Others Articles ' special G.F.C.' Sunday Freaks 14

Friday, 10 April 2015 06:51

Dj Tech Tools - Traktor Kontrol D2

Native Instruments has officially announced the Traktor Kontrol D2 along with pricing and release date. The Traktor Kontrol D2 was teased last month at WMC in performances by Dubfire, MK, and Uner but exact details were missing. Now Dj TechTools has the full scoop on the latest hardware from Berlin.
Traktor Kontrol D2 Details + Features
Native Instruments has taken isolated the deck portion of a S8 to create a more portable and affordable Kontrol D2.  For DJs that already have a 4 channel mixer, they can get the benefit of the screens and extra controls without the larger size and price tag of the Kontrol S8. Those familiar with the Kontrol S8 will recognize the same features.
  • Large touch strip with LED feedback
  • High-resolution color screens for displaying track collection, track information, and FX parameters
  • Kontrol X1/F1 hybrid with fx controls, hot cues, loops, alongside performance faders and encoders for remix decks
  • New freeze mode for slicing a track into temporary hot cues across the 8 RGB pads
Track Decks, Remix Decks, Stem Decks – It’s All Here
The Kontrol D2 is somewhat of a jack of all trades combining familiar controls from both the Kontrol X1 MK2 and Kontrol F1. The larger pads control a variety of features: remix deck cells, hot cues, loops, and the new Freeze mode. The performance faders and encoders give DJs control over individual remix slot volumes, filters, fx send, and can now easily adjust pitch per remix cell. The screens really make a difference for new stem decks since you can really see which parts are available.
The Kontrol D2 will be the first Stem Deck ready controller. In case you missed the Stems announcement, Stems Decks will support the new Stem format being pioneered by Native Instruments. Songs can be downloaded in the Stems format and loaded into a Stem Deck, where the song will be split into 4 stems that can be remixed on the fly. The performance faders and knob correspond to each stem part to give control over mixing, EQing, and effects for individual elements.
For DJs that picked up the Kontrol S8, don’t worry, the S8 will provide the same control over the Stem Decks. The Stem Decks and Stems format will be available Summer 2015.
What’s Different From The Kontrol S8?
The Kontrol D2 has some unique features that aren’t found on the Kontrol S8. On the back of the unit is a USB hub with two ports (similar to the hub of the Kontrol Z2). Because of these ports, the D2 does require a power supply but Native Instruments will be including a power supply splitter that is capable of powering two D2 controllers to reduce cable clutter.
Similar to Maschine Studio, the Kontrol D2 has collapsable feet at the top and bottom of the controller. DJs can fold out the top legs to angle the controller towards them or they can fold out both legs to raise the controller to standard mixer height which does solve the extra bag problem and some complaints about screen angle visibility.
Finally the Kontrol D2 has 4 buttons to toggle between all 4 decks. So in theory a DJ could control all 4 decks using one Kontrol D2. However most people will probably opt for two on each side of the mixer for better control and a more traditional looking workflow.
article from: http://www.djtechtools.com/2015/04/07/traktor-kontrol-d2-officially-announced/
Published in NEWS Archives
Thursday, 11 December 2014 08:18

Dj Celli

Celli is an Ibiza native who has been partying and producing in the Psychedelic trance scene since its beginnings in the early 90’s.

From his roots as an underground party organiser in Ibiza he soon started producing music releasing his first track “Just Say Yes” on T.I.P. Records in 1999, followed by his debut album entitled “Patterns” on Acidance Records in 2001

Now, after having released an astounding 100 tracks, and 6 albums under various pseudonyms such as : Soundaholix (with GMS) , Third Ear Audio ( with Nick Doof ) and Everblast (with Chromatone), Celli rocks the dancefloors of the globe, bringing his unique psychedelic sound to the far reaches of the planet… His Earthling LIVE shows showcase his best music and always unreleased cutting edge tracks as well

He also manages and heads up the Zero1 Music record label family. Zero 1 Music has amongst others artists: GMS, Tron, Chromatone, Soundaholix, Everblast, Wrecked Machines, KIM, DJ Mack, DJ Moon, Virtual Light



Earthling: https://www.facebook.com/earthlingmusic

Soundaholix: https://www.facebook.com/Soundaholix

Everblast: https://www.facebook.com/everblastproject?ref=hl

Zero One Music : https://www.facebook.com/zero1music





Earthling : https://soundcloud.com/earthling

Soundaholix : https://soundcloud.com/soundaholix

Everblast : https://soundcloud.com/everblast

Zero One Music : https://soundcloud.com/zero1-music

WEBSITE: http://zero1-music.com

YOUTUBE : Earthling : https://www.youtube.com/user/EarthlingMusicTV

zero one : https://www.youtube.com/user/ZeroOneMusicOfficial


more earthling vids; https://www.youtube.com/watch?v=r1fWrSgSdDQ









Published in DJS at Goa-Freaks.com
Wednesday, 08 October 2014 10:10

Dj Jordan

His very first musical influences were hip hop, raw rap and acid house in the late 80s.
In the early 90s he was introduced to the psychedelic trance scene in London and was immediately hooked.
By 1995 was DJing professionally and within two years he was playing parties around the world and joined the Etnicanet label in 2000.
In 2008 co-founded the band Disco Hooligans where they toured internationally as well as released 2 successful albums and 4 EPs.
To further develop his technique and produce more refined forms of psychedelic tracks, he took the production course at SoundFarmStudios in Ibiza in 2012.
He is currently releasing 1 track on a VA compilation called Totemism 2 and one 4 track EP called the Descent presenting his solo project Dj Jordan and new band, Outer World Elements, both to be released in 2014 on Etnicanet records
Official release date January 4th 2015 : Label Etnicanet Records .
- Outer world Elements -
Outer world Elements sound cloud link : https://soundcloud.com/outer-world-elements

Few of the Parties & Festivals Highlights worldwide ( 1995 - 2013 )
- Sunrise Zone, Liquid Love & Various Appearances 1995, to 2000 ( Greece )
- P. Seguro Bahia Etnica party 1996/1997 new years ( Brasil )
- Anjuna, Vagator, Chapora, Puna, Ohm Beach 1997, 1998, 1999, 2000 ( India )
- Moscow & St. Petersburg 1998 ( Russia )
- Full Moon Party, Koh Pangang 1999 ( Thailand )
- Rainbow Gathering 2000 ( Switzerland )
- Anjuna, Vagator, Chapora, puna ( India )
- Kundalini, Klato, Psycho Garden, Freak*a*Delic, Cerebra 2, Earthdance festival 2000, 2001, 2002 ( Brazil )
- Samothraki Dance Festival 1-3, 2000, 2003 + various smaller events till 2013 ( Greece)
- Zambuzeira Etnicanet Festival, 2003 ( Portugal )
- Time Manipulation 2010 kiel ( Germany )
- Mind Works 2011/ 2012 ( Holland )
- Earth dance 2010 ( Switzerland )
- Las Dalias / Ibiza, Sol festival 2011, 2012 ( Spain )
- We think Alien / Bolonga 2012 ( Italy )
- Various small events & Free Earth Festival 2013 ( Greece )
- The Tavern / Alabama, Psychedelic Freak Show 2013 / California ( USA )
- Griboedov In Trance / Saint PetersBurg 2014 ( Russia )
- Free Earth Festival 2014 ( Greece )

Radio Shows : Greece, Brazil, India

• DH - Clear Skies - Album - Ektoplazm 2009
• DH - Darjeeling Express - Album - Ektoplazm 2010

• DH - Trans Africa Express Remix - EP Ektoplazm 2011
• DH - Mars Mellow EP - Neurobiotics Records 2011
• DH - Purple Shade EP - Neurobiotics Records 2011
• DH - Connected EP - Neurobiotics Records 2011
• DH - Beat The Box EP - Hyperow Records 2012

• Manic Guru on VA Palpipation - Harmonia Records 2009

Unreleased Tracks: originals & remixes (2011-2014)
• Arkanoydz - Rites Of MU - DH Remix
• Deedrah - Goa Sunrise - DH Remix
• Etnica - Cheker Flag - DH Remix
• Etnica - Lunar Contact - DH Remix
• Etnica - Vimana - DH Remix
Pleiadians - Galactic DH Remix
• Bamboo Forest - Heavy Ride - Outer world elements rmx
Deedrah - Groove Shadow - Outer world elements rmx
Outer World Elements - Conspiracy Theory
Outer World Elements - The Descent
Disco Hooligans - Good To Be Alive - Outer World Elements Rmx
Outer World Elements & Brakuda - Infinite Radio Dial

Record label Ectoplazm Records
DH- Clear Skies - Album (2009)
DH - Darjeeling Express - Album (2010)
DH - Trans Africa Express Rmx - EP (2011)

Record label Neurobiotic Records
DH - Mars Mellow EP
DH - Purple Shade EP
DH - Connected EP (2011)

Record label Hyperflow Records
DH - Beat The Box EP (2012)
Listen Dj Jordan on Soundcloud

Facebook Links
Published in DJS at Goa-Freaks.com
Monday, 06 October 2014 14:18

BEST Russian speaking downtempo artists :

