Jon Cocco

V/A - SUNDROPS: LIGHTS IN MOTION SUNTRIP RECORDS 2008 Track list 01. Chi-a.d. – Sight of the Sages 02. California Sunshine – Oblivion 03. Virtuart & Chronomyst – Zanchin 04. Aerosis – Lunar Effect 05. Artifact303 – Energy Waves 06. Antares – Aurora 07. Ra – Gateway 08. Filteria – Back To Earth Sundrops: Lights In Motion is Suncd11, the third major release this year by Suntrip Records after V/A - Opus Iridium and RA - 9th. Both received strong praise and reviews. Unlike previous compilations, Sundrops specializes in Sunrise/Morning Goa tracks by some of the best producing Goa artists of our time who still produce/release Goa. It also showcases harmonious, traveling, and explorative, story telling Goa, for those who've felt that new school Goa/Psytrance over the years has been missing something. This is more for listening and the trance end of Goa as opposed to being a dance driven (Full on) Goa/Psytrance album, which by large, this isn't. Returning to Suntrip is RA, Aerosis, Artifact303, and Filteria, with new and exclusive tracks. As with RA, California Sunshine's Har-el has returned with a new Goa number and it's great to see this artist back. So how is this new compilation by Suntrip Records? 01. Chi-a.d. – Sight of the Sages follows up the artist's beloved Goa style/sound via less climactic work. This is a very traveling and euphoric number. RA - 9th had strong, uptempo/emotive edge with Predator and this penetrates the heart even deeper. The song begins like a chapter to one of the greatest fantasies not yet told. This is the magical sound that I have missed so much in Goa, post 2002. The formulation around 2:22 is deeply emotive and moving, though slowly. The song is floating, dreamy, and filled with positivity, light. The interlude around 4:00 is excellent, euphoric. Some people have used words like "celestial" and "heavenly" to describe Dave's work. I'd like to add warm, loving, quisessential, awakening, and spiritual. The main rhythm throughout this song is wonderful. Supported by a handful of well articulated, engaging sounds; the track gains noticeable strength around 5:50 though it remains calm and anti climactic. I say that with a smile because intensity is not the essence here. Present is one of the best, most heartfelt and positive sounding tracks of 2008 and by Dave Young to date. It's wonderful to see this artist back and with a respectful record label. Hearing this, it's like the passion of the artist spilled into the song, giving it a soul. Beautiful track! Update: I played this for a couple of my girlfriends when we were driving around. Everyone was quiet until the track ended. I pressed the off button and straight up asked, "So what did you guys think of that song, honest." The general consensus was: We like it because it's happy. It feels really good while listening to it. Update 2: One small weakness however, a noticeable observation, is that the song replays part of its first half after the song's middle interlude with few exceptions, a couple details here and there. I think more of a wonderful evolution could have made this song even stronger, thus reducing any sense of repetition. Otherwise I love it. It's spacey, floating, and beautiful. A- 02. California Sunshine – Oblivion is very different from the previous number. Whereas that was peaceful and floating, this is more energetic, dynamic, and arguably intense. If a beautiful spirit was created on the previous light, it now has a body/mind, attitude, adventure, and, wait.. I thought this was a Sunrise compilation? This isn't too fast or intense, but driving and imaginative. Possibly taking place as the sun going down or just before it's ready to rise. The song is comprised of numerous segments I'll refer to as acts. These acts are bridged together by various short paths, sample free interludes. The first four are excellent. The final, at least in my opinion seems to miss an opportunity to lift all other acts towards excellence, though the number's strong throughout, an excellent comeback by Har-el of California Sunshine. Act 1 involves an infectious foundation thanks to an echoing, rattling (like hinges pulling apart a steel door by something very strong in a mysterious castle). It's quite catchy! Soon it fades away for melody development that stands out around 2:42. More sound/melody work is involved here to build this determined and adventurous rider. Act 2 takes the baton from the previous runner at around 3:50. This next part of the song is awesome. The rattling, echoing dark effect/tune returns in support of a strong Goa melody, now transforming the previous select in sound arrangement. The song breaks down to a powerful and driving, midtempo variation of itself. This part is especially fun to listen to at night time, while driving or otherwise, dancing. I highly recommend this. Powerful, driving, and infectious sum up this area of the song and the track by large. A short transition is seamlessly added to the adventure, taking place around 5:45. Essentially this is the removal of various sounds and the readying of something new and potentially evolved in a preferably more infectious way. The tempo soon rises. Speed appears to pick up a bit to compensate for the next development of story telling. Act 3 is an excellent continuation. It removes but only temporally the infectious rattling and develops fresh Goa/Psy melody work to the catchy rattling sound effect continued. A short transition of speed takes place around 6:44. The tempo really shifts. The general sound speeds up faster than ever before and we really move into uptempo territory now. Act 4 builds layers, one after another. Though it's short lived; the track gets ready for an extension. The fresh, psychedelic melody takes place around 7:55. It is here in this final area where I feel that an opportunity has been missed to take this song to an even higher level of excellence. Here's where my attention was least arrested and it is because of the squiggly, PSY melody/sound that appears after a suspenseful buildup from around 7:45 to 7:54. I just think something more aggressive and catchy could have taken place to create a more powerful and unforgettable ending. The song prior to this part sounded more confident and fearless. The general listener may over look this small observation. Whenever I notice potential I just like to point it out sometimes. I would have had a huge, surging sound around 7:35 into a powerful, driving, and climactic/infectious segment. But that's me. Overall this is an ambitious number and one of my favorite tracks by California Sunshine. It's interesting how much it evolves. I'd love to hear more songs like this and a new album eventually in this general, more dynamic style. Excellent work! A- 03. Virtuart & Chronomyst – Zanchin is an epic legend of story-telling through space, time, and light. This is magical and at a whopping 12:02, one of the strongest, epic Goa tracks I've ever heard. I also loved V.T.O.L., but don't compare the two as they're completely different landmarks in Goa. The song is continuously developing and imaginative, moving through various atmospheres and evolved, hypnotic soundscapes and galaxies, solar and star systems. To me this comes close to some of the best Universal (SPACE) Goa story telling tracks out there. It's not climactic. It's not intense or slow enough as downtempo or ambient. It is a gorgeous, fluid and flowing uptempo dream. The melody lead towards the end is great too! Apparently one that has come full circle with its full potential like reflections of God (humans in form) looking back at their own reflection in the mirror, only to see light in the formless realm of themselves, that which is unconditional and infinity. If we could put aside old and new school Goa, titles, descriptions, and just "be" non self absorbed for several seconds in peace and clarity... (okay many of you won't get that and will keep on reading, haha, that's fine moving on). This is one of the best Goa songs I have ever heard. It's outstanding. A 04. Aerosis – Lunar Effect returns the album to a faster, more pick up rhythm that's less epic than the previous number and quite danceable. Last time I heard these guys, they produced a good track on V/A - Twist Dreams. Here the focus is more morning, uplifting. This is another track with layers of beauty and positivity, much like in the general "sense" of euphoria to that of RA's Predator. The opening minute is pretty good as the song builds, collecting numerous, attractive melodies and sounds as it progresses. What really stands out as catchy is a knocking sound that evolves into what appears to be tribal drums by 1:50. It soon takes advantage, seriously enhancing the music. Around 2:18 is the first strong melody lead. It's elegant, beautiful, and emotive. The two melody leads flow together extremely well, passing into the third minute with fluidity. Various layers are dismissed to compensate for a less developed stream of light. The song is carefully articulated to the point it seems that the artists really wanted to keep every aspect of this story great. An interlude, without beat takes place around 5:12. It's good. The beat returns around 5:33 with a refreshing melody and this in combination with continuously evolving melody/sound arrangement showcases greatness. Coupled with a transcended sound, the returning tribal drums compliment the beat. Emphasized is the story's second-half melody around 6:50. Another strong sound appears around 7:07, reminiscent of that eerie, atmospheric tune from Simon Postford's classic L.S.D. track. Overall, Lunar Effect is a strong and emotive Goa number possibly Aerosis' best track to date. B+ 05. Artifact303 – Energy Waves artists return after releasing Feelings on V/A - Opus Iridium with another aggressive and climactic uptempo number. Numerous listeners have said that if Astral Projection continued making Goa songs today, they'd sound like this to some degree, and this is no exception. Opening ambient notes last less than 20 seconds before numerous layers accompany its side, producing a sold foundation. Soon after the first minute, an echoing female sample appears similar to the voice on DUNE via AP's Dancing Galaxy album. When the sample ends, the ride takes off. Barreling through a storm of effects, a strong melody lead becomes clearer around 1:32, leading the vehicle though the cosmos, enriching the liquid properties as it races across the galaxy. Around 2:12 is my favorite part of the song. The general arrangement alters to compensate for a wonderful, upbeat, 4-note melody. This part alone is one of the best hooks I've heard all year. Past it, the song races into newly enlightened territory with its main lead changing to evolve the song and reduce repetition. Around 5:25 is a short interlude, voice sample. It only lasts several seconds. This is a energetic Goa dance song and the artists don't want to stray away from that energy. Ambient layers appear