check out the song and trailer for Mirror's Edge below. The developers need to improve the sequel to Mirror's Edge, as Assassin Creed 2 was a dramatic improvement over the first, offering more of a story, plot, and substance that Mirror's Edge lacks. The developers can even show how society became the way it did by showing how a special interest group's vision (one world domination or at least in a country) came to fruition, from unprecedented merges/corporate takeovers after a potentially-influenced, financial collapse. And how anyone is a terrorist according to the context of the system; runners (in the game for instance) are considered terrorists. I think this could make a great film too with the right cast, crew, and more importantly director! The guy who did District B-13 showcasing all of that parkour has potential! What I see doing with the game's story/plot would not only compliment, but blow the first's out of the water. That said, I'm open to the idea of collaborating with Dice/EA via script, story/plot, and/or backstory (or at least to explaining to some degree) if Magnus forwards this and/or someone associated with the company reads this in time. The vision I have would rival the bleak (roughly 7/10 score) that Mirrors's Edge game averaged (roughly) on Ign, Gamespot, and most important (vast general consensus site) Gamerankings. But I don't know who to speak with. And if the sequel's too far in progress to alter plot/story dramatically, as such changes can be costly depending on the game's status of tentative production, this could be exercised as an option in the third. Furthermore, I have a groundbreaking vision that would make one of the most jaw dropping, best selling, next-gen games, if produced. After seeing the movement and sleek graphics in Mirror's Edge, I believe that EA has potential to produce/back it, or Konami (after seeing Metal Gear Solid 4), or Rockstar (after seeing GTA 4). There's just so much talent out there. But I do have clear vision for a game (story/plot, gameplay, graphics, main character) that raises the bar pretty high. It will take passion though, not greed, to capture this infectiously riveting experience, and I'm very passionate with my work, as I can see Magnus who composed the soundtrack here is. Naturally, have Magnus (Solar Fields) compose yet another wonderful soundtrack for the sequel. I know people who bought this game just because they fell in love with the music from the trailer. It's excellent. I hope there are more beautiful tracks like "introduction" and "Still Alive" on the sequel's soundtrack.

There's currently two films I found great in 2010. One was Inception; a film that shows again, how creative Christopher Nolan is. The other is The Town; proof that Ben Affleck can direct much better than act (although he can act), -a strong heist film with some very intense action. I thought Inception was very interesting and well done. Although the final shot is ambiguous (no spoilers), and the dream scenes didn't feel that dreamlike (with few exceptions). Part of me liked the fairly realistic approach, though some of the snow scenes I felt dragged a bit, or could have been more hallucinogenic like the arresting hotel sequences, for instance. It would have been cool if all of their operation work regarded more revelation than the fact that they got a piece of information for one business man while conducting a highly technical operation (dream within a dream). I also think the film could have benefited from having a developed dream antagonist (not the business man), as the opposition lacked characteristics or personality. They were like Matrix agents without a Mr. Smith to produce distinguishing presence. But in the emotionless professionals felt, well, professional at least. Some people felt that the end was a little drawn out. But I liked the extended music video approach. It was smart and innovative. Great film. Btw, the short vid below (my sig) I shot around 9 years before Inception. I simply scored and uploaded it in 2010.

Modern horror films I highly recommend: - Martyr's - Inside (French version) - Frontier(s) - The Descent - The Mist - The Hills Have Eyes (One of the few solid Remakes IMO) - The Ring (Remake) - Pandorum (for those who like Sci-Fi horror, i.e: Event Horizon). - Silent Hill (first one) - 28 Days Later - 28 Weeks Later - Saw Older horror films I highly recommend: - The Texas Chainsaw Massacre (original) - A Nightmare On Elm Street 1+3 - Hell Raise 1+2 - Halloween - The Exorcist 1+3 - Evil Dead 1+2 - Child's Play 1+2 - Re-Animator - Carrie - The Omen - In the Mouth of Madness - Invasion of the Body Snatchers (original and 1978 remake) - Children of the Corn (first one!) - The Brood - The Devils - Tremors ... fun stuff, same with Gremlins!

Agree. There is so much CREATIVITY and TALENT out there.

2004 Boxing Day Tsunami ORIGINAL Elephant Painting

Battle at Kruger - Amazing! Just watch what happens and how the animals react like people. http://www.youtube.com/watch?v=LU8DDYz68kM Validation http://www.youtube.com/watch?v=Cbk980jV7Ao

This is the biggest album surprise for me of 2010. Bigger than V/A - Temple Of Chaos even. I was completely NOT expecting (although hoping on and off over the years for) this. 2006's Subliminal Melancholies is one of the most inventive, ambient/psy-influenced, down/mid-tempo, dreamy, beautiful/sad, atmospheric, and CATCHY albums out there. An underrated gem. It's so positive to see this artist make a follow up! Samples sound GREAT. Thank you Vincent Rybicki/Vince Le Barde's and Suntrip for making this happen.

I agree. The opening, well the first 4 tracks (2 and 3 especially, for me) are great. I would love more tracks like Kick Back, Black Arrow, and Brainbow. The subtle psy/goa influences compliment the stronger psy/ambient-influenced trance, uptempo. Although there are some solid parts past the opening four numbers (track 5 and 6 has some great atmosphere; Cruse is pretty cool), the general album is noticeably weaker (less infectious) in the second half. I like how the artist approached uptempo though, and would be interested in a follow up to this perhaps at some point. Overall, Earthshine is a good album with some beautiful, great tracks and work. The uptempo style and approach is refreshing, albeit not as riveting (to me at least) as Solar Field's ambient-influenced down (and mid) tempo work. Favorite tracks: 1, 2, 3, 4. B+ .