The last year has been fantastic with many quality releases by Altar artists...
Following in the style of his well known 'Solar Walk' series, this opus brings to us more of the depth and quality of composition that Dimitry is known for with his 10 years of experience and audio craftsmanship.
Including remixes from acclaimed Greek musicians Alwoods and Cabeiri and featuring two exclusive and unreleased live remixes from his performance at Boom Festival 2012, 'Star Walk' is a unique and beautiful listening experience that represents the passion and drive that both Astropilot and Altar records share in their love of music. Could this be Altar and Astropilot's final inspiration? We'll see!
Few tracks for the best vibes :
After being absent for a little while on Altar Records, Moscow based musician Nick Klimenko...
The 'Mars' journey can be described as follows 'Today, the solar system travels a near circular path around our galaxy, keeping a constant 30000 light years between us and the seething galactic core'. We once assumed most stars stayed in such quiet orbits for their entire lives. Our ride may have been more exciting. The characteristic spiral arms of a galaxy such as the Milky Way are waves of higher density, regions where stars and gas are a little closer together than elsewhere in our galaxy's disc. Their additional gravity is normally too weak to alter a star's path by much, but if the star's orbital speed happens to match the speed at which the spiral arm is itself rotating, then the extra force has more time to take effect.
'It's like surfers on the ocean if they're paddling too slow or too fast they don't get anywhere. They have to match the speed just right, and then they get pushed along'. Have a great trip through the Milky Way! The universal spectacle throughout was shaped for admiration and delight, grand in itself alone, but in that breach through which the homeless voice of waters rose, that dark deep thoroughfare, had nature lodged the soul, the imagination of the whole enjoy!
Few tracks for your mood :
In the ancient world there are many mysteries, but none as perplexing as those found in the Mayan culture.The Maya were noted as well for elaborate and highly decorated ceremonial architecture, including temple-pyramids, palaces and observatories, all built without metal tools.They are regarded as the inventors of many aspects of Meso-American cultures including the first calendar and hieroglyphic writing in the Western hemisphere. Unlocking the Secrets of a Lost Civilization, Maiia's album Sacred Knowledge of Ancient Civilizations' will transport you straight out in the middle of a magical forest of emerald.This is also an ode to Shamans which makes rites of passage to carry the sacral knowledge, keeping the continuum between civilizations.This way the study on the ancient rituals of the initiation of Mayans enables better understanding of cultures that maintain harmonic relations with the natural environment, their value system and logic of the relations with the world of nature.The use of their experience by our modern civilization would help to create more harmonic and internallyunified culture, overcome the negative experience of the consuming society.Ritual trance journeys have been a vital part of shamanic and eastern dance cultures for thousands of years. Our contemporary approach to Trance Dance brings together the richness of these ancient rituals with some startlingly effective modern techniques. The end result is access into the deeper realms of our self and the universe... a glimpse into the mystical world that lies beneath our normal perceptions ofreality

Few tracks for your enjoing :
Album "Between two points"
Zymosis is a psychedelic-ambient project which has brought it's own bright light to psy-culture over the past 14 years.
Four years ago these Ukranian pioneers debuted with 'Elements Into Data', an album that became widely cherished among psychillers, Goaheads, and ambient lovers alike. This release gave us a unique organic experience comprised of world music inspirations and shamanic sounds seamlessly fused with elements of psychedelic trance.
Now arrives the long awaited follow-up 'Between Two Points'! With this newest offering, expect nothing less than a fantastic emotional album featuring remixes of Shulman's widely acclaimed track 'The Unexpected Visitor', a solid collaboration with Seamoon, and last but not least a nice melodic track from their first album remixed by none other than Micky Noise.

Few tracks for your mood :
VooDooDoll materials
Wednesday, 24 September 2014 16:08

DJ Kushi

Interview with legendary DJ Kushi, one of the key figures of  early Israeli Goa trance scene.
Published in Interviews
Five top albums recommended by Downtempo World for this month:
Each piece on this album is full of emotion and texture.
Ranging from lush cinematic atmospheres to addictive mid-tempo rhythms, this album is a mix of many styles to create something unique and beautiful.
A polished cohesion of ethnic, symphonic, trance, and shimmering ambient textures. Akshan's work yields up an atypical musical experience that will relax and energize, inspire, transcend and will sweep the listener along as each song tells its story.
Few tracks for you to enjoy:
Cabeiri brothers Nickolas and Dimitris Vavalos from Greece...
Cabeiri delivers their first release with 'Inner Thoughts', a strong album full of deep, relaxing ambient laced with down tempo grooves and complex melodies. 'Inner Thoughts' is a dreamy story told in original compositions.
Deep vibes mixed with heavenly moods, floating soundscapes, pumping down-tempo grooves.
This album is a beautiful voyage into deep spacey ambient music that is perfect for both dancing and chilling.
Skillful production guarantees this release will sound as good in your headphones as it does on the dance floor. With 'Inner Thoughts' you'll find eight new full-length unreleased tracks of mystic and relaxing vibes that are perfectly suited to the chill-out dance floor or the early evening trance set.
It's refreshing to hear something as well-crafted and versatile as this.
Few tracks for your enjoyment:
The Swedish duo Carbon Based Lifeforms graces us with their fourth album Twentythree...
From wide and far reaching soundscapes, the hypnosis subtly builds up with washes of ethereal melodies while floating pads are brushed by reverberated organic and electric data or the distant echoes of life on a planet.
The album Twentythree consists of 8 genuine and unrestrained tracks that will forever expand our visions of the open space. Authentic and vibrant, deeply emotive, the story unfolds...
Composed by Daniel Segerstad and Johannes Hedberg, featuring Karin My Andersson for the voices.
Few tracks for your mood
8 tracks of the best Portuguese Chillout music composed and played by Sergio Walgood with a mixture of Downtempo, Dub and Tribal Beats.
'Chill in Tribe' can be described by dream trips between the earth and space, wrapped in organic rhythms inspired by tribal and oriental cultures with a touch of psychedelica. Do you want to chill in Tribe with us?
Few tracks for your mood :
Night Flower' is a beautiful compilation which represents Irina's collaborative work...
Seb Taylor (AlephZero/Interchill) and Graham Wood (Tip Records) from UK, Toires from France, Steve Schroyder (Tangerine Dream/SSO) from Germany, as well as Raven (Waterjuice) from Canada, B.Cochran (Hands Upon Black Earth), B.Smiley, D.Battenfield (Aquila)from USA.
It's like brightly coloured veils slowly swirling in warm evening winds, heavy with the scents of faraway caravans. Irina's music is analogue fusion of worlds in exploration spinning waves of intonation into digital envelopes, postmarks seal destination in ethnic refuge, time stands still.
Timelessness in her every note, the vibes, that bind you to her spell is poetry in unison with the soul.
Couple tracks for your mood:
Tuesday, 05 August 2014 08:38

Overview of five top psybient artists

Overview of five top psybient artists :

'Aeolian Mode' is the first album .
For this album, Alwoods draws inspiration from his love of nature, the elements, and his time spent in the Greek mountainside. Natural sounds, bright atmospheres, and pulsing energies create a wondrous audio experience that fuses morning sounds with deep ambience.

Few tracks for yourenjoying :

" Long Life Forest " is the second album ,its really new sound,absolutely fresh...

Every song is a unique piece of art in itself and the quality and craftsmanship reflect the time taken to produce the entire album.
 Originally scheduled over a year ago and released just now, this album shines with the extra time and effort invested to perfect it. Each sound hits your ears with thick bass lines that vibrate and resonate your ear drums and your entire being.

A favorite off of the album that moved the down-tempo and chill-out dance floors this past summer is 'We Are Modern Shamans'. The combination of melodies with the shaman's vocals deep energetic bass makes the track irresistible, and makes it an infectious track to dance to.
Every song is diverse, but they all keep the familiar 'Alwoods' progressive-chill signature sound. Both his first album 'Aeolian Mode' and 'Long Life Forest' are tied for one of the best Altar Records albums so far.

Some tracks for your enjoying :

Charles Farewell aka Asura opens two outstanding chapters...
...in his musical odyssey with '360', a powerful cinematic Downtempo album which captures and enhances the essence of the original Asura sound with its slow grooving rhythms, entrancing melodies, deep flowing pads and ethnic instrumentations.

This fourth album from Asura will stand as the coming out of Charles Farewell as an incredible composer of overlapping ambient genres, from ecstatic to chilled,
 groovy to uplifting, he offers the audience a wide open musical journey with finely chiseled orchestrations and a strong sense of space and timelessness.
Mostly instrumental, the album offers a sublime vocal introduction courtesy of Ayten and discreet voice overs from the artist.

'360' is a lively and attractive record which presents three years of sound modeling, synth programming and deep immersion in multi-layered soundscapes. Peaceful and majestic.

Few tracks for your enjoying :


A complete deluxe edition to gently flow into a trip.The name is Memory Shell :
12 tracks offering a panoramic vision of deep morning trance and ambient, wrapped in a 3 parts digipack including a 16 pages booklet of pictures and texts.

Astral Waves is Dj Zen's psybient project.
Astral Waves aka DJ Zen of Altar Records is known for his 2007 release of 'Mystique' and having released numerous singles to well-known labels such as Altar, Peak, Sellaband, Sunline, Suntrip Records, and YSE over the past decade.

Zen is well known for his ability to tell deep spiritual stories with his music, which always ends in a mind blowing experience
Zen takes years of growth and experience paired with much valued input from talented artists such as Vibrasphere, Astropilot, Alwoods, CJ Catalizer, Suduaya, Zymosis, and Tentura and puts his evolved skills and knowledge to work remixing original tracks supplied by these artists.

'Magique' is comprised of eight tracks. Each is reworked from top to bottom including the use of live drum samples taken in his studio and the lovely voice of Iz. This long awaited album is sure to please a wide spectrum of music lovers, from ambient chillers to psychedelic and progressive heads! Enjoy!