around 6:00 to enhance more soundscapes and newly acquired power packs on this fun getaway. The song is energetic and Full On GOA/Psytrance from start to finish. If I were to complain about some things, it would be that the wonderful melody arrangement from 2:12 to around 2:28 never returns fully within the thankful evolution of the song. While the song is great with numerous, arguable "hooks" so to speak, I think it would have been awesome to hear this clear, infectious melody arrangement one last time, integrated into everything else and accentuated with more layers via a stronger rhythm; why not? This could have taken place past the faded "recollecting energy" area around 6:30 and/or after 8:00, though the song does reprise the general sound, the exact melody sentence is left around 2:38 to evolve with the song into other cool variations. A small observation. Furthermore, I want to see Artifact303 take risks and make super songs that are less dependent on the classic (but now old and dated) Astral Projection formula. This is a great track, not spectacular. But I feel like I've heard it before to some degree. Also, the song could have ended a minute to two shorter and it would have been just as if not more tight, as it follows trails of its former self in the last 1:35 roughly. On a positive note, the growing ambient around 5:40 and how it emerges into the main synth work around 5:50 to 6:24 great. Energy Waves is the high octane Goatrance song on the compilation. It's just nothing groundbreaking and is arguably great. B+ 06. Antares – Aurora is almost the opposite energy from the previous number in that it's peaceful and calm like the ocean before a storm. The style here returns to the more traveling and less climactic feel from songs prior to Energy Waves. I've never heard of Antares before so I felt a bit unsure when I saw their name on the track list. Rest assured, they pull off a strong and flowing number with zero dips or slow downs. If I were to compare this style and song to one artist it would be Ethereal and Ethereal's Moondawn respectively. In that sense, Moondawn takes the edge due to more infectious melody work, at least in my opinion. Nonetheless, the sounds and melodies quite strong. They flow like waves in an ocean. Such waves never move too far from the thick, elegant current, thus forming this driving, hypnotic, rhythmic trance. This is one of those songs worth putting on the headphones, laying down in a dark room, and shutting the eyes to listen to. It's beautiful. The song is a gradual build up to rhythms within rhythms; the melody work is very layered. Furthermore, atmosphere takes place and what later on appears to be key changes! Various sounds chime around the thick stream of traveling liquid as the story continues. The idea here is for the listener to be absorbed into the sounds, I sense, into a fantasy world of layers and motion. There is some build up around 7:10 into a higher drive within this sound, style. While not the *big bang* style as the previous rocket, this is more subtle and traveling a la Ethereal but in its own style/sound, albeit inspired I imagine. The song is very peaceful like the opening track, though less emotive I feel. It compliments the previous, more fiery rocket. Great track! A- 07. Ra – Gateway begins peacefully and pleasant like the last. Numerous organic sounding instruments arrive as a strong and euphoric tune appears and is reprised like an eagle soaring in the sky. The kickdrum kicks in around the first minute followed by a mid/up (seems in between, my guess mid) tempo. Underneath this all is a continuous and gripping music current, similar in concept to Octagon from the 9th album, but this aspect is merely the foundation and it's strong, beginning around 1:09. Very cool. More layers enter the mix along with a catchy, blinking melody around 1:37. At this point the song sounds good, with a pretty tune soaring in the sky; the blinking tune evolves in variation. Both the tune and variation are great. These artists are gifted when it comes to selecting certain sounds and how they're programmed, utilized. So far this is the most emotive track since Aerosis - Lunar Effect and Chi-a.d.'s opening. The following melody lead appears around 3:04. It's excellent, coupled with several moving sounds of support. The arc is enhanced and developed around 3:30. Drums changes up. Around 4:11 is where a wonderful skipping, whatever this effect is called -- altered ambient melody arrives, joining a refreshing, blinking oriental influenced melody around 4:37. RA's infectious work is continuously growing. A channel, interlude soon arrives, female voice included, and this is probably the least memorable voice sample on the compilation. I like the sound of a female echoing voice but that in itself is pretty much all this is. I can barely hear what's being said, and maybe that was the point, to not distract the listener with words so much. Overall the ideas in the song and how they're executed, implemented are beautiful. These artists have a passion for growing the direction of music in ways both smart, aware, and engaging, through evolution and not falling off course from the wonderful story, but enriching the chapters as the pages fly by, making every sound count as if speed has slowed down to absorb the information on every note. There's no point describing more as it won't recreate the experience of listening to the song and letting it grow. I think these artists' hiatus have inspired a seemingly endless comeback. But they better be careful. If they keep making songs like this, they'll be expected to release a main album sooner than they think. Strong track. A- 08. Filteria – Back To Earth ends the album with a beautiful, refreshing and euphoric midtempo number in follow up to Jannis of Filteria's more evolved and colorful Goa/Psytrance style given notice on V/A - Opus Iridium. This is more elegant and dreamy. The track takes its time developing a gripping foundation as a Pleadian-esque screamer flies by at medium speed, complimenting the anti-intense nor climactic feel of not too fast nor slow speed. A strength with the track is its gradual improvement after a strong opening. Subtle layers of harmony follow closely and in harmony as a new lead's introduced around 3:40. More are soon added; I'm now starting to see the potential for a wonderful, cutting edge mid/downtempo album. The song appears to gain more of that quintessential sound as it progresses, especially from 4:15 to 5:03 before nearing a space of peace. Quiet. The sounds fade as the music returns around 5:35, bursting with juicy, color and a monopoly of sound fusion fluidity. This part is wonderful. Things crank down with the sound of what a psychedelic radio clock might sound like from around 6:45 to 6:55, without beat. The sound formation soon returns. The song maintains a relatively similar direction throughout. But the several interludes in combination with numerous sound variations and its self-hook within its own melody paragraph are excellent. I think a little more could have been added to make the final stretch after 7:10 stand out even more. But this is a small observation. The overall sound is crisp, clean, and refreshing, like a delicious refreshment. Back To Earth is the artist's most elegant number to date and one of the best Psy/Goa songs of the year. It's excellent. A In conclusion, people generally say I'm critical when it comes to analyzing in general and writing reviews. The only other new school Goa more-or-less compilation I've given this many A's to was Opus Iridium, and that was a double album! Sundrops is just that strong. At least in my opinion. Is it better than V/A - Apsara? I don't know. Does it take one ring to rule them all? No I'm just kidding! Sundrops and Apsara are generally in completely different styles of Goa, more or less. The answer of which is better is: That's entirely up to you. Give this time. Let it swirl around inside your head to clarify thoughts before decision making, then write a review. For a sunrise compilation, this thing is gorgeous. At one point I was listening to lengthier samples thinking, okay it's pretty good but, yeah, I'm not so sure here.. These songs deserve to be heard in their entirety. Sure they take time to grow, like anything. Naturally you don't pour water next to the plant so it spills all over the floor. You water it. You invest time and energy into that which you care about and grow with it. Suntrip Record's has not previously to my knowledge focused so heavily on a certain type of Goa this present throughout a compilation before. While some work, such as California Sunshine's darkly lit and mysterious, driving Oblivion is arguably sunrise in my opinion, it adds a wonderful aspect of power and quality to a sun driven album, one filled with euphoric waves, magical and traveling melodies, and positivity. Suntrip Record's have captured the magic of Goa that we seem to speak of at times as if it was in a far away land. This special sound is preserved in a clearer sense than any compilation I have heard in years to put it nicely. If I had to pick a track I find most beautiful, it would be the Chi-a.d. track followed by either Aerosis, Virtuart & Chronomys, Ra, or Filteria. It's hard to tell because all tracks possess beauty, and it's a matter of how one defines beauty anyway. To be fair, those expecting or looking for a Full On Goa/Psytrance album will be disappointed. Sundrops is not a high octane compilation. It's for those who love the "listening" aspect of Goa, morning Goa, and its aspects right down to the tasty band in the transformational waves of colorful bliss and fantasy/travel story telling. This isn't about the climaxes per say, at least that's not the main focus. Though high octane energy is an aspect of Goa in music/form and in that sense, I think many listeners will be pleased with Artifact303 - Energy Waves. It's fast and exciting, danceable. Nonetheless, some tracks are quite danceable. But listening pleasure appears first and foremost, getting picked up in those transformational soundscapes. So many new school tracks on uptempo Goa (dance driven) albums now days seem light on the exploration element in Goa I've noticed. So much in electronic music seems sensational, with style well over substance and beauty, passion and heart. Sundrops: Lights In Motion acknowledges the wonderful, deeper aspects. The album is candidate for: best Goa compilation of the year, best Goa/Psy album of the year. This is one of the top best Goa compilations of the 21st century and one of the most beautiful Goa compilations ever released. Favorite tracks: 1, 2, 3, 4, 6, 7, 8. A- Samples / Order http://www.psyshop.com/shop/CDs/sut/sut1cd011.html http://www.goastore.ch/product_info.php?products_id=2690 http://www.beatspace.com/dettagli/dettaglio.asp?id=4562 http://www.suntriprecords.com/pages/releases.php http://www.tower.com/sundrops-various-arti.../wapi/112924751

