DoktorG

For S.U.N. Project fans, this is new 12" on Suntrip is quite exciting because it is unreleased mixes on dat discovered by Matthias Rumoeller. It includes one of their best tracks "Crazy Stories" - I have the original 1996 12" of this on Spirit Zone and the problem with with this track, indeed the whole ep, is that the recording and/or mastering has quite dull and compressed sound. That is likely to change with this Suntrip release which has a 41 seconds longer remix of "Crazy Stories". It sounds a lot less dull online, but I will only know for sure when I play the two vinyls back to back. Here's the cover:

If the gimmick is good, it will become highly collectible in time. New Order had a sort of similar thing with the first vinyl edition of "Low Life" where there was a kind of waxy grease-proof paper folded over the cover - not removable but sorta similar. I wondered if the removable section could not be like a lyric sheet or suchlike which could be stored inside the sleeve and not thrown away - I dunno, just a thought. "slowly slowly better better" - I like that. Evolution is nature's way.

Thanks for sharing your idea. Gimmick covers and so on have been a part of the visceral appeal of vinyl all along. I think of the infamous Rolling Stones zip cover, or the reverse direction play of the Younger Brother 12". This, similarly, is a nice gimmick idea - but what will be done with the peeled off covering? Not very green just to throw it away...

Apologies for the name dropping, but I did just want to mention the dark releases in "progressive trance". Some of the minimalist prog that came out after the millenium was dark: Noma "Navigator" album Tegma "Werewolf" & "What's Akabar" 12 Moons "Hunting Demons", "Back to Basics" & "Into Oblivion" Echotek Holeg & Spies Beat Bizarre Planet B.E.N. Special mention of the Beat Bizarre remix of Tegma's "Werewolf" - what a superlative dark track!

Many complaints on discogs about this, particularly in relation to vinyl colour: lots of comments like "this doesn't look anything like the colour in the promo material" etc. A mock up with x number of tracks shown is misleading, but of little import; a mock up that shows 1 vinyl when it will be a 3 vinyl album is substantially misleading and has already lost them potential customers on this forum alone.

The picture of the vinyl lp on the Bandcamp page shows black vinyl with 5 tracks on one side...

logic bomb vinyl and cd's and merch https://logicbomb.bandcamp.com/merch Thanks for letting us know Technosomy. $79 for "Unlimited 2002". This is for a single vinyl lp. It includes 2 tracks that were not on the original 2xlp - "Unlimited" and "Hund", which were released in their own stand alone 12" by Tipworld in 2002. There is nothing on the page about special remastering or improved sound or anything else, but the package does include unlimited streaming from Bandcamp and flac download. I'm a big Logic Bomb fan. I have the original Tipworld 2xlp for which I paid $15 in 2002. I also have the original "Unlimited/Hund" 12" for which I paid $8 in 2002. For me this is a classic release which features the usual Bomb awesome sound quality and arguably their greatest track "Datalinks" (though I prefer the incredible remix, presumably by Logic Bomb themselves, of "Datalinks" which appeared on Tipworld "Red" compilation in 2004 - this remix is one of the greatest Goa tunes ever made imo). That's some inflation, particularly as a single vinyl is unlikely to have sound as good as the original 3 vinyls, unless there's some very special remastering by Bernie Grundman or suchlike. I see that Logic Bomb have a new album "Dreams", which I'm listening to now - sounds promising.