Some tracks for your mood :
"Solar Walk " is a voyage into the higher orbiting realms of dream consciousness. Astropilot continues his psybient travels with this astounding composition
With this album, AstroPilot has reached a serious, rich, and extremely well polished level of production. We invite you to listen and share in this experience that we feel will be another strong Altar contender for space ambient release of the year.

Few tracks for you :
VooDooDoll Materials
Wednesday, 02 July 2014 13:26

Top Expensive Concert Tour Designs

Top Expensive Concert Tour Designs
There are concerts, and there are mind-blowing performances, the kind that break records and enter history. Big bands hire only the best designers to build their stages and only go for brand new concepts, taking their equipment on the road with them when touring in order to set up the same identical concert stage wherever and whenever they play. Many artists go all out when it comes to their stage because it is a direct representation of who they as an artist and what they are trying to portray with that specific concert.
5. Lady Gaga’s Born This Way Ball: $1 Million Per Set-up
Between 2012 and 2013, infamous American singer Lady Gaga performed 98 concerts as part of her notorious Born This Way Ball. The concert stage was designed using the sketches made by the artist herself and became the largest touring scenic structure, five stories tall, with three dimensions, all revolving around a gigantic Gothic castle. The castle itself weighed 30 tons and broke new grounds in terms of technology and innovation, as it could be assembled in less than six hours. It also featured 400 square feet of built in LED lighting and cost more than $2 million to create. It took 15 tractors just to move the castle from one setting to the other.
Lady Gaga’s show was divided into five acts, each requiring different props. Lady Gaga made her entrance through a huge zipped vagina, she dangled from a meat rack, danced with knights, and even rode a human horse, which is enough to raise controversy and break the bank. Reaching $181 million in earnings, the Born This Way Ball is the fifth highest grossing tour by a female solo artist. The brilliant stage cost approximately $1 million to put together each time.
4. The Rolling Stones’ A Bigger Bang Tour: $1.6 Million Per Set-up
Between 2005 and 2007, famous rock band The Rolling Stones held a worldwide concert tour to launch their album A Bigger Bang. It immediately became the second grossing tour in history after U2′s 360° Tour, with sales reaching $558 million. The 85 foot tall and 200 foot wide structure featured firework shows and computer generated graphics, with two 60 foot stage towers with balconies for fans with a generous wallet. The stage was the size of two basketball courts and weighed around 80,000 pounds, making it the largest portable set ever created. More than 100 tractor trailers were required to transport the stage and a permanent crew of 150 workers to put together.
Designed by Mark Fisher, the man behind Pink Floyd’s spectacular The Wall stage, the A Bigger Bang stage featured a gigantic video screen in the middle and cost an estimated $1.6 million to put up during each one of the 147 shows The Rolling Stones performed during their A Bigger Bang Tour.
3. Madonna’s Sticky and Sweet Tour: $2 Million Per Show
Madonna is all about extravagance and she never seizes to impress her fans. The Queen of Pop deserves only the best and no expense was spared during her Sticky and Sweet Tour. The tour cost an estimated jaw-dropping $261 million to stage, which translates into an average $2 million per show. The glamorous stage was flanked by two large sparkling M’s encrusted with diamonds which cost over $1 million each. Madonna made her grand entrance on a white Rolls Royce and played on the T-shaped catwalk stage accompanied by virtual Justin Timberlake, Britney Spears, Pharrell Williams, and Kanye West, all present on a giant screen.
Between 2008 and 2009, the Sticky and Sweet Tour saw a total of 85 shows which gathered more than 3.5 million fans who came to see their idol perform. Madonna’s tour grossed $408.6 million, making it the highest-grossing tour by a solo female artist.
2. Roger Waters’ The Wall Tour: $10 Million Per Set-up
One of the most notable concerts in history, an incredible experience that marked generations, Roger Waters‘ The Wall Tour is inspired by the original Pink Floyd’s The Wall album and tours. Not just a concert, but a complex show in the true sense of the word, with impressive stage theatrics, design, and symbolism, Roger Water’s The Wall Tour was held between 2010 and 2013 and cost an estimated $60 million just for the props.
With a total of 219 concerts throughout North America, South America, Europe, and Oceania, all featuring the biggest on-stage video screen ever, a giant video screen running more than 500 feet in length and more than 80 feet in height, it cost an average $10 million to put up the stage in each new location. With an anti-war message, Roger Waters used the pictures his fans sent him of their loved ones who died during war and projected them on the gigantic wall. The huge structure conceived in the shape of the famous wall from the Pink Floyd album was designed by Mark Fisher. The wall and the inflatable pig cost a total of $16 million. The wall is demolished piece by piece at the end of the show by the symbolic pig. The other puppets alone cost $2 million. Throughout the tour, it cost $200,000 a day just to keep the show on the road. Roger Waters’ The Wall Tour grossed over $89 million in North America alone, making the tour the second grossing concert in North America and the third grossing in the world
1. U2′s 360° Tour: $23-31 Million Per Set-up
U2′s 360° Tour concert stage goes straight to number one on our list as the most technologically innovative, the biggest, and of course, the most expensive concert stage in history. It also featured the loudest sound system ever assembled. Between 2009 and 2012, the famous rock band U2 concerted no less than 110 times under a gigantic 200-ton arachnid suggestively called The Claw. The structure weighed 200 tons and its central pylon reached 151 feet in height.
During the 360° Tour, the band traveled throughout North and South America, Europe, and Asia, each time putting up the same gigantic 360 degrees stage that allowed each and every fan to have a good look at their idols. The other major attraction on the stage was a huge video wall worth no less than $1 million. With a crew of 300 workers and a budget of $750,000 a day, the entire stage weighed over 400 tons and cost between $23 and $31 million to put up each time. U2′s 360° Tour became the highest grossing tour in history, with sales reaching $730 million.
Published in NEWS Archives
Wednesday, 02 July 2014 12:31

Beautiful EDM Stage Designs

Beautiful EDM Stage Designs
From mind-blowing laser shows to breathtaking prop elements, creative stage designs help transform us to another world — a place where real-world problems seem to wash away with every light sweep. A place where we can simply live in that moment of pure bliss.
EDM stage design - avicii face booth coachella 2012
Avicii at Coachella 2012. Photo by Rukes.

EDM stage design - bassnectar nye nashville 2013
Bassnectar’s 360 degree stage at NYE 2012 in Nashville. Photo by Rukes.

EDM stage design - coachella sahara tent 2013
Sahara tent at Coachella 2013. Photo by Rukes.
Kinetic Field at EDC Las Vegas 2014. Photo by Kent Otto/Electronic Midwest.

Kinetic Field at EDC Las Vegas 2014. Photo by Kent Otto/Electronic Midwest.

Basscon Stage at EDC Las Vegas 2014. Photo by Kent Otto/Electronic Midwest.

EDM stage design - edc vegas 2012 erick kabik
Kinetic Field stage at EDC Las Vegas 2012. Photo by Erik Kabik/Insomniac.

EDM stage design - excision executioner club nokia 2013
Excision at Club Nokia with Executioner set (2013). Photo by Rukes.

EDM stage design - skrillex spaceship mexico 2012
Skrillex’s spaceship. Photo by Rukes.

EDM stage design - ultra main stage 2013
Ultra Music Festival Miami main stage 2013. Photo by Rukes.

EDM stage design - ultra mega structure 2013
Calvin Harris at Ultra Music Festival 2013. Photo by Rukes.

EDM stage design - defqon.1 2011
Defqon 1 2011. Photo by Rutger Geerling.

EDM stage design - defqon.1 2012 australia
Defqon 1 2012. Photo by Rutger Geerling.

EDM stage design - defqon.1 2013
Defqon 1 2013. Photo by Rutger Geerling.

EDM stage design - sensation source of light amsterdam 2012
Sensation “Source of Light” Amsterdam 2012. Photo by Rutger Geerling.

EDM stage design - sensation white innerspace belgium 2012 rudgr
Sensation White Innerspace Belgium 2012. Photo by Rutger Geerling.

EDM stage design - tomorrowland 2010
Tomorrowland main stage 2010. Photo by Rutger Geerling.

EDM stage design - tomorrowland 2011
Tomorrowland main stage 2011. Photo by Rutger Geerling.

EDM stage design - tomorrowland 2012
Tomorrowland main stage 2012. Photo by Rutger Geerling.
EDM stage design - tomorrowland 2013 night
Tomorrowland main stage 2013. Photo by Rutger Geerling.
EDM stage design - Tomorrowland 2013 daytime
Tomorrowland main stage 2013. Photo by Maxime Byttebier.

EDM stage design - WiSH Outdoor Fest 2
WiSH Outdoor Festival main stage 2013. Photo by Kevin Verkruijssen.

EDM stage design - WiSH Outdoor Fest
WiSH Outdoor Festival main stage 2013. Photo by Kevin Verkruijssen.

EDM stage design - decibel outdoor festival 1 heidiefocus
Decibel Outdoor Festival. Photo by Heidiefocus.

EDM stage design - defqon.1 2013 heidiefocus
Defqon 1 2013. Photo by Heidiefocus.

EDM stage design - Intents Festival
Intents Festival. Photo by Heidiefocus.

EDM stage design - master of hardcore
Master of Hardcore. Photo by Heidiefocus.

EDM stage design - qapital qdance 2
Qdance Qapital. Photo by Heidiefocus.