ELECTRYPNOSE - FUNKED UP DIGITAL PSIONICS 2008 Track list: 01. Lunatic Yowie 02. Little Surge 03. Fractalisation De Lego 04. Inunimi 05. The Best Engine 06. Moi Et Mon Addiction 07. Balabala 08. Electric Animal 09. Shavi Shava 10. Back To Something 11. Alaune Ever since this artist released Subliminal Melancholies, he won my attention, though whatever was released after that and before this failed to keep it. Funked Up is the first album since his wonderful downtempo album that really stands out positively IMO. Here the artist crosses various concepts from his dynamic downtempo style to enhance a newly developed Psy / trance / electro / tech(no) / breaks style. You read that correctly. This isn't a compilation of different styled tracks however; all of those electronica styles are brought together in one, innovative and new, catchy style and sound. Funked Up is loaded with groovy beats, sounds, and dance friendly songs. 01. Lunatic Yowie is a good if not great track. Included are what appears to be several smart ideas from Subliminal Melancholies. The track is strongest during its first four minutes IMO, though it never loses itself completely, and wait... I could be wrong but I could swear I hear a sense of inspiration from this artist's beloved Pierce Orelle (!!! unsure how to spell it) integrated here regarding a certain sound and how it's altered/echoed. I just wish that the final third was more arresting. The track is compressed with strong elements back to near aback in the first 5 or so minutes, leaving the last 2-3 somewhat forgettable in comparison. Overall a great track. B+ 02. Little Surge sounds slightly more techno/Psy during the first several minutes. I initially didn't like the song as it loses the emotive, echoed edge that made the previous track more melodic. But it's good for people who like beats, beats, and more beats! The song becomes more dynamic as it progresses which is cool. Though it may come across a showcasing in technical mixing sounds and beats over melody work. It's definitely more on the minimal side of things, techno/experimental and rather empty, unless you like minimal that is, when compared with other tracks. The skipping ambient around 5:55 and the part around 7:00 however is attractive. These areas are just never sustained; they're seldom developed with exception to the part around 7:00. Prior to that, I felt like the song was more of a robotic, too minimal, lacking in flexibility. More energy invested in melody/sound work would have been nice though I'm sure some people will like this. I often hear it straight through with the overall album. It's decent I suppose, just nothing spectacular and my least favorite track here. B- 03. Fractalisation De Lego begins as minimal Psy techno and develops into an infectious, echoing, evolving cocktail. The artist has a fresh vision with wonderful storytelling execution and melody/sound, and mixing work. The thing starts off good and gets more tasty as it progresses; it's loaded an ever growing and present addiction from beginning to end. The mixing compliments the established rhythms. Some of the most unique and catchy melody work I've heard all year takes place from around 2:45 to 4:00. But the song isn't dependent on one part, as each third compliments the section both before and after it. Unlike the opening track that began curiously great and dozed off in its final third, this stimulates the mind with an extension after the interlude via 6:30 that updates the kickass prescription on doctor's orders. More top shelf cocktails like this infection, in this style in the future would awesome. Superb track. A- 04. Inunimi is a harder number than the previous due to less melody emphasis around the hard beat. Unlike tracks 1 and 3 which established more of a layered/rhythmic melody development, this track establishes a slower, drive. It seems more focused on playful editing/mixing than infecting us with a deeper story. Stylish and catchy, the track peeks around the 3-4 minute. It's a pretty good track though relies heavily on sound manipulation in the final act, potentially to compensate for less bodily parts in character development. B 05. The Best Engine appears to be more technically produced from the start. Pan shifting back and forth, reverse echoing the wave, and/or however else the artist is cleverly manipulating these sound effects, they're joined by a strong beat and melody dialing/note lead. The is a very animated, groovy number. The continuous, bending sound is dynamic, psychedelic, and really fun to listen to. The Nintendo sound is cool. This is one of the more dynamic numbers on the album. Great track! B+ 06. Moi Et Mon Addiction is another harder edged, driving design of computerized mayhem. Melody bits and sound effects scored with excellent edit/mixing compensate for less melody developed structures. The echoed, machine gun robotic sounds are very convincing and the song's direction and evolution of ideas compliment them. There a nice melody towards the end but wow it sounds a bit too naked and simple in execution all alone like that. More intricacy would have been cooler. Good track overall. B 07. Balabala is quite varied, mixed/altered and dynamic. Soundscapes bounce, echo and skip around a futuristic world like something out of a William Gibson novel. Think of the girl with the magnetic personality because Balabala is the female Robot attitude is desirable, elegant, and knows what she wants. Sound effects skim over the computerized development as more sounds combine. This is one of the grooviest tracks of the year! A- 08. Electric Animal is a strong follow up to the previous elegant, female robot on tasty pills. Present here is more of an uprising, emotive edge that is not common on this otherwise smart production by Electrypnose. A echoing melody lead arrives around 2:20 in combination with a hard beat and subtle clap. The energy pics up and a rising siren pushes the track forward in a driving buildup as a wave of atmosphere washes over the screen. The combined rhythm is let to play for a bit until the beat disappears. Suddenly a beautiful female sounding interlude baths the senses around 4:20. This part is gorgeous, the female hymns and/or ambient notes coupled with the now present beat and melody work. It's excellent. This is one of the best track moments I've heard all year. Soon enough, the song hits the gas. A voice sample appears. The final two or so minutes continue the leads without the atmosphere, bringing down one of the best highs on the album. Excellent track. A- 09. Shavi Shava begins with a lengthy, crunching sound brought down into the core of the system. Strong industrial/metal sounds echo across the computerized industry. One or two jump in to emphasize the beat as others develop a psychedelic rhythm/lead around it. This appears to be one of the darker songs on the album. A plethora of sounds, from what appears to be reverse echoed shards of glass, high pitched bong pounds, distorted bells, chimes, and a catchy bag of Silent Hill (yes, DARK) treats sprinkle the atmosphere like a darkly catchy (bad batch) of robots. It would be awesome if the concept of this track here built towards intensity/climax, and that's what it appears to be doing in a sense. The song becomes more driving as it progresses in some ways. Comprised with a sweet, crunchy effect and sounds seldom this zippy in Psytrance, though reminiscent to some degree on X-Dream - Radio and Hux Flux - Cryptic Crunch, the artist created a energized metal warrior. The track is more about build up and intricate drive rather than climax and I think the artist missed an opportunity to make a super ending. But the final two minutes wrap things up more than take part in something more powerful and improved. This could had a chance to go absolutely nuts in the final act however and it defused not long after chaos was heating up. Good if not great track. B 10. Back To Something is a return to the strong and bending sound work that the entire song is comprised in, the last song of this bending nature being The Best Engine. The concept is redirected and re-designed here. A strong, echoed melody comes up for air continuously before diving back down below the psy-driven structure. This appears to be a more progressive/Psytrance track in Electrypnose's style. The initial melody lead really stands out but appears to drown out other elements or rather other elements don't stand out nearly as well as the several note twisting tune. The middle had some nice advantages and the ending brought both melodies together nicely. I like the sustained sound in combination with the other melodies. It's one of the more minimal Psy/techno tracks since Little Surge. I still like it. It's just a bit repetitive in the final third. Otherwise, it's pretty good with some really cool and groovy waves to carry it through. B 11. Alaune is a refreshing change up, sound from previous number. It's upbeat, opening tune is refreshing and not drawn out. As the final Psy number it stands out and doesn't over stay any sound or bit. Equipped with a razor sharp editing/mixing style, the melody character returns for further development around 2:30. It's very positive sounding, contemplative. The growing, mechanical rhythm sounds great before one of those cool Etch A Sketch refreshing sounds comes and cleans the screen around 3:50. I'm not left with the strong emotional core that I felt during 00-16 on the artists downtempo album. Furthermore, Alaune is a bit on the short side at around 4:50. But it's quick, stylish, classy, and catchy. The album ends kind of like the French film: District B-13. Thing race by in a blur but it was such a fun trip. Let's hear it again, from the beginning. Cool track. B In conclusion, Funked Up is a groovy and stylish, computerized world of kickass beats, bass lines, and fun. Provided with brief durations of strong atmosphere that refresh the current sound like an Etch A Sketch! It's a sweet, little effect that never goes over/under used. Not every track but that's an argument. My friends generally love this album. The artist has crafted a delectable, interesting and novel style here; he explores it with passion. The more I listen to the album, the more varied each and every track appear to be. I wish more tracks had feeling, emotion, and tasty lift-off, climaxes. By the third song however, I'm hooked. The album is loaded with strong work even if several songs tower above others. The weakest songs are still pretty good and the best, well tracks 3, 7, and 8 are just superb, refreshing, unlike anything I've ever heard due to the unique, playful and edgy synth/tech and ultra melodic style. The album is easily one of the best releases of 2008, though to call this Psytrance would be an argument. Nonetheless, it's great, a groovy, creative, driving, and addictive little gem from beginning to end. Great release! Definitely best "new" style of the year from me. Favorite tracks 1, 3, 4, 5, 6, 7, 8, 10, 11. B+ Samples http://www.saikosounds.com/english/display...ase.asp?id=7541 http://www.psyshop.com/shop/CDs/dps/dps1cd029.html

This is an interesting release. I haven't heard the entire album yet, only the lengthier samples that I like very much so I'm adding them here. http://www.saikosounds.com/english/display...ase.asp?id=7494

Cool. My order has been placed. I'm looking forward to this.