Just found out about this release today. Hope I get a chance to hear it soon! Samples sound good.

V/A - Temple of Chaos June, 2010 Suntrip Records 1. Khetzal - Rosin Memories 2. K.O.B. - Lost Belly (Of Civilization) 3. Daimon - Codex 4. Moonweed & Shakta - Perfect Invisibility 5. Merr0w - Citrus Circus 6. Filteria - Illogical Logic 7. Crossing Mind - Cyclone In Your Heart 8. Nebula Meltdown - Encrypted Illusion Temple of Chaos is the second release by Suntrip Records this year, and it is their most aggressive, acid-laced compilation to date. Whereas Energy Waves was bright (morning/sunrise), Temple of Chaos is dark (in comparison). This is the nighttime half to the Yin-Yang. And while there are elements of beauty, I think (not just myself but) many of us have been craving something less lighthearted for a while. An album that ditches the upbeat melodies for one more driving, psychedelic, twisted, visceral, etc. I miss the days of Tandu's Multimoods, Toi-Doi's Technologic, Hallucinogen, Pleiadians (among others), when there seemed to be no rules. No boundaries. And while this can't replace those, it is a great step in the direction that was once, and still is darkly magical and at times, edgy, exciting, and absorbing. 1. Khetzal - Rosin Memories sees a strong return from Khetzal after a several year hiatus from Goa-Trance. I can't believe its been half a decade since the beautiful Corolle album! This track is filed with so many elements, both atmospherically and otherwise, that it's difficult to describe. Next track! Just kidding. A shivering (like a blade spinning in the distance) sound moves closer and further away in the opening minute. Numerous sounds appear in the environment, and the beat arrives soon after. The first several minutes develop a braiding rhythm. A delicious sound fusion at 2:13 enhances the world that sounds as if beauty moves with urgency. Sustained sounds swim frequently, blending into the stream until a brief interlude. The music seems to lighten up, offering a pleasant tune that reminds me a little of RA's work... until quickly diving into thick atmosphere, and switching tones at 3:33 for a more paramount, perilous mood in comparison. The beat evaporates, ditching the melodies and here is the continuation to my favorite part! At 4:06 the melodies are gone; the vehicle drives into an acid-twisting, at least more aggressive (in comparison) environment. This part could have been developed a little longer, as the braiding sounds (with added elements) gradually sow themselves into the liquid fabric. I think that the song had an opportunity to have an amazing, more daring final third as well. The music towards the end seems to tread (like a spirit) between realms darkness and light. It would have been cool simply put, a more zesty, interesting ending took place. Although there are several tracks I've enjoyed more by Khetzal (and a part of me is just happy to see him back), this is a radically different, intriguing, and well done number. B+ 2. K.O.B. - Lost Belly (Of Civilization) really has to release an album one day. His style strips the melody heavy emphasis of Filteria and focuses on the pure psychedelia, driving and twisted-effect zest of Psytrance without abandoning cleverly integrated atmospheric/melody work. This is one of those rich tracks that could be an opening on Halluciongen's next album; I say that in reminiscence to The Lone Deranger's super opening. After an intriguing buildup, this one takes off at 2:34, rocketing (without too much intensity) like a spiral dragon, diving in and out of the sand (moving) across the dessert. I love how much is achieved with minimal (to virtually no) melody use in the first 3-4 minutes! Naturally, when one appears at 3:42, it grabs my attention, moving the beat to the side which eventually returns to enforce the flow at 4:19. This is a great part. We're treated to all elements combined after a brief spotlight had been removed to accommodate the new sound. As the vehicle moves forward, things heat up; they become more twisted and acidy. Soundscapes skip, the echoing (deeper toned) siren-esque melody disappears, and a wonderful concoction of psychedelic rhythms are given time to breath, develop, and infect the senses. I can't make sense of all the subtle sounds, which may make sense if I was in another state. A (not necessarily interlude but) section of hallucinating bliss transforms the atmosphere until the beat is nearly gone. And at 7:49 the music erupts, as an evolved complex of chaotic/driving energy. <--- Great (avoided from being overdone or too lengthy) finish. This is an excellent, unpredictable, and psychedelic nighttime number. A- 3. Daimon (Antares) - Codex grabs my attention early on. Once the beat begins, it's already developed into a building current, and is soon engaged with more tenancity at 1:19. A psy-effect melody lead (if you can call it that?) ignites us deeper via tone. It's strong, and keeps the experience magnetic as it travels deeper into this energy warp. Joined by numerous, catchy, and supporting sounds. One that I find compelling arrives at 2:38. It is this other (lower note) leading sound that pulls me into the world more than any track on the compilation so far. Acid sounds and floating textures accompany the environment as the story becomes more psychedelic, and we're only halfway through! I don't know what it is about the sounds/rhythms on this track; I feel hooked by them, absorbed. I love the Goa sound generated here; it's arresting, changing, and emotive in a surreal way. As opposed to fading out via interludes, the song continuously tweaks and perfects its juicy approach, lifting higher (energy wise) to an outstanding, screaming and dynamic segment around 7:00. So it avoids being too traveling. More tasty sounds and effects are integrated into the recipe. This is one of those songs that sounds almost dreamy due to its hypnotic feel, yet it is determined, rewarding, and insightful throughout. Wonderful track! A- 4. Moonweed & Shakta - Perfect Invisibility is a return to more crazy-acid insanity after the previous number. Surprisingly, it's the melodies I most enjoy after the opening breakout via psychedelic sounds that appear to fly (at times literally) out of the song. A large focus here is the psychedelic, dynamic aspect, and it's well done. The part from around 2:54 to 3:16 (or 3:42) is very psychedelic and melody-free, and it is this synth part that is a little too much for my preference; although various lovers of psychedelic trance may eat it this acidy treat. What I enjoy here is the more musical (and psychedelic) from 3:45 (right after the voice sample) to 4:34 part. To me, this section comes close to the perfect balance of chaos and harmony. The track is more synth/acid than previous numbers, and achieves solid results with less. Also catchy are the claps, though they get a little repetitive into the second half, a small nitpick. Fresher melodies join the twisted, acid backdrop that soon changes temporally; I think the backdrop could have used less returning to. In other words, more building/variation as the song progressed would have been cool. Overall this is a psychedelic, energetic number that will likely appeal to numerous listeners right away. Currently it's my least favorite track on the album, though on virtually every compilation, I always find at least one or two tracks I enjoy less. I give these artists credit for taking some