EDM stage design - qapital qdance
Qdance Qapital. Photo by Heidiefocus.

EDM stage design - qdance at tomorowland 2013
Qdance stage at Tomorrowland 2013.

EDM stage design - qlimax 2010 netherlands
Qlimax Netherlands 2010. Photo by Heidiefocus.

EDM stage design - qlimax fate or fortune 1
Qlimax Fate or Fortune. Photo by Heidiefocus.

EDM stage design - qlimax fate or fortune
Qlimax Fate or Fortune. Photo by Heidiefocus.

EDM stage design - sensation innerspace new york 2012
Sensation White Innerspace NYC 2012.

EDM stage design - sensation into the wild
Sensation Into the Wild. Photo by Heidiefocus.

EDM stage design - sensation ocean of white
Sensation Ocean of White.

EDM stage design - sensation unkown

EDM stage design - tomorrowland 2010 2
Tomorrowland 2012. Photo by Rutger Geerling.

EDM stage design - EDC Vegas 2013 Life After Dusk_for_Insomniac_2
EDC Las Vegas 2013. Photo by Life After Dusk/Insomniac.

Electric Daisy Carnival Las Vegas 2013 Day 1 in Las Vegas, NV
Basscon stage at EDC Las Vegas 2013. Photo by Erik Kabik/Insomniac.

EDM stage design - edc-vegas-mainstage-2013
EDC Las Vegas main stage 2013. Photo by Kent Otto/Electronic Midwest.

EDM stage design - mysteryland 2013 holland
Mysteryland Holland 2013.

EDM stage design - paradiso festival 2012 dejawood
Paradiso Festival 2012. Photo by Jason Woo.

EDM stage design - qdance at mysterland 2013
Qdance stage at Mysteryland Holland 2013.

EDM stage design - qdance-at-edc-2012
Qdance at EDC Las Vegas 2012.

EDM stage design - Markus Schulz - Spiritual Gateway Wallpaper
Markus Schulz at Transmission Prague. Photo by Petr Klapper.
Published in NEWS Archives
Wednesday, 02 July 2014 08:50

10 Futuristic Musical Instruments

10 Futuristic Musical Instruments
this list of ten futuristic musical instruments takes a closer look to how new mechanisms and interface designs, can impact the way artists create music in the coming years.  The trajectory of future musical instruments is aligned within the intersections of emerging genres of contemporary music and advancements made in analog and digital technologies.
K-Bow becomes the smart bow for string players.
The K-Bow was the recent winner of the Guthman Musical Instrument Competition.  The idea enhances the historically unchanged instruments from the string family and embeds sensors in their bows.  By measuring and transmitting statistics from its movement, the innovative bow can detect how far it is from the bridge, how much it’s being tilted, the amount of hair tension, and the speed and directions of its movement. It parallels the effects pedal for electric guitars. String instrument players now have a gestural component to music playing. For example, shaking the K-Bow or performing special sequences in bow movements can activate digital modulations like echo or reverbs. It is Bluetooth equipped to wirelessly transmit information to special software.  Statistics retrieved from bow movement may eventually create real-time visualizations for symphony concerts of the future.
Reactable merges tangible and digital interfacing for electronic musicians.
The Reactable concept mashes tangible and digital interfaces to create one of the most futuristic instruments available today.  The Reactable was handpicked by world-renowned Icelandic artist Bjork to accompany her on her last tour.  The modular synthesizer is a digital table-top that manipulates sound by having users drag and rotate different physical blocks.  It also becomes a collaborative instrument as up to four players can participate in shaping its sound.  Although the Reactable has been around for some time, it has pioneered the multi-touch gestural interfaces for musical instruments and we will probably see many iterations of this being developed and marketed for mass distribution in the near future.  Electronic musicians that were confined to small rectangular laptop screens are now able to experience music creation to the fullest extent.
BeatBearing takes a DIY approach to mainstream implementation
Unlike the previous Reactable, the BeatBearing is a fully tangible interface that caters towards making electronic music.  Users can compose different rhythms by picking up bearings and placing them into different slots, making for a more engaging and intuitive music-making experience. Designed by musical instrument designer Peter Bennett, he plans to share his idea not through signing a contract with a musical instrument-manufacturer, but by using DIY-site MakeZine to distribute a tutorial for others to make themselves.
The Swarmatron
The Swarmatron, developed by brothers Brian and Leon Dewan, is a purely analogue instrument recently used by industrial musician Trent Reznor for his latest musical effort “How To Destroy Angels.” The Swarmatron uses an analog aesthetic that differentiates itself from its similar-sounding electronic counterparts. Two pitch ribbons and multiple knobs which are the controllers to separate or cluster eight layers of sound. It’s primitive mechanism produces a genuine ambient texture not often found in electronic instruments.
CrudBox harnesses open-source Arduino board for electro-mechanical sound manipulation.
The CrudBox, invented and used by the folks at CrudLabs, creates an interface for an embedded Arduino board.  Arduino is a very successful open-source micro-controller project aimed to be affordable and democratic.  The housing is the controlling interface that harnesses the potential of Arduino’s open source programming – users can configure the output sound through simply programming on an inexpensive board.  CrudLabs aims to explore the juxtaposition between electronic and mechanical sound qualities with this 16-step sequencer.
Songwriting and visual composition intersect with Tenori-On
Songwriting and visual composition intersect with Tenori-On
The Tenori-On was invented by Japanese interactive media artist, Toshio Iwai, to create a device that merges the experience of playing music and drawing pictures.  The futuristic musical instrument features a 16×16 matrix LED grid surrounded by an aluminum frame.  Users can play sounds and create loops by pressing down the LEDs for a certain duration.  The Tenori-On can also join in on synchronized sessions with others with the device, making it a collaborative song-writing experience.  Music legend Jim O’Rourke have composed music with the device.
A UK-based company invested about 8 years and $16 million USD to develop Eigenharp, a state-of-the-art musical instrument. It features 120 keys that are pressure and direction sensitive to provide the utmost control for professional musicians. Built-in sound managing capabilities enables musicians to record, playback, and loop at ease. It incorporates three inputs (the keyboard, mouthpiece, and tap-pad) to make one of the most advanced electronic instruments on the market.
Continuum Keyboard is a seamless digital interface that tracks finger coordinates.
Haken Audio has developed a musical instrument that produces sounds by tracking the x, y, z, coordinates for fingers. With the Continuum Keyboard, musicians can slide their fingers up and down to digitally “pluck” the instrument. Depending on the performer’s playing technique, the device can even accurately resemble the sound of an acoustic instrument. The Continuum Keyboard can also track 16 fingers simultaneously.
The Double-Slided Controller manipulates sound through on-board computer chips and hand movements.
The Double-Slided Controller by Tomas Henriques looks like an electronic trombone. It incorporates two hand controllers embedded with sensors and two slides. The user manipulates the sound by gestural arm and hand movements. An on-board computer chip programmed with music software generates complex sounds from the device.
Square Band is a solar-powered wearable technology that functions as a synthesizer.