There's 1 to 2 downtempo tracks on the new Talpa album. Both are strong and some of the top best ambient/chill, downtempo music I've heard so far all year. My full review is now up. "Talpa - When the Somberness..." Really looking forward to the new Aes Dana!

Can all "best of" the year threads go in this "important topic" forum section? It would be cool to organize them here, from newest to older.

Talpa - When Somberness Becomes A Game Sundance Records 2008 Tracklist: 1. Moronic Evil (Rmx) 2. When the Somberness Becomes A Game 3. Awakening 4. I Feel Nothing 5. The World Without Me 6. No Choice 7. Little Pink Elephants 8. Good City 9. Still Dreaming 10. Lullaby for Ms Ivon 11. Frock When the Somberness Becomes A Game is the official long awaited follow up to 2004's The Art of Being Non. For me "The Art of Being Non" was one of the best, most dynamic and catchy Psytrance albums to come along in the 21st Century. Talpa was introduced to the world, though the artist had been producing for years before that. I heard his songs at Psytrance nights at clubs and the floor went nuts. I anxiously awaited for a follow up. But in 2006, nothing. At some time either in 2006 or 2007 I heard of a new album titled Cinderella. But again, nothing. Finally October 31st it arrived in a completely different sound and style than that of the devilish angry and chaotic melodic original monster debut. Here Talpa plays around with his dynamic Classical Psytrance style I'll call it, last heard by me at least to some degree on Suntrip's V/A - Twist Dreams compilation, a song I found great, though I hoped Talpa didn't completely abandon his more powerful, moody, danceable nighttime numbers like The Moon for instance. Well he did. Talpa diverted, and the result is refreshing, different and.. 1. Moronic Evil (Rmx) is an okay start up track. The music sounds like a crazy circus act, moving through few areas that hook my senses; I don't care for the general clown/party sound. But it's defintely stand out being goofy, playful, and unique/fun in a sense. It doesn't take itself seriously but it doesn't seem to go anywhere great so why should I care? The production value is high but that's expected. Creative wise, it's got a handful of cool little effects and tweeks going on. I don't like this track very much. But it's crazy/playful. I'm sure some people will like it. Thinking positive, let's see where the next one goes. C 2. When the Somberness Becomes A Game begins with a thought provoking sample regarding time before we die. Gradually building with a continuous layer of expanding/contracting atmosphere. The first minute is interesting, my favorite part of the album so far. Soon kicks in more playful melody/piano work. The sample carries over from out of the atmosphere and into this more upbeat world. The number's definitely more catchy and dynamic than the opening. The mixing is great, one of the artist's strengths who appears to be taking advantage of that here. The melody/sound work however, though care free and entertaining, captures my ADD senses via the mixing of these melodies more than my mood or connection. I'm not infected and the song all but loses me in the middle third each time I listen to this. It isn't until around 5:22 and again at 5:33 (though something catchier began to build around 5:05), that the song begins to finally, really capture my attention. The music becomes more gripping, though I'm getting a little tired of the circus sound (most stand out from around 6:24 to close and more or less throughout) within this otherwise fun style. Nonetheless, this is a decent to pretty good track. B- 3. Awakening starts out with a catchy, repeating "There's no place like home" sample. The melody/sound leads appear less goof focused than the previous two tracks. I liked the dark edgy sound during the beginning of the previous number and this is very consistent not to lose that edge but sharpen its blade in various ways as the song progresses. The song is also very psychedelic and I like the change up from previous "more dynamic circus" (I describe it as) sounding Psytrance in Talpa's playful style. Coupled with horns, voice bits, and about two dozen more sound effects and melodies combined, the atmosphere is both haunting and surreal. The high pitched, moving tune like a ghost flying past the ears is good. Entertaining segments of melody/sound short stories come into view for a certain amount of fun/time before moving for the next act. The crazy melody lead thta solidifies its sentence around 5:15 is great. I really like this part of the sound forward. It's definitely one of the most unique, developing, eerie, artistic, and creative Psytrance songs I've heard all year. The melody and rhythm work stands out and improves as the song progresses, especially past the 4:50 mark. Good track! B 4. I Feel Nothing is another quick, fast edited, stylish change up number. It appears to be more of a follow up to the second juggler rather than the previous "darker" coaster that I prefer in this style. The drums and hi hats quickly bop and tiss to the continuous parade of sound effects like marching animals, melody moments, and numerous other sounds. The song appears to be less developed in ideas than it is comprised of them, though the song develops as it progresses of course. Around 4:12 is a catchy melody. At 4:39 takes place the Psytrance circus sound that I don't really care for on this album. The song's entertaining, nothing spectacular. C+ 5. The World Without Me is the first super, uptempo song in this style. I don't care for the first minute. The first really stand out and gripping part (for me at least) takes place beginning at 1:35, followed by some of the most intricate, infectious, and intermediate melody/sound work and mixing I have heard all year. And that says a lot from someone who has 5-10 years of sound engineering behind him. Beautiful layers upon layers of piano work play in accordance to a driving, psychedelic orchestra. The combination effect is excellent. There's not a minute nor a second where I feel unsure where it's going in a negative way, as every moment of every minute seems to develop with style, hook, and substance. I'm completely hooked in this more provocative/stylish version of a previosly goofy version of this classical style. I prefer the more mature tracks with the hint of danger, as this one here. Excellent number! A- 6. No Choice is fairly relative to his older style; it's just not as good. A fast piano over a shrieking female voice, repeating time and again, over and over. I don't like it. Several nice elements take place: ambient notes, drums, speed, drive. But the various voice bits in combination with the high pitched female opera shriek, well, you either like it or not. Nonetheless, the mixing is good. The drum work from around 1:40 to 2:04 is catchy. Same with 3:13 to 3:39. But these are moments in a bigger picture. After reading the opening review, I suppose it's possible that some people actually like this sound or are unaffected by it in a negative way. Personally I find this the weakest track since track 1 and 4. You decide. C 7. Little Pink Elephants is the 5th song in this stylish and musical circus/Wonderland style and I like it, probably because of the strong melody lead around 2:00 that evokes certain moods and scores my interest. The number begins with a tauntingly humorous sample. Quick ambient notes move with a playful (that taunting) Talpa character/sound, though any form of dialogue is incoherent. The guitar work is good, sounds organic. The track picks up to an upbeat rhythm and drive, emphasized around 4:15. I like it. The guitar is good, not over used. The ambient notes compliment it and the funny creature sound/character gives a little attitude without overstaying its welcome. The song sounds simple in structure, ideas and execution to me. But its various "feel good" melody work and guitars develop the anti-intense style in a positive way. It's a decent/pretty good track. B- 8. Good City is a relatively medium-in-uptempo paced and goofy sounding number. What stands out is the up and down melody in Talpa's stylish, circus sound/style. But I find this one of the least interesting and arresting songs on the album since No Choices. It seems to stay in the same general repetitive act for far too long before finding grace in its final moments. But by then it's all but too late. There are some good elements, the part where the song begins to evolve around the 4-5 minute mark is decent and the song improves after that. But where is the dynamic Talpa I'm used to? The one who's style I find irresistibly infectious, dynamic, and fun? I don't know, I just expect so much more from this wonderful artist. This is a decent track in a city that may be alright, but it's no Vegas. C+ 9. Still Dreaming is a huge change around from the previous, Texan, riding through the dessert number. This is THE track on the album for me. It's in this new Classical style but gone is the playful circus/clown sub-style that I'm not in love with. This song is an evolution in a sense of Talpa's new, classical style. The song is beautiful; it's provocative, moody, driving, and euphoric. I could have mistaken this for a super song by OTT. Read that again. This song is superb. It would be amazing if this artist made more tracks like these. His abilities transcend virtually everything I have heard so far on this followup. The downtempo genre could be reinvented with an album comprised of songs as wonderful as this one. I'm impressed. Finally, one of the best songs I have heard all year. Wonderful work! A 10. Lullaby For Ms Ivon is a strong and romantic Chill (Ambient) follow up to what I consider the best downtempo song of the year along with one or two tracks from Ott - Skylon, the final track (Light Receiver) on RA - 9th, and few more. But this follows up that song before it. Far as this goes, a floating through the heavens, sad and contemplative piece. It's very emotive, sad, and thoughtful. I imagine saying good bye to someone I love before I dying or vice versa upon hearing this. "Lullaby.." deserves to be in a film. This is a beautiful track. A- 11. Frock is bounces the listener back up after the previous, meloncholy good bye. It's as if the label didn't want to end the album on a sad note and decided to say "Just one more." The interlude around 3:35 and the section forward until around 5:00 is catchy, gripping. The style here proves again that this artist has so many ideas. Each song has sounded so different from those around it so far. The song here ends chillingly, both relaxing and haunting. The song goes through two attitudes that generally reflect the mood of the album, from playful/goody to provocative/darker and back and forth. I like when both light and dark combine, such as the part from 6:00 to end. But the goofy part from 0.00 (opening) to 2:24 is just not that good. Overall this is a pretty good closing track with some strong moments. The song is nothing spectacular. B- In conclusion, Talpa's new sound/style takes place in mixing at what feels like 200 mph at times. Creative, strange, fun, playful, dark, light, silly, spontaneous, campy, crazy, happy, sad, cheerful, and at times emotional. What the album lacks however, aspects that made the Art of Being Non so memorable was testosterone and/or power, drive, aggression, super Psytrance/dance numbers, and a devil-at-play attitude. These are only some words to describe the mood shifting music on this ambitious, Psy/Classical/Trance/Pop-Art follow up. What the album lacks however, aspects that made the Art of Being Non so memorable was testosterone and/or power, drive, aggression, super Psytrance/dance numbers, and a devil-at-play attitude. Here's my gripe with the album. The new style (or styles) is interesting, original, and more or less imaginative depending on the track. Yes. But does that mean it's good? By creating a new style different from everything else, the artist has produced something innovative, interesting. You can get lost in this Wonderland at times. But at the same time, the artist has created some tracks that sound different; I admire them because of their mixing more than I enjoy the actual songs. While certain songs are wonderfully developed and complete, others feel like a world full of ideas that never form into a congruent whole. Naturally, the less inviting tracks have their more or less fun and/or attractive elements. Unfortunately, few songs I find super or really infectious in character and melody/sound work. Yet replay value appears to be healthy because the general song is entertaining. The style stands out like crazy. I just wish that the artist spent more time producing super songs in this style and/or improving a couple of them here because its been four years. Tracks like The World Without Me, especially past the first 1:34 showcases excellent, new uptempo, dance friendly work while Still Dreaming is an outstanding, feel good, downtempo number that stays with the listener long after its ended. Same with Lullaby for Ms Ivon; this is the most emotional Chill song I have heard all year. It's very heartfelt. I'd love to hear more wonderful work in this more mature style. The more playful/goofy tracks here are hit-and-miss in my opinion. Fortunately, in taking risks Talpa has produced some very interesting tracks that are good, great. The follow up is unlike anything I've ever heard. I'd go as far as to say that it's one of the most if not more entertaining and artistic, creative Psytrance albums of the year, though I liked The Art of Being Non more without question. Some of the work here surpasses some of the debut for sure. When the Somberness Becomes A Game includes some of Talpa's best as well as his least best work released to date. Not every song is a gem or what I consider great or even good. The album is probably worth getting, at least worth hearing based on tracks 5, 9, and 10 alone. Just don't expect The Art of Being Non 2 of you'll be disappointed. Favorite tracks: 3, 5, 7, 9, 10. B Samples http://www.saikosounds.com/english/display...ase.asp?id=7562 http://www.psyshop.com/shop/CDs/sud/sud1cd037.html For my full review/scores of Talpa - The Art of Being Non see below, 4th review down. http://www.psynews.org/forums/index.php?sh...20&start=20