chances. There appears to be some serious, experimental work here, and the melodies are solid. I feel like the song deserves more praise but we'll see what others think. Great track. B+ 5. Merr0w - Citrus Circus is THE dark, crazy, powerful, and relentless track (more aggressive and psychedelic than Ka-Sol's Scraqp on Apsara IMO) on the compilation. I feel like I have to get this out of my system. Last year (2009) Amanians released a song called Fireworks on the kickass People Walk Funny compilation. This song (to me) sounds as if as Merr0w heard that track, and through Merr0ws vision, gave it the complimentary (with justice to) melody approach that the Amanian track lacked. This song is like a tornado -- a TSUNAMI -- with a Matrix-esque score in its final third, oozing emotion. The song is brave in its uncompromising direction. Yes it's aggressive, sensational, and arguably angry or wild as hell. It's loaded with an infectiously developing, living and breathing current, and I feel completely arrested, provoked, and excited while listening to it. This is one of those tracks that could have been repetitive, had it not been for the artists diligence to take risks and successfully sculpture an energy of such magnitude. The track sounds more like an event. It never loses composure, and follows one general path to ridiculously amazing effect. This is intense, catchy, and gripping. Fantastic work. A 6. Filteria - Illogical Logic could have been a K.O.B. track had I not seen the track list. Sure they're melodies. But the sounds selected are different from any Filteria song I'm familiar with. We dive into an energy current early on (after an interesting albeit strange voice sample). Soon after, a spontaneous selection of melodies arrive, reminding me of the ultra-catchy computerized (melody) world in Electrypnose's underrated "Funked Up" album. This song however, is nuts; it's mixed extremely well. It's also innovative, fun to see Filteria continue to innovate. A more realized high-energy rhythm enters around 2:00, and since the Daze of Our Lives album, I've noticed more juicy melody work from the artist. Not to mention the K.O.B. influence here, primarily the solid section from 2:50 to 3:16; it seems that Filteria has learned a thing or two from K.O.B., and vice-versa. And then there's the gripping improvement to an already blazing ride, from 3:17 forward. Wonderful sounds are continuously integrated into a psychedelic, twisting, and acidy, shifting backdrop. A continuation of the voice sample takes place at 4:15 before the vehicle takes off again. More altered layers and tasty streams (the part around 5:31 to 5:54 is excellent!) appear. The melody heavy (more maximal) section dissolves to accommodate an arresting segment, before an incredibly infectious event via 6:24. The sheer rush is soon accompanied by a twisted sound effect, as if Nintendo Mascot Mario (altered sound included) just died. That may be an odd analogy. The effect here is effective. The song ends with the full voice sample, so one can attempt to make sense of it. Personally I find that the voice sample does not enhance the song in any way. Also, the general focus on higher pitched sounds may be a bit too much for a few listeners (I had to lower the volume a little, unlike the other tracks because my ears started to hurt). Some of the track's highlights however are the melodies (how they sound and are utilized), as well as the non-maximal (at times, what I call K.O.B.) influence. I love songs that start off good and get better as they progress. Excellent track. A- 7. Crossing Mind - Cyclone In Your Heart took time to grow on me. It's less melody friendly, more psychedelic in the acid sense via the Perfect Invisibility track. Yet this seems to soak every sound in acid before letting it loose out the speakers. Various sounds support the acidy melody lead in addition to subtle, barely noticeable details. The song starts out as if we're waiting outside a nightclub. Just as we enter the dance space, the beat is overrun by a thick storm of psy/crazy overload. Also cool is the general melody lead and later on, the change up in rhythm (from 6:07 to 6:24) after the beat-free interlude. There's a subtle, echoed sound too in the background (like a gentle beeping) that compliments (maybe it's an echo from another layer. I don't know). The song would have been better had more innovation (and sound variety) taken place in the last third especially. The track returns to its general sound in the last act, as opposed to refreshing our senses with something new. Lastly, I initially found the synth lead a little monotonous, but its grown on me. Still more overall sound/melody variety in the song would have been nice. This is a hard, rough, and aggressive track. It's just not what I consider great (I am between a B and B+ here). B+ 8. Nebula Meltdown - Encrypted Illusion I would have never expected to be what it becomes based upon its opening sound. Here is a song that grows, from a fairly simple patch of soil, into a blossoming, delightful tree of life surrounded by a land of magic mushrooms. The first few minutes a healthy, soundscape-developing movement. Around the third minute enters a skipping sound, varied and accompanied with twisting fireflies, beetles; the song seems to come to life. A subtle buildup soon takes a place inviting a boost of energy into the rhythm as 4:05. Soon after, an infectiously skipping and dynamic melody arrives, and is complimented by numerous skipping treats. The track grows more hypnotic, catchy. Into the sixth minute enters the blissful touch of ambient notes. They're beautiful, producing a sense of emotion right where is desired (I felt). Also nice is a distorted piano touch which reminds me of the piano used in Nine Inch Nail's Closer song. This sounds completely different from that of course. The cut off piano notes add to the sense of emotion. They flow wonderfully with the ambient, now skipping; sounds are returning while evolving like multiple cycles of life. I love the hypnotic feel and psychedelically rich and musically developing, evolving sound as the song progresses (as if it's sculpturing itself). Soon after the ninth minute appears a skipping albeit gritty tune a la Infected Mushroom - BP Empire. The track's infected alright, and many gorgeous sounds fall into marriage with this driving, mid-tempo/climactic movement. The more I try to criticize, the more beauty I find. This is a beautiful, hypnotizing-the-mind while melting-into-the-senses closing track. Superb. A In conclusion, I am close to saying that this is Suntrip's best compilation. At the very least, it is one that stands out (more than Energy Waves and more) than virtually all new-school, Psychedelic Goa-Trance compilation due to its embrace of the night via twisting, psychedelic approach, rhythms, synth leads, acid lines, atmosphere, and more. For those that have been waiting for something that isn't just refreshing (well done and new) but more atypical (aggressive, dark, twisting, at times labyrinthine) from the general Psy/Goa today, this is the best, most vivid and interesting compilation of 2010 to date. Well done Suntrip Records and all artists involved! Favorite Tracks - 1, 2, 3, 5, 6, 8. A- Samples / Order http://www.suntriprecords.com/shop/ http://www.psyshop.com/shop/CDs/sut/sut1cd019.html http://beatspace.com/dettagli/dettaglio.asp?id=5719 http://www.goastore.ch/product_info.php?products_id=3907