The Square Band is a portable square wave synthesizer. It is wearable musical instrument that’s lightweight and straps around the wrist like a watch. The strap is embedded with flexible solar panels and a light sensor. Arm movement and sunlight are the variables that manipulate the electronic synthesizer.  It was designed with the intention of the user wearing it throughout the day and having it ready to play when a spurt of creativity strikes.
Published in NEWS Archives
The human touch: five futuristic controllers reconnecting musicians with machines
There are plenty of controllers out there that allow musicians to control laptops and hardware in the studio and on stage, though some of the most interesting progress with regards to their evolution is coming from the fringes. A perfect example of this is the monome, a custom-built controller that has grown over the past decade to encompass a worldwide community of users and creators, with perhaps its most famous live exponent being Daedelus, who uses it for his own live shows.
We take a look at five of these new instruments developed over the past few years to allow musicians to take more control of their music on stage. Many of these also make the most of the new mobile and touchscreen technology that have become increasingly omnipresent in our lives, making them accessible to more musicians than ever. So if you’re looking for inspiration to unlock your creativity in the studio and get your music heard and seen in new ways, this should be a good place to start.
Beat Surfing
Beat Surfing is described by its creators as an organic MIDI controller builder. It’s available as an iPad app that lets you draw three-dimensional controllers which you can then use via the iPad’s touchscreen interface to control any MIDI-enabled device, be it software, hardware or even certain other apps.
While this isn’t necessarily a new idea, Beat Surfing has really improved on it by making movement the key component of this new controller. Where most touchscreen controllers rely on tapping, Beat Surfing works best when you slide on the iPad’s surface, hence the name. The interactions this creates between instruments and controllers are like nothing ever seen before with physical hardware.
The app is one of the most interesting of its kind in recent years, not least because of how it’s used by its creators, Belgian duo Herrmutt Lobby, who built the app with Yaniv De Ridder and have in the past worked with Cupp Cave, among others. Herrmutt Lobby work fully outside of the grid (like Japanese producer Jealousguy, who we profiled this summer), meaning their music – both recorded and live – isn’t locked to any sort of clock or counter. They designed the app originally as an extension of various controllers they’d been developing for years to allow them to fulfil their own musical ambitions on stage. For those seeking a way to get a real human feel into their music, Beat Surfing is a great place to start.
Herrmutt plays a Cupp Cave Beat Surfing ‘scene’:
Beat Jazz
Onyx Ashanti is an American musician who has travelled the world, notably spending time in London in the early 2000s where he played alongside Basement Jaxx and Soul II Soul. Later he began developing a custom-made instrument and controller called Beat Jazz, which ended up landing him a spot at a TED talk. Following this, the project has now been renamed ‘exo-voice’ and made open-source.
Onyx explains the latest evolution of his invention as “an integrated sonic exploration construct – fully custom software and 3D-printed hardware – whose internal architecture is based on fractal logic.” So essentially anyone can now use Onyx’s tools and work to create their own version of the open-source software and hardware with 3D printing technology.
While Beat Jazz/Exo-voice is arguably a lot more complex than other new instruments, the project’s evolution and its creator’s desire to make it so open are interesting as examples of alternate ways to evolve instruments and live performances. As the video below shows, it certainly beats watching someone twists knobs on an MPD.
2011 Beat Jazz presentation:
AUUG Motion Synth
Augg Motion is a brand new project that aims to make iPhone or iPod touch musical apps more interesting to use in a live or studio setting. Started by Joshua Young, the AUGG Motion synth app allows you to control other audio apps and MIDI-enabled hardware remotely while leaving you free to move instead of being stuck with both hands on your phone or iPod.
It comes with a grip that’s easily attached and has button windows to trigger keys on the screen. The app’s motion sensor converts touch and movement into sound signals which the app transfers to other iOS music apps or external MIDI-enabled devices. It also allows for control of background visuals, which is a nice touch for live performances. As you devise ways of controlling sound through motion you can also save these as presets.
AUGG Motion Synth is still in the early stages and currently seeking funding via Kickstarter, but it already has an online community where people can share presets, ideas and tips. As far as portable app controllers go, this is one of the more interesting and easy-to-use ideas out there and in a way not dissimilar to what Onyx Ashanti has been going for with his own device. Considering how many producers have iPhones, this could easily become quite a normal addition to a portable studio and live setup.
Watch the controller in action:
Polyplayground is an iPad app designed by producer and instrument builder Mike Gao. Based in L.A, Mike has been a part of the local beat-focused scene for years, as well as its turntablist roots. Mike made early forays into app-based instruments back in 2010 with a beatbox-to-MIDI converter called Vocal Beater, an app that enables you to beatbox a drum pattern into your phone and email the corresponding MIDI information to yourself for use with a DAW or hardware.
With the arrival of the iPad, Mike designed Polyplayground to take full advantage of bigger control screens. Much like Herrmutt Lobby with Beat Surfing, Mike created Polyplayground first and foremost as something he could use himself (it has appeared on every one of his recent releases). The app allows you to write and improvise chords and melodies in a simpler, more intuitive way. It has an onboard synth and it can also be synched to your favourite synth via MIDI. Scales are represented by colour regions, making them easier to remember, while progressions can be memorised via a system based on Tetris-like shapes. Harmonic relationships can be mastered through colours and shapes, and you can record chords and play them back to yourself while playing over the top, or even use the app to see what others are playing thus allowing you to improvise without being lost. The iPad’s tilt sensor is also used to control parameters, like a mod wheel on a synth.
Basically if you’ve ever been half decent at Tetris, Polyplayground allows you to take this ‘skill’ and apply it to playing chords and melodies. And considering the convergence of electronic music and video games in the past couple of decades, Mike’s approach is not just logical but also obvious. Mike’s use of the app in his live shows hints at its great potential for visual display and interaction with the crowd. just like any normal instrument.
Polyplayground demonstration:
The last project is perhaps the most ambitious. Developed by a team of Japanese musicians and interactive designers and designed by Funktronic Labs with beat boxer Ryo Fujimoto, aka Humanelectro, SIGMA is very much a futuristic ideal of what instruments could become.
The device comes in the shape of a pair gloves fitted with sensors that track heart rate, muscle movement and finger positioning. The movements and information from the sensors are turned into data that is then converted into audio and visual output.
The core technology behind SIGMA at the moment is the leap motion controller, a new type of user interface that enables very precise tracking of human motions. This technology is at the core of various new projects that open up possibilities for controlling applications via touch and gestures.
As the video below shows, SIGMA isn’t yet aimed at being a consumer device. Certainly the way its creators talk about it implies that they’re most interested in seeing how far they can go with it in a live setting that’s halfway between a live music show and art installation. There’s little doubt that their progress, and that of others using the technology, will at some point become integrated into simpler apps that everyone can use.
SIGMA creators introduce their idea:
Articles from: http://www.factmag.com
Published in NEWS Archives
Friday, 27 June 2014 08:50

Digital Nature Records


Digital Nature Records is an Israeli based label, established in 2010, owned by Etay Harari (Etic). and Guy Youngman (Aerospace) two of the world's leading progressive trance producers, each with over 15 years of activity in the studio and behind the decks.
Digital Nature Records has a catalog of over 100 titles, selects for release music in the modern psychedelic progressive trance genre, with emphasis on groovy, powerful, uplifting and massive tracks, forming cutting edge musical journeys, and massive tools for DJs.
Our motto is to encourage and guide young artists and musicians to break through into the market by support and collaborations, and to unite DJs and artists from all over the world under one vision.

Our current artist rostrum includes:
Etic (IL), Aerospace (IL), Sonic Sense(IL), 3D Mode (IL), Timeless (IL), Soulscape (BR), Alion (IT), Atom Device (GR), Day Dream (IL), D-Twin (GR), Dual Vision (IT), Shanko (IL), Echotek (IL), The Chromatic (HU), Quantanoize (IL)
for further information and booking please email
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Thursday, 26 June 2014 15:29

Bom Shanka Records

Bom Shanka Music, the continuing story of the most psychedelic trance label of the 2000's.

It all started in Turkey 2006, it was the day after the solor eclipse sometime in April. Al and stu were great friends for years, living together in Goa and generally having a blast taking the piss out of people and taking far too many psychedelics. Al had been making music for 3 years and had started a little project called psymmetrix with his geeky mate Richie, they had already been on (and dropped from) the two London based labels Liquid recs and Wildthings recs, then after falling into slight dispair they joined the short lived phar-psyde recs.
Things were not looking good.
Back in turkey and the day after the eclipse, stu and al were in a slightly more lucid moment, moaning about the amount of shit trance there was around at the time, remember that trance had really gone downhill from its high point in the late 90's- early 2000's. So something had to be done. simple as that. "Lets just start our own label then" Al said to stu. We just release proper good psychedelic dance music - direct from the dancefloor! and that became our motto as we were just a couple of freaks that wanted to improve the situation of the dancefloor. Ok so so far so good. We had an idea of what we wanted to do, release killer shit the thing was though, we had no idea how to do it.
Lucky for us richie is a geek and we started to work out how to make and release a cd. The name of our label wasn't hard to come up with and getting a website up wasn't hard either, and in fact getting the distribution deal was super easy as well, no the hardest thing was getting 9 good trance tracks all together at once without any fuck ups. We had some help from of the legendary alex parasence who had heard us play together in the disaster of a festival 'rhythms in pieces' in morocco later in the summer of 2006, and with his help and influence the first cd was compiled and released in September 2007. It was called 'The Solution'. Now this part is really interesting so read carefully:
On exactly the same day as we released our first cd, the biggest terrorist in the world Osama bin ladin released his latest lecture on his view of how the world should be, and the name of the paper he published?? it was also called 'The Solution'.
So Lets fast forward to to 2014 and have a little re-cap, we have released 13 cd's and 5 ep's. We have 13 different live acts and 12 dj's. Our artists have plated on every continent and at most of the psy trance festivals in the world, shall name them? to be honest i cant be bothered, but please believe me when i say that we still dance like lunatics on the dancefloor, we still take too many psychedelics, although not as often as we did and we still just love trance, and Goa and the type of people that go to parties.
Thanks for listening.


Tuesday, 24 June 2014 19:10

Altar Records

Progressive chillout, Psybient, Psychill downtempo and Space-ambient label born in 2009

Altar Records is a not-for-profit music label that was born from a passion for music and a desire to assist artists with the development and recognition of their creativity.
The artists we work with receive 100% of the profits for their efforts on each album sold.
Altar Records prides itself in volunteering it's time and efforts for the betterment of it's artists. We do this because love of music is our driving passion and we believe the artists we work with bring something beautiful and unique into this world.
Being a part of that process is our reason for being.