I went to Goa a couple of times in the early 2000s and two cd albums that caught my attention because they were just everywhere for sale were MFG "The Prophecy" and Rastaliens "Freestyle". No other cds were as available as those two in Anjuna. I guess that someone, probably slightly obsessive and with good taste, just copied tons of each. This might be relevant because Goa, especially early on, crosses over with techno, trance, acid etc and has been seen as fluffy or cheesy. Just one example in the form of a question to make the point: was Technossomy a Platipus band or a Goa outfit? For every hands in the air Goa anthem, there is a darker minor part of the track, or another darker track, or another outfit making more introverted sounds. Darkness has been part of Goa from the beginning is what I'm saying. This is inevitable with a Dionysian cultural movement, because every euphoria has its come down or shadow. In the Shiva trance dance you have to navigate the darkest hour before the dawn when you are tired and the music is at its most intense. Moreover, as Magus so rightly observes, how could a space-themed style not be full of the infinite darkness between the stars? Whilst "The Prophecy" is not dark exactly, its main theme is ominous and MFG's industrial roots come through in the music. Rastaliens always lurked in the shadows. Goa in the 2000s was not the Goa of the late nineties, but I think the point still stands. What I like about this is that like any good art form Goa has its salt and pepper, its light and dark. It makes sense that we'd be more attuned to the dark side now, given the darker times in which we are currently living. Do we see more eco-apocalypse, conspiracy, horror, and so on, in contemporary trance? But forget all that, in the true spirit of darkness there can only be one dark lord: X E N O M O R P H muaaaahhhhahahahaha

Rastaliens "Freestyle" - an old favourite with a dark melodic sensibility and killer basslines. Sits poised on the cusp between Goa and psytrance, a bit like "Classical Mushroom". Yet another wonderful trance album with bad cover art. I wonder if it is worthwhile to distinguish between dark and hard, though of course there is much fertile crossover between the two. For me, Darshan are more on the hard side than the dark. They tend towards science fiction rather than horror, if that makes sense. Either way, Darshan are indeed excellent, though I prefer the first album.

Will this be titanic? https://suntriprecords.bandcamp.com/album/suntrip-classix-vol-1-titan?from=fanpub_fnb

What an interesting project. It makes apparent Posford's compositional genius as one rhythm/melody flows organically into another with consummate ease, just in case that was not already obvious. The deep woody sounds of clarinet, oboe, and cello also add to my appreciation of this wonderfully whacky track. At times I felt the conventional rock/dance drum kit was overused and that the beat could be implied rather than stated. I also felt that it stuck a little bit too closely to the original and a bit of extemporisation might have added something. Imagine hearing a full symphony orchestra playing this live. A worthy project - thanks for posting! ~*~

I guess as you guys are gamers, you know this: Anyway, this notion that limitations are always and necessarily a problem is disproved by music in the last 10+ years. Limitations can be enabling, can encourage creativity. Pushing against, or otherwise surmounting and subverting, a boundary is a significant part what artists do.

Dear Patient It is always gratifying when a patient is keen to take their medication; all too often a rarity in the world today. These mycological spores may not work immediately as understated non-invasive long term palliative care is their aim, but let us know what you think. Hope you're feeling better soon... Dok

Devolution and the Soft Organic Edge One problem with "cutting edge" as a phrase is that it suggests the trendy, the sharp, the new, the hip. But what if the new is ancient, organic, soft? To pick up on Wadax's comment about the "evolution" of jazz and how after the cul de sac of extreme tempos in bebop we got Kind of Blue, I feel that Goa reached a kind of dead end with hyperfast hi-tech machine gun psytrance with this as an early example (ag, no man, I just wanted an opportunity to post this fantastic cover art): For me, the "cutting edge" is in fact a blunt edge that goes back to the roots of Goa in slower and more organic music. I think it can be found in the slowed up, dark, and extremely psychoactive swampdelica of Battle of the Future Buddhas, Katedra, Proxeeus. This is the opposite of showy music for the festival (which will continue). It abandons humanity's magpie love for shiny stuff, manifesting Goa's original love for nature in a more organic music and sound for the darker era in which we now live: I doubt that this will much appeal as there is no rap, no trap, no dubstep, no hyperbole. It feels ancient rather than new, but for me this is a step forward in Goa. ~*~