Oh man. I just became aware of this today, thanks to Lemmi's mention of the Ashram track by Astrancer. I wish this was available to buy via MP3 download on amazon, as there are only a few tracks I really care about (mainly the last 3-4).

Both cover options are great. Samples are refreshing from what I'm generally used to from Suntrip. Several of the reasons why I love the Tandu - Multimoods album so much! The work here is more acidy, wild, dark, and driving a la V/A - People Walk Funny. It's nice to see Khetzal back!

Listening to this again. Very good release!!!

I hated Terminator: Salvation. One or two of my friends liked it, but I didn't. My girlfriend didn't like it either. And we're Terminator fans. We almost walked out. I loved Terminator 2 (with the father and son relationship). And due to my age, T2 was the first film I saw, so I loved it most. Going back to see T1 soon after, I realized that it was excellent in its time (and still is) though a little outdated via 80's music, hairstyles. T2 set the bar pretty high, once again. Once James Cameron left (saying his vision ended with T2 (showing Judgement Day itself being avoided) the series should have ended there. The score, vision, protagonist, story/plot, antagonist, cast, script, special effects, and direction in T2 were superb. Terminator 3 didn't know whether it was going for comedy or action in many scenes. It seemed to mock the original Terminator films by turning what could have been cliche into "humor" via sparkly glasses in the gay nightclub, talking to the hand (?!, and more). Moving on to T4. Salvation, while it tried some new things and had a variety of antagonistic machines, seemed to have no reason to exist. I felt nothing for the characters, save for Worthington's character towards the end. The film IMO was big, loud, mindless, and showed a prolonged war (that was avoided according to Cameron in Judgement Day) for the sake of action's sake. A good excuse to make more money from the franchise. As much as l like Bale as an actor (Batman, American Psycho, Equilibrium, The Machinist, etc), his performance felt wooden here (to me), dry, and not likable. And once the film's twist with Sam Worthington's character, the movie was close to ending. And we are left right back where we started, without conclusion but more war to come. Another sequel. NO THANKS. There's a reason why the studio auctioned off the franchise after Salvation. The film did poorly in North America and got fairly bad (very mixed) reviews. Naturally, some people liked it. The film had a serious, dark tone throughout. And I really wanted to enjoy it more than I did. But in the end it seemed to overloaded with action over substance, character development, and heart for me to "feel" the action and care about what came next. Salvation, as with T3 (that I felt shouldn't have been made) lacked the magic of what made T1+T2 so wonderful. For me at least. I don't even know what I'd rate this. Unlike The Matrix, which should have ended with the first IMO, the Terminator films should have ended with the second. I think that maybe, just maybe, I have to agree with that (for action films at least). Numerous critics consider The Godfather II (via rottentomatoes) the best sequel of all time, but T2 is more my type of film. I only wished that Matrix Reloaded would have been the great sequel to the first Matrix as T2 was to T1.