Label Interviews and philosophy:
An interview about Altar and DJ Zen by Psybient.org

Astropilot, Asura, Aes Dana, Solar Fields, Vibrasphere, Man With No Name, CHI A.D, Akshan, Flooting Grooves, Mr Peculiar, Athena, Chronos, Zymosis, CJ Catalizer, Androcell, Distant System, Suduaya, Alwoods, Lauge & Baba Gnohm, Astral Waves, GMO, Dense, Sacral Reason, Samuel Kjell Smith, E-Mantra, Taff, Lemonchill, MIC, Lab's Cloud, Maiia, Cabeiri, Monkey Machine, Nuclear Ramjet, Moso Molo ...
About Altar as being an Eco label:
Altar Records also funds 1with 1% of sales, a NGO for the Planet.
What has BlueFairy learn?
  • Where do you come from? Few words about you…
“I was born in France and moved out to Quebec (Canada) in 1996 after travelling there few times between 1988 and 1993. It’s at an early age, I thank my parents for it, that I was exposed to a variety of musical styles. Very young I was immersed in the music universe and especially thanks to my father who was a fan of Jean-Michel Jarre and Vangelis. Since 2002, I compose electronic music under the name of DJ Zen and Astral Waves and I manage the Label Altar Records that I founded in 2009.”
  • Why did you start Altar Records (your history)?
“I play mostly Chill, psybient, Psy-Dub, Downtempo, melodic trance and electro-dub-experimental. I always had a high interest and respect for the environment and nature. I used to feel naturally guilty not being in symbiosis with nature in the past when I was working for other employers. So when I created my own label I first started to think on how to reduce the maximum wastes and by producing CDs with the most natural procedure. This approach is aligned with my way of living today, my headquarters/home is located in the countryside in Canada (see below image). I am at 80% vegetarian and eat 100% organic food, I also recycle all my wastes, make compost and work a lot on my garden.
Altar Records Label 's Headquarters, Canada
Altar Records Label ‘s Headquarters, Canada
The first compilations and official mix I released was on September, 1st of 2003: “Peace Therapy Vol. 1”, where you can find 9 original tracks of Downtempo psychedelic for all those who like psybient, in which I composed 3 tracks. Two of these tracks are special since one featuring Khetzal and one remixing Sneila, a Romanian artist. Musician, graphic designer I finished my collaboration with Kagdila Records (USA) in February 2009 and started my own label Altar Records.”
You can read and discover the amazing discography of Dj Zen on his website to the following link: http://www.altar-records.com/bio.html
  • What is an organic record?
“An organic CD is a compilation (or album) pressed in a factory in a very limited number of copies and where production methods respect all requirements of sustainable consumption. There are no waste produced, very little plastic used and the packing is made of paper which respect totally the strict norms of FSC -  The Forest Stewardship Council. The FSC guarantees that the wood and paper products you buy or sell come from healthy forest and which are protected by WWF Canada, Greenpeace and the Foundation David Suzuki. Of course, any music printed on this type of support can only have a positive effect for all J”
  • What is your philosophy about life? About psychedelic?
Think positive: reality is a creation of your mind
Link For this Interview:


Tuesday, 24 June 2014 18:15

Nano Records

NANO Records:
NANO Records was formulated on the sunny dance floors of Cape Town’s amazing outdoor party scene in 2001/2002, when three DJ and producer friends decided the time was right to start delivering the vibe they were experiencing to the rest of the world. Immediately setting up bases in South Africa and the UK meant UK talent joined in with South African and NANO’s Anglo-African trance attack leaped off on firm footing.

NANO is now one of the most respected and loved Psy Trance labels with some of the most popular artists on the global circuit representing artists from all over the planet. 
Nano is constantly pushing forward with new sounds and quality psy-trance.

Currently managed by founding member DJ Regan with the help of DJ Dala, plus an in-house booking agency (that also manages a few stellar non-Nano artists too) the team at Nano are working hard as ever on bring the vest sounds possible to dance floors the world over.

Tuesday, 24 June 2014 18:05

Parvati Records

Parvati Records
was born in Denmark as an independent record label in the summer of year 2000, founded by Dj Giuseppe and a small group of friends.
The concept behind the project was to release the underground music produced at that time when only few major Labels were present in the scene, Labels like TIP, Flying Rhino, Matsuri Prod. The goal was and still is to create a platform for new producers, to create a group where artists could collaborate and exchange knowledge and experiences so to contribute actively to the growth of the Psy-trance scene and  spread the development of the Psychedelic culture expressed through Music.

The first 3 cds published by Parvati Records were Compilations presenting the new psychedelic sound being played and circulating around in the Goa parties, focusing on projects as Droidsect/Digital Talk. The first breakthrough come just after with the Albums of Psychotic Micro vs Azax Syndrom (Voices Of Madness-2003) and the first Album by Russian artist Kindzadza (Waves from Outer Space -2004).

In the next years, in middle of 2000', Parvati Records focused on the new upcoming Scandinavian sound that we believe created the base for the so called Forest Trance, publishing music produced by artists like Derango, Jahbo, Meteloids, Grapes Of Wrath, Mussy Moody, Hokus Pokus. The main CD released in this time, in between several Compilations, was the split album Meteloids / Grapes Of Wrath – Tits On Fire, considered as one of the “classic” of the Label.

In the last years of the past decade and in the beginning of this one Parvati Records scouted again the international music scene bringing up the original psychedelic sound of artists like Para Halu from Hungary, Naked Tourist from Germany and Macedonian producers Atriohm & Encephalopaticys, all of them releasing their Albums and, beside them, introducing more producers with the Parvatrip V/A Trilogy continuing in the work of discovering and bringing up new talents, signing up artists as Arjuna, Farebi Jalebi, Vertical, Archaic and up to today with a new generation of producers from Europe, Brasil and the Far East.


In the year 2010 Parvati Records celebrated the 10th Anniversary organizing an alternative Stage inside the Full Moon Festival in Germany, a party  that is remembered as one of the main Gathering for the underground psy-trance scene ever and in the same year the Label dropped out from the main distribution music system, opening its own shop online and being in this way one of the few totally independent Labels: producing, printing and distributing itself the Music released. In year 2012 Parvati Records started to publish, beside the cds poduction, music in Digital format only.

Up to today  Parvati Records have released music composed by 85 different projects, 30 CDs and 13 Digital Eps and counts in the Artist Rooster 34 producers:  we like to think that this is the concrete application of the Label’s motto: “Diversity into Unity” where the Unity is given by the common psychedelic research and the Diversity by the individual inspirations and expressions.

Parvati Records is operating during the winter months from Goa, where Giuseppe is based since many years and this is absolutely one of the main factor to explain the growth and popularity of the Label, being Goa the main hub of Psy-Trance music and culture, where everything starts and everybody in the scene meets.

Tuesday, 24 June 2014 17:46

T.I.P Records

Its been one hell of a ride since the first white label 12″ which was The Infinity Project’s (TIP) “Stimuli” in 1994. Almost 2 decades in existence which is no mean feat. People often think it glamorous to have a record label but in truth to keep an independant, self financed record label going that amount of time takes blood, sweat and tears. But of course an immense amount of fun, laughter, thrills, experiences and amazing memories.

Through that time we have had distributors close down on us sending the label into substantial debt, lost the catalogue, lost our stock and parts twice, reformed, reshaped. Its been a rollercoaster of emotions, successes and failures but the passion for and the inspiration from this amazing party scene continues. From Acid House and Techno to Trance to Goa Trance to Psy Trance…the journey continues… We feel sometimes like we have been in the trenches of the music industry. On the front line of this global underground party movement, refusing to surrender and striving for things to get better and wanting more! More from the music, more from the parties, more from the DJ’s…and more fun!

This scene that started small at the start of the 90′s has been through many changes but it seems like an amazing living organism. It just keeps reappearing and reinventing in different parts of the globe. And it is completely set apart from the endless changing fads and fashions that have destroyed many a genre in that time. It has never relied on the mainstream media for its survival and it can truthfully be said that it is more than a mere musical genre. It is a lifestyle. It has a culture that connects people. People often use this term but it IS a true Global Underground. And at TIP from the early moments to now we aim to reflect and be a soundtrack for what we feel represents the best of what is happening. And hopefully entertain…

Its amazing how when someone online makes a nice comment, or you get your new tshirt or cd in from the manufacturers, what a buzz it still is. We are addicted to Tip! From small projects like the 12 album that sold nothing but we still love to being featured on BBc Radio 1, on superstar DJ comps, seeing a great magazine review, hearing our tracks on film soundtracks and putting on parties that people say were legendary and changed their lives …and then back to square 1 again with no money but bursting with creative ideas. In the time we have released over 1000 tracks across 7 different labels. Tip Records, Tip World, 10 Kilo, Surround Sounds, Lucky 7′s, Tip New World and back to Tip Records in a full circle. The highlights have been many and memorable and the lowlights few and forgettable. And in all truth we feel like we are just beginning. The creative tank is full and the future is looking so bright we need shades…so lets hit the pedal to the metal and get this party started…


So we rewind the clock and go back to recall those early moments and memories, artists, tracks and parties. Flick through the deck of cards, spin the roulette wheel backwards…slide that tempo back to the early 90´s..

The idea for Tip Records was born in the summer of 1993 when Raja Ram was stood in a field in the rain while Axel was DJing at a party and thought he could just press up 500 white labels and sell them himself. Why not?

It was the summer after at the Longleat party, a party put on by Ian St Paul, when Raja Ram and Graham Wood who were partners in The Infinity Project (TIP) discussed starting a label and then recruited as partner Ian St Paul, who had managed Dragonfly for Youth at the beginning. Ian was also famous for his legendary acid house/balearic club nights; The Project Club, Future and most famously, Spectrum (which was instrumental in breaking the underground electronic music scene in London and the UK). Raja Ram and Graham Wood had met up in 1989 and decided to try and and make some electronic music. They had no equipment and little experience but eventually they had something that was playable. “Kickin With Borris” and to celebrate, they put on the first of the legendary “Tip” parties. It was the first Goa style party of its type in the UK. December 16th 1990.