"There are two kinds of fool in this world: one says 'this is old and therefore good', the other says 'this is new and therefore better'" John Brunner I find it hard to disagree with Anoebis' and Magus Knight's comments above which question the idea that the "cutting edge" is necessarily evolution and progress. I agree that many find uniform galloping horse rhythm and telephone line storytelling to be devolution. For others, the "low rez" sounds of analogue synthesisers are archaic and unevolved. Darwin's concept of evolution (or the more contemporary synthesis notion of evolution) does not contradict or discount entropy, the reality of disorder and decay. There are many twists, turns, dead-ends, accidents in evolution. Devolution is always a possibility. PS - I want to personally congratulate all the artists old and new, quite a few of them on the Suntrip label, who make other basslines than the galloping horse. PPS - I cannot resist making fun of contemporary "enhancement": cheap, shiny, plasticky tupperware is indeed everywhere in evidence today.

Astral Projection "Into the Void" - AWESOME! I completely love this beautiful track with its apt samples, clear and direct structure, subtle bubbling details, harmonic pads, and chill-inducing melody - all leading to a powerful emotional and psychedelic experience for the listener, whatever their state of mind. For me, this track feels like being sucked into the void on a tractor beam of inevitability, suggesting that the artists integrated form and content. The sense of inevitability can come from lack of innovation, but in this case it arises from a zen simplicity that is deeply elegant and sophisticated, hiding the patient craft of decades. Almost all great art has this feeling of inevitability about it. Hence I appreciate the fact that Astral Projection have not changed their style; this track could easily be from 95. Change is good, but so is continuity if you have a winning formula. We can call this generic, but these guys created the genre. We travel into the void in the hands of the masters... ~*~

Ok, thanks for the information. I'm not entirely convinced; I have 2 glow in the dark t-shirts from Suntrip and they were E15 each on cotton (probably not organic). But thanks anyway.

Thanks for the heads up, but 34 pounds is a bit on the steep side considering that band t-shirts in different genres typically go for 10-20 Euros. This is double, if not more, that kind of price. Is this the fashionista ideology of paying/suffering to be fashionable?

I've been a fan of E-Mantra since his awesome debut album "Arcana", which is still his best work. I've tended to prefer his up-tempo stuff to his chill out, mainly because it strikes me as more original, whereas some of the downtempo material has seemed a touch generic and predictable. At times the downtempo tracks seem like Goa played at 33 instead of the 45 it was pressed at, if you see what I mean. Nothing necessarily wrong with that, but it can seem slowed up as a result. Now he's back with "Drifting", a downtempo album released on vinyl as well as other formats. This is generally a chill album with a serene atmosphere and gentle melodies admirably captured by the marine cover art. It is quite different to the more complex and psychedelic downtempo of a Shpongle or an Androcell. One of the things I really like is the way this album builds from chill tracks towards more uptempo stuff towards the end - it is quite carefully structured. The latter more uptempo tracks seem a bit better than the slower early tracks, suggesting that E-Mantra is better at trance than chill. The melodies in the slow track "Returning Home", for instance, are on the predictable side. However, when things speed up a little towards the end, so does the quality and interest. The breakbeats on "Sea of Eternal Gloom" are noteworthy and a welcome refreshment in a genre dominated by 4/4; this track reminds me a lot of Electric Universe psybreaks songs. "Farewell Philae" is also a noteworthy track with gloomy bass synths. The final track "Depth of Nothingness" is probably my favourite: steady pulsing beat, sawing synths, sprinkles of dewdrops - lovely. Another thing is how good the album sounds on vinyl. When I listened to it online initially, sometimes it seemed just a bit too chintzy and smiley for me. I've gradually become jaded with bright, shiny, plasticky software sounds. However, listening on vinyl now, that feeling has dissipated and instead the scale of the sound creates compelling mystery. Well done to Ensancha El Alma for a good mastering job. In conclusion, you get exactly what is written on the tin with this album. If you want to drift, this is the record for you. "Drifting" at times seems to be E-Mantra on autopilot, but in the right mood is soothing - who in this world does not need more of that? If only Suntrip Records would release "Arcana" on vinyl. Anoebis, are you listening? ~*~

Ostap Hirnyak is a Ukrainian musician known as Katedra. His superbly original debut album is here: https://globalsect.bandcamp.com/album/katedra-we-are-not-alone Slava Ukraine!