I agree 100% with what Baloebe. I actually thought this artist was pretty awesome for releasing stuff for free and I basically looked the other way regarding samples before purchasing this album just because Filipe's previous work, free or not -- has been strong and dynamic. The first step back for me was the more or less solid Goa Gate album because past the first several tracks, they all began sounding a bit too similar in ideas and/or general structure with few exceptions, the last song for instance. But I enjoyed Goa Gate more than this here because of certain repetition here, though the intro, interlude, and closing stands out with zero repetition; they're creative and fun. But this innovation isn't the focal point of the album, and the innovative style is compromised by few, though present enough (for me at least) set backs. Try not to be irritated by each other guys. We're good people on here. This artist's best work according to everyone I have spoken with, both on and off the internet, is not on Suntrip, but Metapsychic Records. I have a lot of respect for Filipe and the other artists for making V/A - Pyramidal Trancendence the AWESOME old school sounding Goa compilation that it is. Even this album here has good elements but I'm overall not impressed with it as a whole. And I am looking forward to the second; I hear certain repetition like the guitar is not an issue there. Pandemonium! - Muinomednap! (though I would have written it Pandemonium! - !muinomednaP) is now on Psyshop for less than what I payed for it on Saikosounds for anyone interested. I would have ordered it here but with all the great free stuff I've gotten from this artist in the past, I'm not going to complain. http://www.psyshop.com/shop/CDs/pot/pot1cd001.html lol. I actually didn't know Phototropic initially gave stuff out for free. Though I think free stuff and the fans is between Filipe and the fans, not Filipe and the record label unless the label owns rights to that which therefore should not be free without the legal process and/or approval of the label. I have no problem supporting this artist by buying his albums and telling others to check out his work, long as I consider such work great, excellent, etc. I suppose we're adding names at the end now so.. Jon Cocco

I occasionally forget how strong this album is until I listen to it. The one super stand out song for me on this album is Born Again. The opening is great too. Just don't focus on the music so much, be open without thought and you'll better join that psychedelic vibration. It's very present and well composed in several of the tracks here. Other Line is wonderful. I've updated my short review above. This is my favorite album by California Sunshine aka Har-el. I hope he makes another and has Suntrip Records release it, assuming he can pull off a super new school Goa (with old school influence) album. I'd love to hear more wonderful songs from this artist if that's at all possible. I was very interested to see he produced a track for the 2008 Sundrops compilation. Update: His track on Sundrops is VERY interesting. I wonder if he still produces strong Goatrance. That would be

This is one of the only albums in Psytrance I can actually listen to that has guitars in it. They're not even common and only on 2-3 tracks that I can tell; most present in track 5. All other work is good, great, excellent. Even track 5 I enjoy from 3:08 to 4:34 especially. But the opening four tracks in combination with 6, 7, and 8 produce one hell of an album in dark Psytrance. How can melody/sound work be so emotive at times on such a dark album? I've wondered this numerous times upon hearing Red Shift and Pendulum. Furthermore, Violet Ray is so dark and great. The part in the middle and again around 6:23 is like walking in on a Satan priest in a dark cathedral. It's awesome. Mechanical Age is worth getting if you can still find a copy, especially for those into dark and/or industrial-metal influenced Psytrance. This is a rare release. Almost every track is good, great, and excellent. These artists have got to produce more songs like these if they don't surprise fans with a follow up album. Dark Industrial/Metal Psytrance albums are just too few and far between now days. Whenever I play Hexagon, the part at 4:49 after the dark voice sample -- my friends go nuts! Update: It's currently available to order again on Psyshop. http://www.psyshop.com/shop/CDs/aur/aur1cd004.html

Nemo, great review! I'm more interested in the album now than ever. Thanks for posting where to buy it too. Free Range was a great album so I look forward to getting this one!

No point now arguing and/or debating or clashing opinions over what happened relative to the mastering. We're all good people here who mean well. Sure, the Goa music creativity on this thing is up there that if someone could master this album to satisfy the majority here *cough* Suntrip, *cough* the album would probably be bought AND brought to another level entirely. The sheer creativity and style overall that is the result of Inner Cyclone makes it one of the best Goa albums I have ever listened to. I like that idea very much. +1

My friends all like this album. I love it. This is one of the best downtempo albums out there.