Great work Mars! Glad to see Solar Fields - Movements won best Chill via main artist. That Filteria won uptempo main. And that V/A - People Walk Funny got uptempo comp (I won't argue with that; it's great). And I just became aware of the V/A - Imaginary Friends compilation because of this thread!!! Very happy about that. There's a handful of great albums here that I missed now checking out! Btw this thread should inspire artists and labels to release higher quality albums.

I'm only becoming aware of this album now after seeing it in the "best of 2009" results. It won as the first "Best" Chill compilation! It would be cool to have a sample link but I can find a page. The album sounds deep, intimate, contemplative, beautiful, and personal. Fortunately, it's available to legally download (in great quality, and for less) on Amazon here. http://www.amazon.com/Imaginary-Friends/dp/B002QDUB30/ref=sr_shvl_album_1?ie=UTF8&qid=1272983904&sr=301-1 Samples http://www.saikosounds.com/english/display_release.asp?id=8177

How come so few reviews on this? I suppose many people didn't know who Liquid Flow was until their Reformation track on Energy Waves. That's when I first heard a song by the artist. I generally like their style and think old school Goa/Psy-Trance albums deserve more attention. Samples below. Saikosounds (longer samples) http://www.saikosounds.com/english/display_release.asp?id=8229

V/A - Energy Waves Suntrip Records 2010 1. Mindsphere - The Awakening 2. Astrancer - Inhabitants of the Sun (Gnostic Theory) 3. KhetzaL - Indian Attic (E-Mantra's Tellurian Remix) 4. Somnesia vs PharaOm - God's Tears 5. Liquid Flow - Reformation 6. Astrancer - Athanaton 7. Antares - Eureka 8. RA - Time Current (Silver Remix) 9. Space Elves - Anjuna Beach Suntrip Records has released a handful of solid Psychedelic Goa-Trance compilations since their debut Apsara in 2004. I thought 2007's Twist Dreams was good, but critisized it for not being as strong as Apsara. In 2008, the label released a double CD; Opus Iridium was great, and later that year, Sundrops: Lights In Motion, a morning influenced one arrived. Both received great reviews. In 2009, Suntrip Records focused on releasing albums by main artists, such as Filteria, Merr0w, Afgin, Radical Distortion, and E-Mantra. After around a year, Energy Waves, a Psy/Goa-Trance compilation has arrived. But is this just a typical compilation or something special? 1. Mindsphere - The Awakening is an intriguing, atmospheric-downtempo opening. The song starts the album nicely, producing soft soundscapes, a gently building arc of distorted/altered sounds, catchy melodies, and more. The song reminds me a little in buildup structure to the artist's chilled opening track on Opus Iridium (downtempo CD). I find this better and a welcome entrance. That said, after hearing this artist's work on Inner Cyclone (album), I'd love to hear more uptempo work by him in the near future (possibly a better produced/daring sequel to his imaginative debut album). Great opening track. B+ 2. Astrancer - Inhabitants of the Sun (Gnostic Theory) is a morning, Sunrise number! I first heard and fell in love with this artist's track on V/A - Pyramidal Trancendence. Fortunately, his Dzog Chen track was no fluke. This song has a crisp and delicious, developing rhythm and sound throughout. It combines some of the most upbeat melody/sound work of the year yet. Few sunrise tracks are as good or better, like Liquid Sun by Astral Projection. Goasia's Sunrise song had some beautiful work. And Doof's Sunshrine (notice the different spelling) is another one. It's refreshing to see another song capture this beautiful element. The shift/effect around 2:58 is fantastic. The song has numerous injections of infectious movements and evolutions, and is energizing to listen to, very positive. This is an adventurous, tripy number. Beautiful track! A 3. Indian Attic (E-Mantra's Tellurian Remix) is one of the few tracks I was initially concerned of because the remix isn't by the original artist. Also, Arcana's debut was atmospheric and had great background texture work, but lacked synth leads. That said, E--Mantra took a great track with strong from Corolle and made it more psychedelic, atmospheric, and involved. It is however less melodic, juicy. Accompanied by numerous sound alterations, spacey sounds, and even melodic elements, E-Mantra turned a strong and colorful creature into something more complex. It's a good/great song I think, but the original's melody leads stood out more. One of E-Mantra's tasty transitions takes place here from 4:25 to 4:50. It's good, and how the music progresses after it is well done. The melody/sound work I found more dynamic and lively in the previous song. This is interesting and engaging nonetheless. I like the middle transitory section, and various changes made from the wonderful original, though the first third-half feels a bit repetitive, uninspired to me. Also, in building up the backdrops so much, something has been lost from the original. I suppose that was the point, to produce a more intricate world rather than one with sails to grab onto (that song is the previous track). Good remix. B 4. Somnesia Vs PharaOm - God's Tears develops has leads less strong than the second track; they're good though. An often rumbling (catchy) sound takes place thoughout. The song develops its energy through numerous buildups, climax work, and a healthy combination of background textures, atmosphere, and more. It takes a while to get going. A short interlude releases a great, deliciously dancing lead melody at 4:00. The song then releases another, more psychedelic lead on top of that at around 4:27. The combinations are great! A second, more involved, and arresting interlude takes place in the last third. Both the return of the rumbling sound towards the end on top of everything else (the last climax) is excellent. This is a very good, if not great track that starts off slow and rewards patience with some wonderful work. B+ 5. Liquid Flow - Reformation is more energetic and fast paced after the previous fireball. The echoed (melodic beeping) sound around 1:30 is very catchy. I love when artists select and creatively utilize a simple sound, producing an addictive hook on top of everything else. This appears to be the most aggressive track on the album. As it progresses, it becomes more psychedelic, rough, and impossible to contain. The alien sounding (crunchy beat like walking) element from 4:15 into the fifth minute are catchy and compliment the song. The beeping may have gotten repetitive had it taken place throughout the entire chase, and is fortunately not drawn out. This song has a powerful climax in the last third, coupled with ambient notes, varied psy sounds (that alien space walking effect), and more. The last time I heard such an adrenaline-induced song, it was Eyeless Observatory on the Daze Of