antic604

Well, might as well be that I'm projecting from his previous projects (Wingmakers compilations and Master Blasters album) which - to me - were a pinnacle of Nano-style full-on. We'll find out soon enough

and he's even singing around 1:30!

I immediately though of this, but it's not "repeatedly" just around 4:40

I don't know if it's cheesy enough, but has all the traits mentioned here - rolling bass lines, uplifting melodies, farts - and I really, really like it when I need something "lighter":

A nice mixed bunch of CDs:

I didn't know how to comment the rest of it

@psytones, are you OK? I never saw you post such gibberish. How is '50' within the scale of 0-7? Or you meant '5'?

For those that STILL want it on CD, it appears it will be distributed by Arabesque, which means it will be available in Psyshop / Beatspace and through their own Bandcamp-based store (https://arabdigitalhommegaproductions.bandcamp.com/album/return-to-the-sauce).

@T2MU - again, thanks for putting this up Regarding the album, I was "lucky" enough to be oblivious to the existence of the original from '97 in the first place and only heard couple of tracks earlier: The Second Moon and Tango Electro. But even then, I need to agree with T2MU that it's pretty scarce on real melodies (e.g. the eastern/arabic riff in The Second Moon is all but gone...) and instead focuses more on groovy rhythms and patterns, mild(er) acidic sounds; all played with contemporary & more elaborate sounds. One could even go as far as to say that sometimes it sounds as if certain channels in the mix were switched off. However, it all made sense in the context of (short) length of the album and the order of the tracks, that go from more dry ones at the beginning to more "full" and energetic (Tango Electro and Nuclear Fissionchips) in the end, creating sort of flow or buildup which you normally would expect to happen within single track. Ok, I thought - that was apparently intentional. But I got really surprised 2 weeks ago when I finally got my CD and the order on it completely different (digital* vs. physical) breaking that flow. Still, as long as you don't have a preconception about how this should sound like or expect certain 'enhancements' over the original, I'd say it's a thoroughly enjoyable release - full of groove, but not overly acidic or melodic. It's more about sound textures and rhythm patterns, than distinct leads and memorable riffs. 4/5 * BTW, I'm almost certain that even for digital release they moved around Tango Electro (that's last in my download from mid Nov '16) & Nuclear Fissionchips (2nd to last)

No, I'm not doubting you're saying the truth! It's just that I admire your dedication - Caustic is surprisingly versatile & powerful (sort of like a Propellerhead's Reason Lite), but the touch interface prevented me from doing more than just few loops on there. To stick with it until you finish a full tune, is really admirable

You have 3 people here telling you the 2014 master sounds better, all of them explaining why. You really seem like you try to desperately rationalse preferring the other version...

@Djuna,very well said! +1

Apparently you're not the only one struggling with bass lines (https://www.psynews.org/forums/topic/72935-the-ins-and-outs-of-psytrance-bassline/), so just work on it because the rest is really good. I still can't believe it's produced in Caustic

Hmm. There definitely is a bass line in this track, but it sounds like it isn't there? It's 1) too high in terms of pitch, 2) too static in terms of movement. Sorry, but couldn't focus on the rest of the track because of this... EDIT: I knew the issue sounded familiar: https://www.psynews.org/forums/topic/72740-the-maniac-nebula-150-bpm/?p=10002558

Yeah, sad to hear that especially since I see Suntrip's releases in Psyshop's Top10. So either it's a general thing - which wouldn't surprise me, with most recent trend of putting full releases for free on Soundcloud, YouTube, etc. popularity of streaming services like Spotify - or maybe old school goa lost it's charm and 'novelty' it still had few years back. At the same time there seems to be more old-school goa labels & releases on the market, so the same money are getting distributed more evenly between them? One thing is sure - it's not the change in quality of releases that caused it.

For my money, that's the right direction - keep it up! Also, thanks for your kind words. I'm now (very) slowly working on doing some new music again, but after all those years I first need to learn (on a basic level) all those "new" things: DAWs, VST, sound synthesis, automation / modulation, mastering, etc. It's great fun & hopefully something interesting comes out of it eventually...

Wow, never heard about it - awesome music! Thanks

Sorry, but why do you need the 'experts' for? To tell you which version will sound better for you? In mastering, outside of some very obvious mistakes, there's no "better" or "worse" - it's largely a matter of personal preference. If you plan to play it in clubs or on festivals, then get the version that sounds closer to other releases; if it's for your own listening pleasure get the one that fits you better. It's like with recent Artha album - if you compare it to other current albums the sound picture will seem dull or even muffled, but in actuality there's still all the same effects & details but they're not dragged kicking & screaming to the front of the mix, just sit there nicely balanced with the rest of the sounds. And it makes a tremendous difference while listening - especially on the headphones - because it causes much less ear fatigue and it allows you to focus on more layers better. But that's just my preference, based on how I listen to music. I'd take the artist's version, because it seems more balanced. The 2012 version in comparison is "tilted" to the right, i.e. some very low bass is cut out and mids & trebles are boosted, which gives that "techy", "precise" or "surgical" feeling, but gets downright annoying when lots of stuff is going on, e.g. in "Atmospheric Pressure" around 3:00 But you seem to be leaning towards the "professionally" mastered version, so go for it

Wow, that sounded really good! I'm not a real connoisseur of Forest Psy, but "Rays of Light" definitely has all the hallmarks of the genre, with that "mushy" bassline, incidental FX, etc. What I really liked though - and people on this particular forum will appreciate - were the melodic touches: chords, the flute (!!!), the acid line and final synth lead. The only thing I'd work on further is the snare, because it seems to be a plain TB909 sample, so it could use some tweaking - it sticks out too much. Maybe filter out some of the "click", add a reverb or chorus? The 2nd track "Trolldeg" actually sounds even better, wider and clearer somehow and I like the more funkier vibe + all the percussive stuff, but it's more experimental and less melodic. Very fine track, still. Please keep up, you're onto something. I really would consider buying your music if it ever gets released

Wow! I'd be really interested to know how well Google is settling those payments. I mean for their subscription service I can imagine transfers to goa/psy-trance artists & labels are very limited, but for the stuff you actually purchase it should be well correlated with the number of purchases. @Anoebis was promising to post an update on Suntrip sales sometime soon, so hopefully he's able (and willing) to provide such a break down, but considering Google isn't immediately associated with goa/psy-trance I expect the sales via their shop are rather insignificant.

Now that your work here is done, convince him to write & release NEW music

Ok, you're right - we're greedy, incosiderate, nature-killing barbarians. Carry on

I reviewed Psychowave's "Dancefloor Metadata" (https://www.psynews.org/forums/topic/72409-psychowave-dancefloor-metadata-boom-rec/?hl=%2Bdancefloor+%2Bmetadata) so you can cross it off the list on 1st page.

Yes, 1st world problems indeed, but look at it this way - if a CD costs $10, which includes manufacturing (disc, case, inlets) & packaging, transport costs & reseller's margin, then it's sort of expected that digital version having none of that should be cheaper. In most cases it is not, in others it's $1-2 difference. Sure, labels and artists have the right to take the advantage of the situation and charge whatever their audience is willing to pay, but - likewise - we have the right to complain about it

For my ears, the version mastered by the artist himself sounds warmer, less digital & sharp (but also maybe slightly less 'spacious'), which would be my preference. But it's a personal preference really and depends on how you listen to music (for headphones I'd prefer artist's version).