This is also one of my favorite albums of all time. The Psytrance side is great, excellent, awesome. I love with the ambient, down/mid-tempo album. The music has a sense of passion and heaven to it seldom in downtempo. What I also love is when he crosses over this high Goa/Psy feeling in Psytrance songs like Warmth In Other Places. But the entire Psytrance CD is great. This is my favorite album from 2006. I feel like I shafted it from my number 1 spot because I heard it late, knew it was great, yet didn't know quite where to place it in my Top 10. This is one of the greatest albums ever released. How often do I write that? The artist makes wonderful Downtempo AND Uptempo/Psytrance. Samples (This album should be available online via Saikosounds and Psyshop again) http://www.saikosounds.com/english/display...ase.asp?id=5872

This is a super album. Jikkenteki's style is cutting edge, great. Though I favor the debut over the follow up because of the chill side too, this is excellent. His Psytrance has improved since the double CD packaged debut. No track is less than great. I feel that the second track is excellent because of where the artist takes the song past the 7 minute mark. The general artist would have not created this infectious extension. But this artist seems to top himself even when I least expect it. The last track is great too; the female/skipping vocals and atmosphere compliment the track. The first song, though impressive, is generally longer than I prefer, regardless that it develops and remains entertaining for 31 minutes somehow! Overall the artists style is dynamic, often taking the listener through soundscapes that become tastier as the track progresses. This stuff deserves to be selling on saikosounds, psyshop, Amazon MP3 and Apple iTunes. This is one of the best PSY albums of 2008 and Jikkenteki is one of my most favorite Psytrance/Chill artists. I've recently updated my review on page 1 and I'm looking forward to the third album, whenever the artist is ready to release it.

Cool album. I heard it at a friends; just placed my order.

This compilation sounds awesome. It has more of that magical sound I've noticed based on the samples, something generally less present in new school Goa I've noted which I miss. The tracklist is excellent, and the samples. But what's the status of Filteria's downtempo version and/or song that was on Suntrips myspace page a week ago (by the same name)? It sounded WONDERFUL. Filteria/Suntrip should consider ending the third Filteria and/or KOB debut on that downtempo song if it's not on Sundrops. It is magical sounding. Nonetheless, the uptempo of Back to Earth sounds strong. I just liked the other one more based on what I've heard so far. It is a wonderful Sunrise chill track. Idea for Suntrip: To consider the idea of an entire Goa/downtempo album like Peace Therapy 2, but stronger.

Well I heard it's out now. You're all so silly. http://www.saikosounds.com/english/display...ase.asp?id=7562

This is my kind of Psytrance album. Every track is so different from the others! I love the style and the creativity throughout. The Art Of Being Non is dark and moody and fast paced, intricate, dynamic, and infectious. I generally love the style and mixing, both the teases and the payoffs. Virtually every track has something fun to offer, though tracks 4 and 9 keep close to the less unpredictable end of the pool, the latter blossems in its final minutes. This became my most played album of 2004 and later one of my most favorite Psytrance albums to date. I recommend people going back and hearing this again.

PSYLENT BUDDHI 1997-2003 1. Sonorush 2. Lunar Core 3. Moksha 4. Neura 5. Convergent Images 6. Secrets of The Atom 7. Metalucid 8. Retrocede 9. In The Stream 10. Winter Tickle I'm impressed. I'm curious as to what this artist would pull off today Goa wise. His music boarders on aggression (more or less dark), yet there are moments so beautiful and rhythmic. Other descriptions past this awesome, Chill-esque beauty range from moody and intense, to smart, atmospheric, and climactic. The album walks a fine line between darkness and light. 1. Sonorush is one of the best Goa openings I've heard. It's a fantasy, a provocative Never Ending Story - several minute sunrise piece. Magical. I love it. A 2. Lunar Core is more atmospheric and driving. This dark, moody track showcases strong tone and aggression that is very gripping and motivating! The vocal samples are excellent. This is an imaginative, visceral track, and my favorite uptempo one by the artist yet. Please make more! This is great!!! A- 3. Moksha has an intricate, continuously psychedelic trip. I really like this aggressive, intense, catchy, and varied sound and feel. The beeping melody beginning around 2:50 is excellent, and how the drums and numerous other sounds support this driving melody lead. The song finishes its first act around 5:00 and begins collection itself for the next roller coaster hill or higher energy segment. The energy begins not far from 6:30 with exception to the bump at 7:11. This area here builds to one of the best climaxes thanks to an incredible, echoed melody that turns on around 7:40, before going through a series of twists and turns. WOW. The final third of this song is excellent. I'd love to hear more tracks with these huge buildups. It's a PUMP, the words I've used to describe super songs on Tandu - Multimoods. I still don't understand how this artist didn't fill up a main album/release with some of these songs between 1997 and 2003. So far this is a super album. A- 4. Neura is slower than previous tracks, groovy. Great melody (and skipping not over done but present) work. This artist does so much in positive effect without over loading the senses. This reminds me slightly of Tigerhill or Neuro Glider by BotFB in its dark and continuous gripping, hypnotic rhythm. But this completely different. Nice sample by Ralph fienne's Lenny character from one of my favorite films (Strange Days) too. B+ 5. Convergent Images is too very climactic and psychedelic. The synth work is great; I initially confused this song with the following, saying that it was too messy, which it's not IMO. This is a great, full on super Goa dance track. B+ 6. Secrets of The Atom is another song loaded with bubbly, psychedelic sounds. I don't like the swishy sound fx here. Furthermore, this song lacks fluidity, grip, and elegance, in some part due to the overloaded sound effects that either partially mask the song's flow or hide its flaws underneath. Overall certain sounds I find too high pitched here, though there's a handful of cool ideas and work. The part around 5:50 is interesting, following an interlude. The heavy sound effect atmospheric sounds are less present and the take-off energy appears more clear. A new melody lead appears around 7:00 and it's pretty good. The big climax towards the end reminds me of old school Pleiadians to some degree, ultra layered and climactic. The style here is too sloppy for my taste however, but this isn't a bad track. It is very psychedelic. B- 7. Metalucid starts out with a chilling melody. This is a driving Psy number built amongst a icy cold backdrop, atmosphere. I especially like how the artist comes and goes the atmosphere, developing the character of the song throughout. The higher energy development towards the end is a great idea. A more dynamic and infectious Goa melody however never arrives which could have made this ending superb. I really like this post apocalyptic or lost in a dead space station while it's breaking apart type feel. The song captures a sense of despair and never lets off the uncertainty, yet remains catchy though pessimistic until its predictable, albeit solid conclusion: The fate is the same as that which began, lost or stuck or dying or soon to be dying or captured in an inescapable reality. I think the story here is tragic, but I could be wrong. - B+ 8. Retrocede is another Goa/Psy driving nighttime number with an interesting, atmospheric interlude. I like how this artist takes the time to develop his tracks, and the general buildups, as his songs often go somewhere more interesting and satisfying as they progress. The echoed metal sounds around the middle are cool too, an opportunity missed maybe to do something darker with them, changing up the tempo of the song. They're unique nonetheless and are creatively into the mix before the intermission around 5:40. This artist has got to seriously produce an amazing Goa album for our time now. - B+ 9. In The Stream is thoughtful, contemplative, moving, gentle, floating, and emotive. The gradual build up and melody/sound work is excellent. This is one of the best Goa/Psyinfluenced downtempo tracks I've heard. Well done! A- 10. Winter Tickle is a strong and crisp PSY downtempo number with some interesting, manipulated notes. I prefer other less manipulated melody work, beginning around 7:00. It would have been cool if a slow but driving (ASURA like) beat began here or at 7:42 I feel, but that would have meant changing the flow of the song. Overall a good song. B In conclusion, Psylent Buddi's tracks here would comprise one of the most solid albums (double?_ albums ever released for free or not for free (but this is free). Thank you for sharing this with us. It's excellent. This is like the one great Goa album I missed all these years. And now it's available for the first time in 2008. Really smart package. I want to see what type of arsenal this artist will come up with relative to producing a new track. This smart, creative, and other worldly, complex and driving style deserves to be explored and updated. Favorite tracks 1, 2, 3, 4, 5, 7, 9. B+

Very positive sounding. Nice work Afgin, as always. For me it started getting really interesting right after thr 2:10 mark of the 3:46 sample. That part until around 3:14 connected with my feelings.