Our Lives album by Filteria. Reformation may seem less complex, explorative, and more sensation-driven due to its storming energy. But its high energy combined with back-to-back catchy paragraphs, sounds, melodies, buildups, and climaxes is great. This is a high octane, fun, and storming track placed between two less intense numbers. A- 6. Astrancer - Athanaton begins with crisp, tasty sounds; no surprise after Astrancer's previous song. Around 0:41 lets loose the first push of energy. Entering 1:22 is the first melody lead, then another around 1:40. The high here comes down than lifts up over the second minute before changing up to accommodate new, dynamic movement. The melody lead changes up as it progresses, arriving at a short transition before introducing a spiraling, ethnic melody selection at 3:00. I preferred the previous section more, but it's still great. Another interlude takes place around 4:00; key changes are seldom used and compliment a terrific ascending/descending sound from 4:25 to 4:49. These moments gripping and delectably catchy! Another of my favorite parts includes an ambient sound from 5:18 to 5:45 that gives the track a floating, soaring (free-spirited) feel. And it is here that the song reaches its highest moment. Tasty ingredients continue being added; the song remains great. At 6:54, a trekking melody arrives, coupled with another more psychedelic lead. I think the song could have ended a little earlier than its nine minute running time however, as the part past seventh minutes is less capturing. The ending could have been better. I found Inhabitants Of The Sun (Gnostic Theory) more satisfying in comparison. Overall, a very good track. B+ 7. Antares - Eureka is epic, at just over ten minutes long. The opening, ethnic/Indian melody is great. The light turns green at around 0:53 with a magical touch. Before I realized, the entire song had formed a collection of intertwining layers and beautiful soundscapes. I compared this artist to Ethereal on the Sundrops compilation do to the artist's ability to produce melodies that move together almost seamlessly at times. Initially I thought moments around 3:49, 3:53, and 5:35 seemed as if someone was lowering, then quickly raising the volume. But this effect relates to a certain melody and has possibly been done on purpose. Also beautiful are floating ambient notes that take place from 4:04 to 4:48, repeating again towards the final act. The cloud floating interlude is extremely well produced. Past that, a juicy evolution takes place filled with even more arresting melodies, sounds, and storytelling energy. The final third of the song has an infectious, whirling effect before lifting off into the realm of stars; it's superb. I think if this artist's tracks were a little shorter, they'd be more effective. This is a strong, traveling. A- 8. RA - Time Current (Silver Remix) is a new version from one of their best numbers on 9th. This version of Time Current is more like a re-imagining than a remix. It's very well done, though I find the original more fun to listen to. This is less danceable, more deeply exploring and hypnotic. I like the echoed psy sounds and the developing layers. I think the echoed psy sounds could have been used a little less, and arrive a little later then they do. The first five to six minutes are excellent (my favorite part of the track) as the world is created, becoming more rhythmic and infectious. The segment from 3:56 to 4:08 is great as the harmony breaths with fewer layers taking place. Another memorable part is when the song crosses the fifth minute; a flute-like sound from 5:45 to 6:11 is wonderful. A peaceful interlude takes place soon after. And the music returns with just as much, if not more energy at 6:51. It is here that the song begins to feel less refreshing to me. More refreshing ideas, rhythms, and sounds (an ending evolution via Filteria's Earthrise song in concept) could have been better I think. The climactic final third has some beautiful ethereal-ambient notes, harmonies. I find that the song becomes a little exhausting in its final act due to sticking to most of its perviously showcased sounds, and this is where more innovation could have been resourceful, or ending the track earlier on. For record, the psy-echoed sounds work well too, though I like them more when used less frequently. This is a richly textured track. However it lacks some of the ingenuity that made the artists' songs like Other Self (9th album) and R.O.M. (To Siruis album) so dynamic, unpredictable, powerful, infectious, and fun. That said, this is like a reunion of tasty elements all coming together to form a powerful, psychedelic, and gripping current. In that sense, it succeeds. It's just not one of RA's most spectacular tracks [as a whole] in my opinion. Great number! A- 9. Space Elves - Anjuna Beach is like a mish-mash of other, better songs. With exception to the opening, the first lead or melody is introduced around 1:17. It's okay. A second, more prominent melody arrives at 1:55. It sounds similar to Dimension 5; I'm not sure what to think. A fairly catchy psy backdrop takes place until a tune arrives at 2:40. The D5-esque melody soon returns to repeating ideas; I wish new sounds were added in stead. This track has fewer ideas, development, and evolution than every song on the album. It could have used an additional melody lead (and more development) to liven up its second half. The interlude is nice until a strange female voice sample gets in the way; it sounds like a young girl mindlessly talking (with an echoed effect). After the interlude, the music is a little more catchy. But the song is so dependent on its Dimension 5-esque harmony, that it lacks risks and creating, and falls into repetition. I imagine some people will like this softer. I enjoyed the previous songs on Energy Waves and find this last one boring and lackluster. I'd go as far as to say average. Interesting how tastes differ. C+ In conclusion, Energy Waves flows from track-to-track and includes almost all great exclusive numbers. The second song is the most solid sunrise track I've heard in years. I'd love to hear more work by Astrancer. Also, E-Mantra did a good job. Both track 4 and especially 8 has showcases great melodies, though the same could be said for every track on the album, save the last. Reformation is the most climactic number, well done. I have very few gripes with the album, but they are: E-Mantra's song lacks memorable melodies. I'm having a volume issues with the Antares one (like someone lowered the volume halfway through). The closing track leaves much to be desired after so many great songs before it. Other than that, Energy Waves is great! Favorite Tracks - 2, 5, 8 B+ Samples / Order http://www.psyshop.com/shop/CDs/sut/sut1cd018.html http://www.goastore.ch/product_info.php?products_id=3744 http://www.suntriprecords.com/shop/

