Arronax

Hi everyone, This is my new project that I've finally decided to make public recently. It is not genre specific but I decided to make sure my first official release will be a Downtempo track. Also, it's worth mentioning that I composed this music to video, so you can argue that it is somewhat cinematic as well. As some of you may know, I stopped producing Goa trance some 2-3 years ago and was devoted to exploring other genres since (predominately hybrid orchestral and symphonic music). If you'd love to stay in touch or follow for more music down the line, I kindly invite you to follow some of my pages listed below: Facebook Bandcamp Soundcloud Spotify Thanks for listening!

Bon voyage! :-)

The first time people mentioned "Rasputin" to me I was like what song is that? I had no idea that Boney-M used that melody for his song. And yes, you're right, my inspiration came from both the original sevdalinka called "Anadolka" and the cover version performed by Afion in the link provided. It's just a Goa take on a traditional melody, I'm sure I'm not the first nor the last artist to use a traditional melody and covers it in Goa Trance. There's dozens and dozens of Goa tracks out there that use live recorded samples from bands playing traditional melodies of India, Kashmir, Tibet, Middle East and the rest of Asia. Samples illegally downloaded from random websites, without even crediting the original artists who recorded the melody with their instruments. I rarely hear a complaint that they "stole" it. I didn't use any pre-recorded samples in Dive Into Merak, everything you hear is played by me on keyboard, the vocals melody was composed by me, and the latter part of the track definitely shows some variation on the main theme where it confirms that my composition wasn't just a bland copy of the old sevdalinka, but a rather fresh take on one of the most beautiful melodies I know in traditional art here in the Balkans. Anyway, I don't wanna spend too much time explaining my reasons, the track was both a tribute to the artists mentioned, and a reflection of cultural diversity in the Balkans, which was the very concept of this compilation that was "Balkan only". And in the end, maybe Boney-M should've explained himself why did he use a centuries old melody for his disco song in the 80s. :-P

I'll give you a whole dollar! :-) This project deserves some more promotion, that's for sure.

Hivemind is amazing, especially the second part, this goes on my fav list in soundcloud :-)

Thanks a lot! It's a complete rework of Europa Universalis soundtrack, composed one of the biggest game music composers, Andreas Waldetoft. The original theme is composed by him, but I made a unique rework, trying to develop my skills in this genre as of late. Can we hear some of your work now?

When it comes to music, I'm all over the place :-) Here's one of my symphonic adventures.

I am a Muslim, grew up in a multi-cultural society and I really appreciate the diversity that my country offers. There are still Jewish, Orthodox and Catholic temples standing right next to mosques in our capital city, and while there were turbulent times in the past (mainly because of dirty dirty politics), religious people are still very helpful to each other, regardless of their creed. I'm sure that the world would be a great place if all people (regardless of their beliefs) worked on tangible things together. The world is developing into a multi-cultural place, one day the whole planet will be a mix of everything. If people stick to the old ideas of "I am always right, you are wrong", we will see big world wars in the future, and history teaches us those are pretty bad. Maybe I'm preaching but I really hope that new generations will be busier and more focused on creating a better world for everyone, without feeling superior to anybody else because of different views on the world or religion.

Definitely a fresh sound, an evolution so to say. I like the atmosphere of the UX is still there. Looking forward to hear some more samples and hopefully a full release soon :-)

Thanks guys, there is an anecdote regarding that track. While I was composing the main melody, there was a huge thunderstorm in the city I was living in, and at some point a huge lightning struck a tall electric pylon on the hill like half a kilometer away from my apartment. It was such a powerful feeling, to literally see the lightning strike an object from a safe distance So, that's how the track got its name.

I'm not sure if this part was addressed to my music or to my work directly, or were you talking in general, but I will answer from my personal point of view, like I did in the previous comment. The sound quality of CTR (the first version) was pretty muddy due to a lack of proper monitors in my improvised home studio. As I know this shouldn't be an excuse, it was a technical aspect that made CTR sound pretty muddy and too much on the low frequency side, and I only realized that after the mastering by Stryder emphasized some of the mistakes that were made in the mix. That's why I insisted on repairing those tracks, improving my sounds for the remastered version, and that's why I personally suggested the album should be remastered by someone else, because I wanted to have a fresh sound on remastered CTR. And I believe it worked, because I haven't heard a single complaint about CTR sound quality.. yet. If someone has issues with the somewhat "diminished" sound of my music, I will just say this: I am not partaking in any loudness wars, I keep my mix really devoid of too much compression, as I want music to stay as unsqueezed as posssible. It's my personal touch. If one sound engineer believes that sounds should be processed an extracted to 99.99% of their loudness worth, I am on the side that believes it should be left with some rawness, not too crystalized. I am using simple wording to describe a delicate processing of sounds, but I believe you get the picture. I wasn't saying anything about the expertise of Sasha, I am 100% sure that he is a genius in his own field, and I believe you misinterpreted my message about him being a sound expert. I KNOW he's an expert, and as you said, he did an amazing work on his music and on Lunar Dawn's mastering. I told you this in person that the mastering was really crisp and clean. My initial reply in this thread was referring to a certain group of people who learn from Psilo's (and similar YouTube) tutorials and then preach about mix "purity", practically trying to be smarter than the author of those tutorials himself. And in the end, I wanna say I agree about improvement and learning, that's something I always strive for, learn new things, implement new technologies, use new ideas... and most important of all: ENJOY your work :-) Music composing would be utterly tedious if it was all about technicalities, I think I'd be long gone from the music world if it was only about "keeping those attacks low" and ADSR in check the whole time.

This release is gonna be one of those that mark a decade, judging by the samples everything sounds and feels amazing. I love the organic sound it gives. Morphic Resonance is one of the most original projects nowadays, despite some people blaming him for "stealing" Pleiadians sounds etc... Also, when it comes to tutorials, I think no tutorial can teach you to make epic music, it has to be felt, played from the heart, or head or whatever organ people use to squeeze music out of them :-D My opinion is that when people only stick to technicalities, that can only limit their emotional attachment to the sound. From my perspective, if you think about mixing while writing a song, the outcome will be more like techno, less psychedelic, less emotional. It's good to plan tracks in advance, sketch some ideas and prepare the instruments for a good mix, but when someone works with hardware (as far as I know, Cristian does) the workflow and recording can go a different route. It's much different than a few clicks here and there. Besides, I heard him on BGF 2015 live, I found his set to sound quite organic and "muddy" to a level that it gives spirit and a different vibe to the tracks. In the end, it's all up to an individual listener. From my perspective, being a musician isn't about being a sound engineer while not being able to play one simple chord progression on a keyboard. In the world of YouTube & arpeggiators, it's easy to be a sound expert :-) But very hard to be a good musician.

Whoa, big news there. I am expecting some samples soon :-D

Nice, Paul is making the music while you perform around. "Kill two flies with one smash" is a good attitude. Anyway, safe travels. And don't forget to send a postcard or two to your former music makers

Space Elves? :-) Interesting. Last time I checked, we were disbanded.