HUX FLUX - CRYPTIC CRUNCH KOYOTE 1999 Track listing: 01. 09'26" Calculus 02. 08'01" Tripple Nipple 03. 08'42" Nemo 04. 08'43" Experimenting With Potions 05. 08'34" Cryptic Crunch 06. 08'47" Short Circuit 07. 08'03" Elixir 08. 08'06" Alkaloid 09. 08'31" Nervoservo Imagine X-Dream - Radio with less (but far from no) melody focus and work. Cryptic Crunch emphasizes the PSYCHEDELIC in Psytrance, integrating some of the most wild sounds into a heavy beat and bass line. But if that summed up the album alone, we may as well sum up "Lord of the Rings" as a story about some guy that takes a long walk just to drop a ring in the fire. The end. This is an awesome release. It's a psychedelic monster over load to even itself. I imagine their goal was: To make the most psychedelic album ever made. Since I hadn't heard this back in 1999 I don't know how I would have perceived it. I probably would have hated it, because upon first listen in 2008, well, I HATED this album. Every track to me sounded like a bunch of PSY sounds around a thumbing beat and bass line. I put it back in the collection and was disappointed I bought it. I had never found an available copy until 2008 (saikosounds). A week before I wrote this, I decided to try it again after reading all of the positive reviews that had inspired me to buy it in the first place. I think in the past I was expecting more melodies. I didn't give the album a chance. I was clearly not in the right mood to enjoy it. Derango's Tumult attempted a similar concept (to be most PSYCHEDELIC). But Cryptic Crunch has a chaotic yet gripping flow to it that I feel Derango's Tumult lacks. Cryptic Crunch has been compared to numerous Goa/Psytrance album's such as TOI DOI - Technologic and Menis - Temporary Insanity. The latter I initially liked better because of its melody emphasis. But past the opening three tracks on Menis - Temporary Insanity, it dips on and off, having few tracks that come close to the opening three bangs. Cryptic Crunch is a stronger release overall because every track is great and/or excellent, superb. Let me describe the attitude of this album here: Someone mentioned melodies. You want fucking melodies? How about I take your clock off the wall and slam it on its head until it smashes into a hundred pieces. You see the clock part keeps ticking? There's your fucking melody. The artists went ALL OUT on this album. Sure there are tracks I find catchier than others. But this is MAXIMAL PSYTRANCE unlike Filteria or Pleiadians because the Psytrance is emphasized on sound effects over melodies, and yet there are melodies too, though many (not all) of them are made of crazy sound effects. The artists take extra ordinary sounds and make complicated, textured rhythms with them. As the listener's trying to digest this crazed sentence, the artists decide to add pile on 5-10 more just incase you had time to catch your breath. You're already barreling out onto on coming traffic and getting hit by a truck before the next minute is up. That's how insane this album gets at times. As it progresses, we realize that the bizarre style of the opening track is just an opening to some brilliant forms of infection and creation, to those at least who like this landmark style. 01. Calculus is a gob popper, Nintendo on Acid building, bubbling, hissing, squeaking stomper. Get used to these descriptions because the whole albums like this. I don't know how else to explain it. Umm... there's a drum. No really, a strong bass line, and whatever the hell is going on sounds crazy as Hell. But I'm not addicted just yet (X-Dream's Radio without the melodies and 3-5x the fx come to mind at first). Don't pay attention to any particular sound. Just open your mind by letting go of current thoughts, emotions. The song is loaded with psychedelic sounds. On a technical it sounds impressive. But it doesn't seem to have a strong path past the 6-7 minute mark, as various sounds are removed and added to compensate for the curtain about to close presumably. I really want to see how infectious this crazy style gets. Quantity and quality are two separate things after all, and there's some of both here. B+ 02. Tripple Nipple is the first song to have more of a selected rhythm and groove. This appears better structured, constructed than the previous number. A riffing, echoed melody takes place around 2:00 creating a design that is enhanced by some of the crunchiest sounding textures I have ever heard. A wobbly, squeeky sound tops off the track. While I don't feel the song is superb, I find it more dynamic and less drawn out than the previous, strong opening. B+ / A- 03. Nemo is a powerful, artistic mindfuck that would probably impress David Lynch if he was into Psytrance. The first half involves a very catchy sound/melody followed by another. Both the higher and lower pitched sound compliment each other to near perfection as loads of crunchy tickets, taps, pops, dribbles, wobbles, shaking metal sounds and more dance around this glowing crescendo of madness. The melody work around 4:23 is excellent. Now this reminds me of the concept later taken in Derango's Tumult with the rare, driving melody segment in The Poisonous Square track for instance. I love a super psychedelic album with a badass driving melody cutting across the chaos. That is AWESOME. There is more infectious elements and development too, coupled with a cybernetic, spinning sound I try to explain as a flying saucer trapped in rotations. I'm impressed by how many catchy sounds they have tweaked and mixed all at once while achieving a continuously evolving and generally gripping effect. This is my favorite track on the album so far. A 04. Experimenting With Potions starts off with one of the strangest catchy sounds I have ever heard. What is that? Is it a mouse on speed and someone decided to echo it's squeaking voice? If that's the case we put many mice on speed. I have no idea where they come up with their sounds but they're great. This is a slower track; it's more mid-tempo and very psychedelic. It breaks up the heavier tracks nicely I feel, unless you're looking to leave this album spinning as-is for the dance floor, you may have a problem. But as a slower Hux Flux song, it's excellent, very groovy, gripping, and rare, appreciative. A- 05. Cryptic Crunch is a driving blazer. Listen to that opening trippy, bubbly, lifting melodic effect. That is awesome! Followed by the industrial, like slamming a draw being echoed effects. The shuffling, driving sound and rhythm that soon follows is golden. I haven't even gotten to the huge and deliciously created PSYCHEDELIC structure comprised of dozens of sounds supporting the fort yet. This track reminds of of Chi-A.D.'s continuously driving Pathfinder minus the ethnic influence and pretty melody work. Hux Flux created their own storm blaze shuffler, and it's super for a driving number, though there's no real stand out part, melody, or climax. It's an extremely well developed PSY driver from beginning to end. A- 06. Short Circuit instantly comes across as more infectious to me than previous songs. This may be because there is a strong, psychedelic and skipping Pleiadian-esque melody throughout. But his is a more mechanical TOI DOI - LIKE sound. I love the mechanical melody here along with a strong tune. A shot of laughter comes out of nowhere around 4:14 and a burst of intensity rips cross the air until a phenomanal break out CLIMAX at 4:44. What?! This is amazing! Around 5:15 is.. this is like the EVIL version of Filteria's Navigate song on the Sky Input debut minus two-thirds the melodies and yet it has awesome GOA melodies! WOW. The buzzing bumble bee sounds to the water droplets, voice effects, coupled with enough sounds that I've lost count back in the first minute. This is like Halluciongen influenced Hux Flux on a 5 star acid head trip, pissed off but additively alarming and on fire throughout. This is, hands down the most impressive song to me on the album so far. It's extremely dynamic and I find it ridiculously infectious from beginning to end. A 07. Elixir starts off interesting and very psychedelic. Surprisingly, this is one of my least favorite tracks on the album to date. The music's great; I found previous numbers more infectious and gripping. Here we're tailored to a good assortment of fast paced sound paced segments. None however arrest my attention like before. I'm searching for a strong core or part that stands out but Elixir is more the exercising what's been done into a new driving number as opposed to building a super song out of it. It's still a good song thought. Previous tracks I found more dynamic and catchy. The artists do a good making a sound effect driven song entertaining at least. I just feel that more could have been done to lift this track to the next level. B+ 08. Alkaloid is a return to those tearing across the systems zipper melodies. This is easily one of the coolest, strongest songs on the album. It's extremely psychedelic. The others were psychedelic but this is even MORE psychedelic than some of the others. It is well complimented by a rolling, thumping/deeper sounding melody. It enhances the song and returns at least once. So much more takes place around these events that I'm overwhelmed to push myself further. The sounds often develop and build into these labyrinthine sentences of Goa/Psy rhythms. This is another fine example, most prominent in the final third. A- 09. Nervoservo is a stomping, complicated driver loaded with melody bits scattered in all directions yet somehow put together in a way that at some point a complicated rhythm seems to take place out of completely non-linear sound fragments. The final track doesn't cease to impress me. Furthermore, I'm surprised that this hasn't gotten more praise throughout the thread. The previous song appeared a bit more varied with sounds and directions, though this is on a level of excellence too. A- In conclusion, Cryptic Crunch is one of the most psychedelic album's of all time. This is a HUGE album by even today's standards in 2008. Groundbreaking? Yes. It's amazing how many sounds these artists tweaked, altered, echoed, and edited just to get finish one track. Each song is comprised of so many well orchestrated sound effects compensating for textured melodies. It has taken me many times to appreciate this album. Two other notable album in the past ten years that took me quite some time to appreciate was BotFB - Twin Sharkfins and Koxbox - Forever After. Some albums in Psy like Cryptic Crunch just have an extremely distinct and original sound to the point I don't think most people know how to comprehend or compartmentalize them when they first hear them. Either you like it or you don't, or you're not sure. I thought I hated this album. I just couldn't see the musical quality. It was like I was reading a book with a tenth of the knowledge so I was unable to comprehend the rest. There is just so much talent here it's remarkable. Likewise I have give numerous other Hux Flux albums that followed respectable plays and none of them have impressed me like Cryptic Crunch. This album is unlike anything they've ever. It's unlike anything anyones made. The best way for me to review it, is in part to compare each and every song to every other song on this album. The only thing I maybe would changed, maybe, would have been to put track 4, Experimenting With Potions at the end. I think it's a great, excellent song. But it breaks up the powerful back-to-back dance stompers, that is, if I was a DJ who wanted to let the disc play with minimal mixing. I don't think the general listener will mind a slightly slower song (mid-tempo) song in the middle. What's super is the album as a whole, however you listen to it. Captain Cryptic Crunch is a landmark in Psychedelic (Goa influenced) Trance. Favorite tracks - 1, 2, 3, 4, 5, 6, 8, 9. A-