Martin Freeland was invited down by Meru, manager of Fabulous Records, who was to release The Infinity Projects first single. Martin talks about being blown away by the experience of that party. At the same time Raja Ram and Graham were big fans of Martins releases including his new single Way Out West which was the first track under the name
Man With No Name. It featured samples from film, “The Good, Bad and The Ugly”. A great tune that was from the sound of London party scene 89/90 but before Trance. Before long they were meeting up at Corner studios with synths under their arms for a series of sessions that would start to define a new sound. Martin had already been successful in techno/house/acid music with Perfectly Ordinary People and Charm and his involvement at the early stages was pivotal…

The other early collaborators were Nick Barber of Doof and Simon Posford of Hallucinogen. Also both experienced with great production skills. Nick had had a record deal with the techno label of Mute Records, Novamute. Also on that label was Juno Reactor who introduced Nick to Youth at Dragonfly and Simon Posford (engineer at Dragonfly at the time). Simon then introduced Nick to Raj and Graham …at least that´s how we think it may have gone…anyhow after these connections of like minded talented guys and some parties later and a lot of Indian food and chillums at Youths
Butterfly Studios in Brixton… the sound that became known as Goa Trance started to take shape. At the time noone called it that. It was a term coined in the press from 95 onwards.. but while all artists did have their own sounds, a certain genre was forming. It sounded different to the Trance from Germany from labels such as Eye Q. It was new, their own, exciting..


How did the label start ?…
An office was found in Finsbury Park down an industrial side alley and Tips first space was three rooms above a mechanical workshop. One room was decked out with backdrops, materials, a blacklight and nag champa incense burning along with the waft of chillum smoke. It was where we hung out, talked about the tracks, the parties, artwork and blasted some tunes…the second room was where we made our own sleeves, posters and tshirts by screen printing shivas with mixtures of fluro inks. The third room was the office with a simple tape deck, a second hand computer, printer, phone and fax.

It was in the Goa season of 94/95 that everything started to take shape and Richard Bloor was bought in by Ian. Richard had previously been working in club promotions at Deconstruction Records and together Ian and Richard set about releasing the Yellow cd.

The first singles were mainly white labels and went into sleeves that we screen printed ourselves. Richard and Ian would whizz them down to record shops themselves, with Zoom Records in Camden and Rough Trade in Portabello Road being the first and best places to buy the early releases. It was an amazing time looking back as we could never get records down to the shops quick enough. People were calling us constantly asking when they could have more. When we would arrive at Zoom, the place would be heaving and music blasting. And the shop asking us for info on our parties. Desperate to know whats going on and feed it to the rapidly expanding scene. And for good reason, the early Goa style parties of which Tip were famous for were the most dynamic, underground, intense party experience that you could have in early 90´s London. The club scene had gone almost totally Progresive House and the music, moves and fashions had become stilted and bland. Club Culture in the UK had gone mainstream and while this time was seen by many as the golden age of UK clubbing, for those liking things special, more underground, alternative, the club scene wash´t cutting it.

These were the days before Psy Trance and in fact before Goa Trance.
They were called either just “Trance parties” or “Acid parties”. The dancefloors were a melting pot of shapes, sounds and energy with a mixture of people from all corners of London´s party map. Freaks, travellers, trusties making their own rules. Their own clothes, their own dance moves, freethinking, creativity…… Exciting times. We were onto something special…well not onto but within…it had grown around us and our friends like a psychedelic fungus…with all of our shared experiences in Goa as the epicentre, the motherland, the home of this great scene that 20 years later is still springing up in new countries around the world. This isn´t the only place that has spawned a scene of course. Famously a crowd of party people and DJ´s who went to Ibiza in 1987 took back the vibe to London and created the Balearic scene which inspired and boosted the careers of Tips´ Ian St Paul along with Danny Rampling, Nicky Holloway, Paul Oakenfold etc. There is a curious link as both these places of hedonism and magic have been inspirational and made a big impact. They both had scenes since the 50´s/60´s and people would spend summer in Ibiza and Goa in the winter. In fact many people still do that, Chicago, Riktam and Bansi of 1200 Mics being an example but the difference is that while the “Balearic Scene” taken back from Ibiza in 87 was great, it was short lived. While the scene started in Goa has spread around the world and become surely the one true Global Underground music movement. It has a culture, almost a lifestyle attached to it and is beyond the endless fashions and fads of the more mainstream dance genres. And Ibiza still of course is a very influential and important place on the dance music map but it tends to now reflect what is going on in whats fashionable that year and become more marketed, less free than what it was. The scene started in Goa has its own entity, its own life. A living organism and people around the world have been inspired by it and created their own party scenes, their own music, their own take on it. The directions and paths its taken over the years are fascinating from the early beginnings. Where to next?

1994-2014 TiP Records 20th Anniversary © Copyright Tip Records - Tip World - 1994 -2014 www.tiprecords.com .Website by Dd - made in ibiza.
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Monday, 16 June 2014 11:55

Down Tempo World

Very important part of our life- on the work, at home, on the parties and afterhours belongs to low bpm music- that is lately named as psychedelic downtempo. This, quite huge music sector is still new, but the rise and popularity gain of it is obvious. As an in every upcoming movement, there is still a lick of the information about the artists, labels and communities of Downtempo World.
As well no one can clearly identify the terms and division of the subgenres of that music.

For this reason from now and on, we have decided to put more attention to that content and we start with publishing a maximum detailed report on
Psychedelic Downtempo
by Malishka Yuu Solaristudios
In general, we can put in Psychedelic Downtempo folder any type of electronic music occurs psychedelic effects and sound hallucination which is slower than psychedelic or psy-progressive trance. The tempo, as well as the drum patterns of each track can vary. Sometimes the beat can be restrained and/or simple. Sometimes the beats are more complicated and more featured instead of being in the background, but even then they are less intense and more hypnotic, than trance. As you will find out from this report, downtempo encompasses a wider variety of styles than usual terms, related to usual Chill Out music.
Ambient is often described as having an atmospheric, enveloping, unobtrusive, background sound. The style originated in the 1970s from the music of Brian Eno (in USSR originated by Mikhail Chekalin). It has developed into several forms from then on. Ambient music conquered popularity in the early 1990s, thanks to such bands as The Orb, Aphex Twin and Future Sound of London.
However, ambient is still a rather vague notion. Representatives of some different genres can be also defined by this term, for example: “academic” experimental electronic music (Chris Meloche, David Shea, Asmus Tietchens, David Toop, Oval), space music (Robert Rich, Steve Roach, Vidna Obmana, Klaus Schulze, Jeff Greinke, Alio Die), dub (Bill Laswell, The Orb, Mick Harris, Drome, Woob),  e thno electronica (Jon Hassell, Banco de Gaia, Astralasia), industrial (Lustmord, Merzbow , Final, Aube, James Plotkin), club culture hybrids (The KLF, Global Communication, Mixmaster Morris, Biosphere, Higher Intelligence Agency, Sun Electric, Tetsu Inoue, David Moufang, LTJ Bukem, Autechre).
In 2002 record producer Jeff Towne and journalist Peter Manzi (New Age Voice Magazine) ranked the top ambient albums of all time. Among the experts invited for selection there were the following musicians: Steve Roach, Robert Rich, Stephen Hill (founder of Hearts of Space record label), etc. [3] As a result "The 25 Most Influential Ambient Albums of All Time" were selected. The Top 25 included both the classical works (Brian Eno and Steve Roach) and the albums usually classified as progressive rock (Tangerine Dream), as well as electronic music (Kunst Grand, Jean Ven Robert Hal, Aphex Twin, The Orb) and even jazz (Miles Davis). This way the very "ambient" definition expanded essentially.
Many musicians and bands of different psychedelic electronic music genres have been playing on alternative and chill out dance floors of all the trance music festivals of the world and participating in lots of club projects for years. Mixing of "acid" synthesized sounds with beat base and classical ambient music has recently resulted in a new style called psychedelic ambient or “psybient”.
Psybient has all the reasons to be called "The New Age" of music, the future of psychedelic sound on dance floors. It is a slow (deep hypnotic sounding at 105-120 bpm) variety of psytrance. Synths or live samples with typical "floaty" sound and ambient elements are often based on slow rhythm (that can be different from beat). They get filtered and repeatedly edited with additional effects meant for achieving the most psychedelic sound.
The harmonious melodic sound wave is easy to pick up. It is based on the strongly expressed beats that make one move with the same smoothness due to its tempo.
Psybient can equally include electronic sounds and traditional instruments, archaic vocal techniques and elements of meditative singing. Sometimes electronic sound can be combined with ethnic and modern musical instruments, space sounds of synth keyboard and music overtones.
There is as well a slower variety of psybient used for meditations and ritual practices.
The typical representatives and founders of this modern style are as follows:
Some tracks of Shpongle http://shponglemusic.com
Might be also related to psybient even though they go beyond the style to a large extent.
Сhill out is an umbrella term for several styles of electronic music characterized by their mellow style and mid-tempo beats — "chill" being derived from a slang injunction to "relax. Psychill is hard to define, as there are many different kinds of it, but it can be described as electronic music that combines elements of psychedelic trance, ambient, world music and new age into a spacy psychedelic chill out genre with the tempo above 104 bpm and lower… Often a fat groovy deep melodies has many ambient/psybient influences.

