longloststar

Here is one. Its great, buy it.

http://www.youtube.com/watch?v=fe-B7w5lufY

Altough it is GOA, my favorite album for studies is Ra - To Sirius, I save that one for when motivation is really lacking. Here are some downbeat stuff I enjoy: Secede Puff Dragon Asura Psyfactor Bluetech Jikkenteki Solar Quest Tripswitch LSG (Into Deep) Carbon Based Lifeforms Future Sound of London

This is regular ambient, not psy in any sense. Still great though.

No doubt, this is high quality GOA. There is a soft musical touch to the album, sometimes similar to both Merr0w - Born Underwater and Ra - 9th, but ultimately it is a distinct style much in the vein of the previous album. I think the style is further characterized by certain repeated short melodies. In fact, every single track, except the last one, might be based on this idea. It makes the style unique, but it can also be somewhat tiring. In particular the first couple of listens, before one gets a feeling for the melodies. With this in mind, "Dancing With The Blue Spirit" (and the previous album) is more suitable fulfilling the role of energetic, emotional music, rather than relaxed (compare for example with Afgin - Old is Gold). Overall, very much recommended to lovers of GOA.

This is a true classic, and the additional tracks sound nice as well.

Well I still think it sounds pretty lame, you should have gotten a second opinion on that track from someone that doesn't suck up to you. I think you did the same thing with the monkey sounds in "Pure Irony" and the cheesy MTV-techno sample in "Body and Mind". Anyway, I hope its clear from my little review that I absolutely recommend this album (and I am definitely a fan of yours), one of the most interesting release of the year so far. People don't like to hear any criticism at all, but of course nothing is flawless.

I find this release to be quite on the dark side of dark psy, but the darkness lies in the coldness of the sound, in apparent chaos, rather than typical stereotypes of evil and horror (which is also a common theme in dark psy). Perhaps someone should be inclined to fear the dread of vast space, rather than some lurking shadow, for this to be perceived Either way, lovely stuff in my opinion.

Of course knowing great music and knowing how to make it are two entirely different things, but I'm sure you were just trying to be cute.

I am now ready to give a well-grounded opinion of this album. Let me start with the positives. Kino Oko creates in "Colours Hate Themselves" an interesting and cohesive atmosphere. Even a highly amateurish music maker (avoiding the unqualified "producer") such as myself knows how difficult it is to create a cohesive track, that follows a singular theme throughout, and in particular doing so mainly by use of melodies. Kino Oko's music is mainly made of melodies, other typical musical elements take little space, this is his style, and I like it. There is an elegance to his melodies and there is a lot of class to his style. Certainly it is a hard task to make music this melodic yet not annoying. I feel there are two negatives here. First is the unevenness of the track qualities. There are about 3 tracks that I find somewhat boring and one of them, "The Ground", I find unbearable. It contains the typical singing of the-artist-who-branches-out (although I am not sure it is actually him that sings, but its so bad it must be him) and like always, it does not end well. My second point is that some melody progressions feel very contrived. "Rosalinda" is the clearest example of this. This is a very nice track with some really interesting melodies, right up till the end there is not a lot of variation in the melodies themselves, but that is fine, because the melodies are so strong, yet at the end Kino Oko introduces some note changes that do not sound at home. They sound more like the artist thought "OK now it's time to put some variations in the melody"; well, thats not how good music is made. There are a few other such examples, although they never do ruin a track. In summary, a very nice melodical piece with flaws that certainly can be overlooked. Even better than his previous solo release, although not surpassing "The National Heroes Of Sonic Parallel" (in Bigwigs) which is near godly to me.