I just found out about this today, and really looking forward to it!! Great artwork guys. The cover looks like the higher consciousness sun theory, where the ET's use light via the Sun's scattered throughout the Universe to travel between various star systems. All of the sun's are connected, hence the paths. There is a ton of information on this related to the dimension of light. Light is timeless and can be programmed to virtually any perception of time and/or space, through higher consciousness expansion and more evolved technology. Higher awareness is clarity and presence, knowing. This is the truth, the reality on a less conditional layer of reality. We simply have yet to make the leap in planetary consciousness and adapt to this higher vibration, more conscious and aware evolution. I don't want to get too into that theory on here though and distract from the album's track list (although people may want to read about relative topics supported in a book titled "The Conscious Universe" by Astrophysicist Menas Kafatos and Philosopher Robert Nadeaulight some time. I'm happy to see California Sunshine and I hope it's really great!! I'm also relieved to see Chi A.D. doing what he does best. If not for his Earth Crossing album, if not putting out there his love for Goa.. I feel that many people in general may have overlooked the fact that he's brought wonderful Goa into the 21st century, and this makes it all the more possible that he can continue to produce something special, and have it critiqued and released by a respectable label. For the record, the track list.. 01. Chi-a.d. – Sight of the Sages 02. California Sunshine – Oblivion 03. Virtuart & Chronomyst – Zanchin 04. Aerosis – Lunar Effect 05. Artifact303 – Energy Waves 06. Antares – Aurora 07. Ra – Gateway 08. Filteria – Back To Earth

KOXBOX - FOREVER HARTHOUSE 1994 / 95 Track list: 01. 09'45" Point Of No Return - A- 02. 09'15" Space Travellers - A 03. 08'14" Insect And Insect Bite - A 04. 07'26" Tribal Oscillation - B+ 05. 13'38" Neurobic - A- 06. 07'49" Space Interface - B+ 07. 07'54" Orientalic - B 08. 06'58" Loads Of Flow (Molecular Mix) - B WOW. The reviews weren't kidding when they said it takes time to like this album. This album has taken more time to grow on me in a positive way, more time for me to find great since maybe the time I critisized Pleiadian's Family of Light for being a serious disappointment with exception to three tracks (Head Spin, Modulation, Meter) all the way back around 2001. When I read that Forever After actually released in 1994 I almost soiled my panties. I don't know why its taken me so long to appreciate, to get into and really enjoy this album. Its been one of the least accessible album's I've gotten over the years that I later looked back on in an entirely different perspective, one with understanding and enjoyment. I finally "get" it and I feel like I speak my thoughts in clarity. I'm not going to go through a track-by-track review. Furthermore, this is still not one of my favorite albums. Nonetheless, I've noticed that some of the melody/sound work has a way of getting inside the listeners head in a way not many albums achieve, not like this. Not like Insect & Insect Bite (Split Mix) for starters. Everytime I listen to that song, I feel like infectious aliens are articulating, developing my brain. In other words, I'm hooked. Forever After is one of the greatest electronica Psy/Goa releases of all time. But it took years for me to really enjoy and get into for some reason. Strange.. I wonder why it's like that. Favorite tracks - 1, 2, 3, 4, 5, 6 A- (Keeping in mind this was 1994/95 when this was released. I think it sounds great by todays standards)

SPACE CAT - MECHANICAL DREAM 1. Sleepwalker 2. Emotions 3. Electroshock 4. Cat on Mushroom 2004 5. Daybreaks 6. Raver 7. Tranceformer 8. Mechanical Dream 9. Rising Force Mechanical Dream is Space Cats 4th album, a Full On Psytrance release. The artist's style seems to change on each album, but the melody/sound work is almost always, ALWAYS good. For starters, this is more formulaic, less dark than previous releases. The artist sticks to his mechanical psy/melodic sound that propelled his previous three albums. There are some good/great melodies, atmospheric and ambient elements, and more. 1. Sleepwalker begins with a dreamy/Chill introduction. It's good! Unfortunately what follows is pretty derivative-- a fairly generic, lackluster number stripped of the details and dynamic ingredients that made the artists previous work more visionary, complex and memorable. C+ 2. Emotions is a moderate improvement thanks to the melody/sound work. It's more developed here, and seems to tell a story to keep us interested. Coupled with attractive, mechanical sounds, the second third is substantially catchier than the first. The song's structure is fairly simple, but the ingredients and direction is so much more enjoyable than the opening track. B 3. Electroshock continues the more focused, catchier, and tighter approach since Emotions (when compared to Sleepwalker that was putting me to sleep). This vehicle has more momentum and drive. It develops nicely and takes me to places worth visiting that are also dance friendly. Rather than having a fully developed Goa melody, the artist uses a piece of what could have been one to energize the vehicle and support the Full On approach. It works well, and the artist provides two very good and engaging thirds (Act 2+3). Great Full On track! B+ 4. Cat on Mushroom 2004 is a far cry from the Infected Mushroom collaboration to the same track name via 1999's Beam Me Up (debut) album. Why is this called Cat on Mushroom? That right there creates expectation and probable disappointment. The melodies are forgettable. The direction is ho-hum, lazy, and uninteresting. There is a nice buildup and take off in the 4th minute. It stands out because nothing eventful happened beforehand. The artist uses a bouncy melody in similar fashion to Goa Trance and it works great, complementing the danceable approach with something fun. It's just too bad that it took 60% of the song to do something fun. The music changes again in the last two minutes, but it's a less magnetic version of the previous segment. Oh well. C+ 5. Daybreaks starts out more generic. As with the previous tracks, the music comes alive in the second act forward. The same can be said here, but the simplistic [formulaic, clubby] approach may disappoint long-time fans of the artist who were expecting something a little more visionary and unpredictable. With exception to some decent synth/sound work, this (to me) is a generic and forgettable club trance song, influenced by Space Cat. Disappointing considering how talented this artist is. C 6. Raver is less generic than Daybreaks, thank God. At least the sound/melody work stands out a little more here. There is an X-Files esque sequence of notes that add character, and both the energy and sound work improves as the song progresses. the last act sounds good, despite the artist basically combining sounds and melodies released on and off throughout the song. This is another fairy good track. B- 7. Tranceformer is more energetic and driving. Again, good usage of sound/melody work despite the simple harmonies. There are at least two transitions (where the beat disappears) the song. The returning music after the first does very little to enhance things. The second adds an energy boost before reprising previous layers. I suppose this is the more predictable Full On approach that people generally criticize who are used to more elaborate, visionary Psy/Goa tracks. The song is pretty solid but a bit formulaic too, and more unpredictable fun would have been more memorable. B- 8. Mechanical Dream is fairly generic, though I can't deny the nice (warm) sound/melody work in the second and third act. More risks would have been nice since this artist certainly has the mindset and imagination to pull some creative strings. That said, the buildup/push in energy boost towards the end works well, again and despite the formulaic approach. B 9. Rising Force gets a bit repetitive as it progresses, but the warm sound/melody coupled with various developments (and a catchy melody towards the end) saves it from falling into average. B- Machine Dream is a bit tame compared to previous Space Cat albums. Some of the sound/melody work is nice, but due to the more formulaic (generic) Full On approach, I've revisited this album only a few times since it released in 2004. Previous albums took more risks, involved more complexity (more or less), and seemed more visionary and/or articulative, ambitious, and unconventional. Moreover, the album lacks super songs for a Full On album. There isn't a song here that makes me go WOW. No melody here lifts me as high as several songs did on the first three SC albums. That said, no song is as bad to the club boredom (boring) degree of Latdino. There are some nice old school influences and the cover stands out the most since Beam Me Up. The general song is solid (and quite danceable!) for Full On which makes Mechanical Dream a solid release IMO. For many, compared to previous albums, it's just a bit too formulaic for my taste. That said, for fans of Full On or a more mainstream approach to Space Cat, you may be in for a pleasant surprise. Favorite tracks - 2, 3, 6, 8 B- - 1999 - Beam Me Up - A- - 2000 - Shapes of Sound - B - 2002 - Power Up - B+ - 2004 - Mechanical Dream - B-