V/A - Earth Altar Records 2010 1. Vibrasphere feat. Iz - Tierra Azul (Vocal Version) 2. CJ Catalizer - 2012 3. CJ Catalizer vs. Zymosis - I'll Be There 4. Tentura vs. Zymosis - Unity of Cultures 5. Zymosis vs. Tentura - Magic Species (Kadasarva rmx) 6. RA - March of the Lunar Priests 7. Lab's Cloud - Raining Over The Sun 8. Chronos - Ants World 9. Asura - An Talamh 10. CHI A.D - Lost Island Earth is the first Altar Record's compilation of 2010, and the fourth in the elemental series after Air, Water, and Fire released in 2009. As with the others, this is a Psy/Chill down and mid-tempo compilation. 1. Vibrasphere feat. Iz - Tierra Azul (Vocal Version) begins with gentle piano keys, running water. This is a floating, meditative downtempo track. I really like the instruments (piano, guitar), subtle distortions, pads; the female hymn's are nice too. Somewhere in the middle, the track reaches an elevating interlude. I simply wish more of an evolution took place past this center into the last third. This is a pretty good number. B 2. CJ Catalizer - 2012 is more interesting than the last, beginning with strong ambience. The song has an emotive feel early on, developing well over the first minute. I like how the songs take time to develop, and the distorted, psy work around 2:00 as the beat picks up. An interlude transitions a progressing evolution with more movement. Coupled with catchy psy sounds, varied melodic elements, and a rumbling, downbeat backdrop, the ambient notes enhance its direction in the second half. Although the melodies could have been stronger, the song has a psychedelic edge. Good track! B+ 3. CJ Catalizer vs. Zymosis - I'll Be There is one of my favorite tracks on the album. Although what appears to be an echoed baby's voice close to the beginning is a little strange. It soon ends. The song begins and develops extremely well. The first realization and energy pack is uncovered around 3:31. The slowly trekking music remains mysterious, yet gradually revealing. The speed picks up at 4:33; it sound great. But the melody that arrives at 5:12, combined with strong supporting work, is wonderful. It soon enters a romantic transition, before evolving into an even more awakening spirit. There's moments when I feel like this song could have been inspired by Solar Fields - Movements album, along with previous songs via Altar Record's compilations: Air, Wind, and Fire. The melody lead from around 5:14 forward is arresting, and compliments the floating backdrop. Beautiful number! A- 4. Tentura vs. Zymosis - Unity of Cultures is one of the more psychedelic (Shpongle and/or Younger Brother in fair comparison) tracks on the album. The alluring entrance develops nicely with startling and/or distorted nature-esque psy sounds. Prior to the first minute, a bright melody appears, and is soon comforted in a blanket of ambient. A dribbling touch of water joins an interlude as a catchy, psy industrial/machine sound emerges. Halfway into the second minute reveals that this is a mid-tempo number. There is a cool, foreign sounding build up; a strong melody lead arrives around 3:05, and the entire song break out around 3:15. The song is terrific past this developing moment, becoming more psychedelic, touched up, until around 4:30 at least where a female vocal enters. The excursion flows smoothly as ethnic melodies swirl around a psychedelic backdrop. The beat and rhythm return at 4:48 with a twist/catchy melody lead supported by another intertwining lead. This is an intricate, evolving cocktail of flavors, cleverly fused together as an elaborate psy/ethnic influenced downtempo gem. Excellent track. A 5. Zymosis vs. Tentura - Magic Species (Kadasarva rmx) starts out more ethnic, primitive, and atmospheric. Sounds of flute, drums, and various other instruments set the backdrop, coupled with psy segments. This stream soon emerges into a back beat, at 1:50, that is really catchy. The music picks up around 2:12; it's fluid and flows well, and soon approaches a beat-free interlude. The music becomes more psychedelic as it returns and crosses the fourth minute. It's here that I find its swishing, background, and distorted sound alteration/direction less satisfying. I feel like I need something more musical to balance them out. Nevertheless, the song has interesting moments. Some may like its rougher approach. A hard drum combination enters around 5:55. This parts really good, and provides more of the tribal trance influence that I like. Beyond the catchy, thumping segment, there's little that hooks me, but the song ends soon after. This is a fairly good. I liked the others more so far. B 6. RA - March of the Lunar Priests begins with a wonderful, warm, and slow melody that reminds me in concept of Transwave's classic Land of Freedom number. A surprise takes place around 1:48; the song forms an emotional dragon, awakening into mid-tempo. I wouldn't be surprised if RA was inspired to make the beautiful harmony after hearing the the wonderful Sugar Rush (Kanc Cover) from Altar Record's super Fire compilation. Maybe not, considering their known for strong melody work in general. A dreamy, floating interlude takes place. The song evolves to some degree past this, remaining strong with varying melodies, rhythms, and its beautiful harmony lead's return. I feel that the song's a little repetitive sounding, but its repetition works to its advantage here. The mid-tempo approach was unexpected after the dreamy opening, and compliments the track. Great number! A- 7. Lab's Cloud - Raining Over The Sun takes