Knocking some of the shibboleths of a movement off their pedestals is not only a sign of decadence, a movement in decay, but also an important stage in identifying the classics that stand the test of time. Hence I read the comments above with some iconoclastic delight and some recognition. I completely agree with the insightful posters above that these are, or were, over-rated: Astral Projection "Trust in Trance" (good album, make that very good, but not in the league of "Dancing Galaxy" and "Another World") Hallucinogen "The Lone Deranger" (amazing sparkling moments but just a bit too cocky about its whacky schtick, such as the Celtic knees-up in "Jiggle of the Sphinx") Man With No Name (some brilliant tracks and very good production but Goa-lite) Green Nuns of the Revolution (infectious at times, but comes across today as hastily thrown together) The Muses Rapt (the cheddar detector was malfunctional) Infected Mushroom (first two albums are excellent; after that...) So there we have it: the greatest hits of Goa trance are reduced to smouldering ruins by the critics. The question all this begs is what, then, has withstood the test of time? But I think that's for another topic.

Surely no-one is surprised that Infected's prices are, erm, high. I'm sorry to be cynical, but they've mostly been making cheesy and commercial music since album number 2 in my jaded view. Moreover, if this is not a remastering that is really a pity as the mastering on the original triple vinyl is far from special.

There's an argument to be made that great art has mortality awareness, which lifts it beyond the merely fashionable or topical. As Ezra Pound said: "literature is news that stays news". I like this collaboration:

I think that Aleah knew she was dying when she recorded Hour of the Nightingale. Thanks for unearthing this "Jewel Stanbridge" gem! "Jewel Stanbridge" and "Julia Liane Stanbridge" are the names that Discogs uses: https://www.discogs.com/release/66424-Various-Caribbean-Eclipse The one review at the bottom says it all: "Not a single bad track here in my opinion, but the stand out track is withouth doubt the Binah - Crescent Suns track. An almost 12 minutes beautiful journey, given us by two of the true masters in the scene, Simon Posford and George Barker. But the track wouldn't have been the same without the gorgious vocals by Jewel Stanbridge. Her voice in this track is absolutely stunning!" ~*~

Swampdelica I only discovered this record now; I don't know which mix I am listening to, but this is interesting and original music. This is Sloa Goa with a relatively slow, measured, unhurried pace. The rhythms tend to the industrial and have a grinding quality to them, which at times seems a bit linear and monotonous; I occasionally wanted more syncopation and percussive drama and different drum and cymbal sounds. However, the simple rhythm section avoids the plasticky psytrance sound completely (yay!) and does tend to create hypnosis in the listener. Moreover, the simple pounding drums and pulsating bass are well balanced by rotating and whirling Goa melodies full of reverb and echo, often quite quiet and subtle, and most of which do not build to climaxes. I need to listen again, but I don't recall any vocal samples. This is the opposite of extroverted full on psytrance with its plastic rhythm section and bold shiny leads. Further, the bass is heavy and the sound is quite soft and muddy, almost lo-fi. The overall effect is entrancing - sucking the listener into a deep, dark vortex of murky intrigue. So whilst all the ingredients are familiar, the way they are mixed together is unusual enough that a strange new dish is created: introspective industrial scifi Goa that reminds me a bit of Semsis and Menis in the Koyote days. For me, the primary impression this record creates is of a swamp. I'm calling it swampdelica. Original! Just goes to show that there's more to this genre than we often think; imagination is the main limitation. Really hoping to see more from this artist. ~*~ PS - beautiful cover art!!