Enichkin - In Memory of Love Review 1. Spring Interpretation 2. Life Extension 3. Elementary Particles 4. Free Now 5. Mescalito Dance 6. Twilight Zone 7. Beyond the shadow of doubt 8. In memory of love 9. Memories 10. Transient There is no surer sign of something being Russian than the end of its name being "kin". Enichkin - In Memory Of Love does not particularly sound Russian, barring muddled Russian samples sprinkled throughout the album like glitter on a cheap prostitute. Also, I prefer to not imagine it being Russian - this fact somehow detracts from the qualities of the album (which I shall soon delve into). I do not mean that this is typical of Russian music, often the opposite holds I have found. Take Furious as an example, his music feeds upon the fact that it is Russian, upon the fact that it is conceived in this almost-hellish place, with its crooked streets and morals, with its history of death, and its coldness of the soul in spite of the color of the land being, of course, the color of blood itself. Zolod's "Deja Vu Fabrique" takes power from a similar vein, here you can literally hear the corruption taking place in the high reverberation of his nightly soundscape. Psykovsky, as more complex in style, does not lend himself as easily to analysis, but I think we can in his style observe a certain struggle of the soul, a classical theme in Russian literature. There can be felt, in Psykovsky's music, the hopeless abandonment of the spirit, to the grim and ultimately dark Universe - the darkness of his style, almost unmatched. Leaving the typical Russian sound behind then, how does Enichkin approach the genre? There are some similarities to Psykovsky here, mainly the ambient components, but where these components create the darkness in Psykovsky's music, here they are auxiliary but not more. The essence of Enichkin's style instead is highly-rhythmical melodical (in the dark-psy sense) structures. He delivers these structures with great intensity in a generally non-climactic format. This is a very good thing, since the climactic format almost always is the easy way out in creating a track - and this shows in the complexity of the sound. Enichkin also shows care to the labelling of his tracks, something which I very much so am a proponent of. The labelling of a track is an important opportunity for the artist to add something to his music that isn't really musical, yet adds to the musical experience through the imagery or emotion it provokes. "In Memory of Love" is a great such example, which sets the tone for the entire album. Trying to put a finger on the general theme, or idea, of this album, the word "love" is not the correct place to put the finger, neither is "memory". I shall not dwell too long on places where you should not put your finger, but I think these concepts lay close to the matter: the theme of "In Memory of Love", I feel, is the connection or boundary between the complexity of the human mind, and the complexity of the nature of reality. In both there is playfulness; the taunting duality of matter, the glory of a cloudy sunset or the beauty of a genius mind. In both there is also darkness; the vastness of outer space, space-time itself can be viewed as dark in its ruthlessness, and of course the state in which one sometimes may find himself when one views such darkly matters. Ultimately however it is the human mind that from the chaos that is reality, constructs such things as clouds and sunsets and perhaps even the progression of time, therefore the human mind controls reality - yet in the end, the mind is of course conquered by nature's forces. "In Memory of Love" dips into this shifting juxtaposition, with a style that balances on the line between light and dark, soulless and spiritual complexity. "Beyond the Shadow of Doubt", another superbly named track, is perhaps the best of the bunch, here Enichkin creates a beautifully unstable melodic atmosphere in the beginning, which later deconstructs and finally rebuilds into something evolved. There is a very stimulating dual nature here, with the melodic components on the one hand, and the hard and pushing bassdrum on the other, constantly shifting rhythm keeping you on your toes. The last three tracks are also the three most melodical, they are all excellent and constitute the final, more vibrant, evolution of the meditative style kept in the early part of the album. Overall, this is a great piece of music and I highly recommend it.

Sounds great, and happy to see some English track names. Is there a way to download the entire album in one click (as opposed to each track separately)?

Maybe something like: http://www.youtube.com/watch?v=VfH42eP9zgc

Hey man, welcome!

http://www.youtube.com/watch?v=mpHLEm9-0bg If the Scatman can do it, so can you!

Well the color composition is all over the place, try to stick to just a few colors well chosen, or not put every color everywhere. Also the different parts, such as the lightnings and what now, don't really fit together. But keep up the work though!

Highly underrated and overlooked. While still maintaining musical integrity, this album delivers unmatched full-on energy without sucking up to the listener with blatant progressions and ridiculous melodies (as is common, of course, in this style of music). In particular, "Wicked Purity" is a classic among its kinds in my home, overall the three final tracks are by far the strongest judged as high energy full-on, while the former tracks lay more in line with good typically "adult full-on". I also quite enjoy the flavor of the album, interpreting Zen in this high speed maximal style of music, seeing in Zen rather the unstoppable force of the soul than serene observance or some other more common view.

Cool, I listened to it all day at work actually

Something like... http://www.youtube.com/watch?v=KqE6M7Ps7RU

Well I think this album should be judged in a broader context than just 2010, but as far as this year goes, not many. Psyfactor - Futurised for sure, maybe Kino Oko, also I hear good things about the new Load album and latest from Goasia, I'm sure there are more.

Mate, you think Astral Projection - Joy is worth 3/5, of course this is godly to you. You're a sucker for melodies and that's fine with me. Personally, I'm not that easily enchanted, and I don't think these tracks are structured very well, regardless of how bad most full-on music may be (I certainly agree that it is).

I am in agreement, maybe 2.5/5. This album has a lot of great melodic hooks, but song compositions are far from spectacular. The transition from one part of the track to another is often painfully obvious - you often have the feeling of "now comes this part, and then comes another with some new melodies", there is no flawless journey. Also, I think most tracks just fizzle out at the end instead of evolving, and some tracks have very interesting energies at the start but become bores quickly, such as "Mystic Charge" and "Vocal Distortion". There are some positives also however. As mentioned, there are a lot of great melodies, danceable qualities and I'm sure a lot of people simply will not find that my critique holds true at all since it is slightly abstract.

http://www.youtube.com/watch?v=kbcikmkk2CI Don't remember exactly how I came about this, but it might have been from this forum, if so I apologize to whoever found it.

Have you heard both the unmastered and the mastered versions?

Haltya - Twisturbed Fok 'n Manmal and Finnish psy in general might fit your bill. Also, most of dark psy is based on rhythms (rather than melodies) so I don't agree with your statement that "boring beats and rhythms ever have been goa/psy's most hard critique." My link