place as if moving over a vast cloud or horizon. The song has an interesting, atmospheric entrance, and builds nicely. This seems to balance well various psy elements in combination with more stand out melody work. The rhythm picks up around 2:42, forming a crunchy, layered texture. It's great. A gentle, ethnic, female voice enters around 3:22 and the beat chills to accommodate a floating segment, as if being suspended in motion. The beat returns at 4:25, along with the crunchy movement. I love the echoed part from 5:20 to 5:50, and find it extremely gripping. I think the song could've become more powerful, had it built upon this beat-driven section a little more before the elegant melody returned. Brought back as well is the female voice, albeit skipping a la Aes Dana's Lysistrata. This is an interesting, psychedelic number with a good rhythm and beat. I found that the melodies stood out more in the previous track, but this develops a cool balance between psychedelic and harmony, and concludes in a wave of peaceful atmosphere. Another solid track! B+ 8. Chronos - Ants World has an interesting beginning, pulling the listener into its building, musically delving sound fusions, like a star moving across the universe. I feel like we're in space, surrounded in blackness. This is a very different number from Chronos' other songs. A melody emerges around the first minute, combined with slow, catchy ticking sounds, and a sense of optimism. The beat kicks in around 1:45 and is coupled with tasty, echoed psy effects, various other melodic elements, atmosphere, and ambient. There seems to be a really unique combination of sounds taking place here, though the track has an experimental edge. Different layers move in and out at times like colors being added to a canvas. The song shows more of its individuality throughout the third minute as it develops, shows more of itself. Female hymns work nicely over the floating, developing backdrop, and the galaxy arrives at an gentle interlude. This took time to grow on me. A stand out instrument however, throughout the fifth into sixth (stopping around 6:14) dragged further than I would have preferred. Other than that, I liked this track and found it more innovative in ideas than the previous number. This worked more in the first half than the second, but still the song's quite different from anything I've heard. That said, I enjoyed Chronos' Deep Unity number far more on V/A - Fire. This is a good song with some curious, experimental elements. B 9. Asura - An Talamh I have one issue with. I'm going to briefly discuss it right away because I love this thing after that. The song starts off well, with a spacey, floating introduction. But does the part from 1:37 to around 4:00 (not right away but as it passes the third-minute mark) not a little too drawn out? I felt like the song got stuck for too long there, although the introduction hooked me right away. Once the music fades around 4:13, well from 4:20 forward, it's magical. The spiritual beauty begins to show as this light moves towards its celestial energy pool, and ignites to take part with the phenomenal whole. The second half of this number is on par, if not arguably better than some of the best work on 2009's Solar Fields - Movements album. It's that wonderful relative to its enlightened evolution, from 4:19 forward, as it lets go of form to be reborn at 6:42 forward. The second half of this track is stunning! I simply wish the first half was better constructed (maybe take out the emphasis hits starting at 3:38) and didn't feel as repetitive due to such strong "emphasis" sounds repeating (after the solid intro). Because otherwise, this is one of the most wonderful tracks. A- 10. CHI A.D - Lost Island is a passionate and emotive downtempo number. It took some time to grow on me due to its slower, more contemplative, provoking feel. I really like it overall. The opening is mysterious, sounds organic with elements of wind, sky, air, and various other elemental sound. The ambient around 1:02 is very pleasent, coupled with various instruments and a strong bass line (that which begins at 1:39 I believe). The gentle female vocal hymns work nicely too. This has a fantasy, dream-like sound to it. I find it interesting at times how the artist integrates a deep, meditative element while keeping me engaged. The song has a beautiful elevation/interlude around 4:50; I just wish that the continued to develop that beautiful opening a little longer, or have that as an opening to a wonderful final third (as opposed to returning to its general, pleasant ambient, strings, etc). The strings are a nice touch and provide a harmonious feel. CHI A.D is one of the most solid artists in the Psy genre. I'm glad to see he's getting some attention here. This is a good/great and mature storytelling track with some beautiful elements. B+ In conclusion, there's a handful of great tracks here. Earth is much better than Air, and I enjoy it almost as much as Water and Fire. The several vs tracks are well done too. I'll Be There excellent. And Unity of Cultures is like a tasty cross between Younger Brother, Shpongle, and something else. The only vs. track I don't care much for is Magic Species (Kadasarva rmx), but it's above average. Add to that, new and exclusive numbers by Asura, RA, Vibrasphere, and CHI A.D., and more. Earth is one of the better Psy/Chill compilations of 2010. Favorite tracks - 2, 3, 4, 6, 7, 9 10 B+ Samples / Order http://altar.fonderieart.com/earth.html http://www.ultimae.com/en/distribution/456/index.html