Chill out music emerged in the early and mid-1990s in "chill rooms" at dance clubs, where relaxing music was played to allow dancers a chance to "chill out" from the more emphatic and fast-tempo music played on the main dance floor.
Although similar to psytrance’s emphasis on maintaining non-stop rhythm throughout the night, psychill is far more focused on creating a vast soundscape that can be experienced over the length of an album, focusing less on beat matching and allowing for a myriad of tempo changes.
Psychedelic chill out culture appeared probably in trance festivals. The idea is to chill and rest from dancing, to listen to tunes and to speak about life. Psychill is mostly electronic music, often more complex than chill out, ambient and lounge. It might or might not have a defined rhythm section. Often psychedelic chill out music contains samples from eastern and other traditional instruments, and sound FX and samples from psychedelic gurus like Timothy Leary or Terrence McKenna.
Psychill originated, like psytrance, in the smallest state of India, Goa. Because of the heat, humidity, and dust in Goa, the birthplace of Goa trance, DJs tended to use cassette tapes or DATs instead of vinyl records. As a result, beat matching was very hard. As a solution to the dilemma, a production technique developed of having relatively long atmospheric portions in each track, which would allow a DJ to easily mix two tracks of different tempos without having them clash. These short periods that were free of heavy, bass driven beats acted as “chillout” periods for those who were dancing (or tripping) to relax and regain their energy for the next track. These atmospheric interludes in the Goa trance parties were the roots of the psybient/psychill genre.
The founders of Psy Chill music we can name The Infinity Project (Raga Ram and Graham Wood) with the debit album "Mystical Experience" (released on Blue Room records 1995 )
Some of the most popular and genre leading psych ill artists list includes:
Kaya project www.kayaproject.com

Here are some useful and helpful links for Psychedelic Downtempo web resources and Social net pages:
Monday, 16 June 2014 08:28


We think that the magazine, dedicated to Goa-Freaks.Com would be great to open with some action. Let’s say- to demonstrate you one of hundreds, seems to be typical stories of those, who can call themselves Goa Freaks..
Backpackers-travellers-hippies, who in the end of 90-s passed Goa for couple weeks during their India's spiritual or whatever tripping and found themselves after few months or sometime years, blasting their brain off in fluorescent clothes on crazy trance parties of these days. No money- No honey-No Passport-No visa-No Problem. Many of these people have been dissolved in the history of Goa, some are not on the Earth anymore, and the others exchanged their free life on solid work in normal World. Only the strongest survived. And some of them actually did it really well, still being the Freaks. They chose to do something according to their way of life, to reach one level, to stay in Freaks life World, but enjoy of it as much as possible by creation and inspiration from the heart.
So here today, we are talking in a private with one of these hippies of 90's. By chance he is also one of our favourite musicians, super good friend and really cool dude, whose spirit can truly represent the soul and vision of all GOA FREAKS: Avalon
Published in Interviews
Monday, 16 June 2014 08:26

Dj Tristan

We were keeping this interview for a while to publish it exactly in that Peace-Love-Freedom-Happiness edition. After you will listen to that home style talking, you will understand why…
Apart of being superb Dj, one of the veterans of Goa trance scene, this guy is simply fantastic person. He is the Dj, who stays on the dance floor all the time – before and after his set- rocking and blasting with the crowd. According to the amount of his bookings on the festivals and parties all over the World we can admit him as psy Trance Dj No1 on the World for few years already.
But he always finds a place for his beautiful house on the sea shore and his beloved paradise – Goa. So we just caught him in his backyard on Anjuna, put him on the sofa…And decided to talk about many things, but absolutely not about music.
Today is our honour to present an exclusive interview for Sunday Freak e-Magazine with DJ TRISTAN/ NANO rec/ UK
Published in Interviews
Friday, 13 June 2014 05:07

True Story of Goa Trance

After almost 20 years of boring pause in the development of trippy music at the beginning of 70’s, new sounds mixed up with thousands of micrograms and blew up the minds of the people and expanded their consciousness to its maximum level with the digital messages from outer Space. Without leaving for any of us even a little chance to come back into the Matrix. The sound of that music making our hearts beat together and feel that we are all ONE.


Goa Trance is a sub-genre of electronic dance music – EDM which had started to take its form back in 80’s. However, the very first instigators, ideologists and style formers can be found even further in the past, more accurately – during the period of psychedelic rock in the 60’s and 70’s. Considering the name of this style, it’s easy to relate it with the Indian province called Goa, which is located on the western bank of India. The historical and cultural heritage of Goa is known world-wide, for it was a colony that was fought over during many periods in the past. The first conflicts in that region were between Hindu and Muslim population. These conflicts can be tracked to as far as 10th century, and they had continued all the way to the 16th century.

In the year of 1510, Portuguese colonists arrived to Goa. They made a great influence in this Indian province, which can be seen in numerous catholic churches and monasteries that were built during that time.
But, the Portuguese were not the only European nation that controlled Goa in the history. The British colonists occupied the region two times. The first period was from 1797. to 1798. and again from 1802. – 1813. During 1961. Indian army seized control over Goa, and integrated it into the sovereign country of India. Multi-cultural history of Goa has its place in history of Goa Trance genre, especially when we point out the very first parties that were organized on the beaches of Goa during the 60’s.

According to Ray Castle (one of the first DJs in Goa) the first colonists were hippies which were coming to India seeking spirituality. The second important factor which mostly attracted Europeans (and Americans) to this region was that there was no legal limitation to the consuming of hashish.

This was a fact until the mid-70’s when the US government pressed the issue on Indian authorities to ban this practice. Early history of the pioneers of Goa and their first parties was never documented, but according to some witnesses (who were hippies at that time), the first Goa parties were organized in 1968. thanks to eight-finger Eddie who was probably the first modern settler on the beaches of Goa. Together with his friends, he discovered beautiful beaches and got friendly with the local villagers, which gave them a feeling of absolute freedom and happiness, which they had expressed through consuming psychedelic drugs and dancing on the beach

The music at that time did not have any relations to the style of Goa trance, or even with electronic music in general, but the philosophy which they were following is almost the same as the one that Goa trance followers are sharing today. The music that had to do with Goa parties back then was more related to bands like Grateful Dead, The Doors, The Eagles, and Pink Floyd. Fred Disko was one of the first DJs in Goa who started to promote electronic music as well. After all, that decision gave him his “Disko” pseudonym.
Besides Fred Disko, there was earlier mentioned Ray Castle, and Goa Gil, who promoted rock/fusion during the 70’s. Later, in the 80’s, Goa Gil started to promote Goa influenced electronic music too, and he gave it a rather “simple” name: the first post-punk experimental electronic dance music coming from Europe, the neue deutsche welle, electronic body music.

Ray Castle explained that the very first form of Goa Trance sound could be recognized with bands/projects like Nitzer Ebb, Front 242, Frontline Assembly. Fred Disko also mentioned the influence of classical-traditional Indian music which was easily recognized in Goa trance sound.
The symbiosis of these rather different influences was inevitable. The reasons of that symbiosis become very clear, especially when you imagine 10 tablas, 6 sitars and an Indian female vocalist performing a song in the repetitive way, so that you can actually feel like flying.
Fred Disko and Ray Cole said that the contemporary “scene” in Goa was formed from a handful of DJs who were mostly people from France, Italy, Germany, Netherlands and Switzerland.
The main goal was to exchange and collect the music which was brought from Europe. They were all trying to obtain hard-to-get rare music as much as they could. They also wanted to have rarities which sounded more psychedelic.
These quests were labelled as “The quest for weird psychedelic music”. The great part of their inspiration was hidden within the consummation of LSD, the drug which became a symbol of Goa parties, especially because it was easy to get, and mostly free of charge. It was known as “free acid punch”
DJs of the late 80’s had often used DATs for their DJ sets, but the preparations for the show were hard and time-consuming. According to Steve Psyko (he was also one of the first Goa DJs), the DJs would often cut-out the parts of the songs mixing them with other tracks, in order to create a mega-mix which would be played at the parties later on.
The use of vinyl records was not practiced because of the risk that the vinyl could actually melt due to high temperatures. Ray Castle recalls one time when DJ Sven Vath came to Goa with all his records, in order to become “Techno pope of India”. However, that didn’t work out well, because you just have to be used to DATs on such high temperatures.

Paul Chambers (British Goa trance DJ) recalls his trips to Goa and the very first electronic music parties that were held there. There were no more than 200 people on those events. The decorations were really colourful but not numerous and there were a few black-light lamps around. The first police raids occurred during the 1990. but the situation became better in 1991. and 1992.  It was during these years, that the first hype and rush to Goa had started.
The number of people on parties noticeably increased, and the numbers were from 500 to 1500 visitors. More and more people were coming to Goa, especially from Israel and Japan. With the increasing number of tourists that arrived to Goa to dance, consume drugs and live a free life, the whole underground feeling started to fade, and the music itself started to become more and more popular.
This was even more supported by numerous English and other European DJs and publishers, which resulted in first releases in the 1993. 
The release which was probably the most influential for Goa trance uprising was the Project II Trance, released by Dragonfly Records. This release featured artists like Gumbo, Genetic, The Infinity Project, Total Eclipse, Mandra Gora and others.

Except for Goa trance in India, parties started to occur in other parts of the world, and the most known ones were in Byron Bay (Australia), where many hippies found their new place for Goa trance, since more and more tourists were visiting Goa and the scene was booming. In England, the first Goa trance parties were organized in London and Manchester. It was interesting that almost the very same DJs performed in Goa and in England, and the visitors were mostly the same in the both areas. It was just a matter of season where the caravan will be settled.



The music in that period (1993-1999) was characterized as psychedelic trance-dance. That term was mentioned even earlier and it was often used as a title for parties. The tracks became longer than earlier, so the average track was around 8.30 minutes, and the tempo was around 145 BPM (beats per minute). Generally, the BPM range can vary from 120 to 160. The structure of tracks mostly had the same pattern, so almost every track had an atmospheric intro, 4/4 rhythm which was followed by oriental and eastern melodies, acid sounds (the legendary TB303) and vocal samples (mostly taken from SF movies

The climax of the track would usually emerge around 5th minute, although some tracks didn’t follow that pattern. Iconography on parties, CD covers and T-shirts was mostly related to Hindu and Buddhist motifs.
There were also science-fiction motives (mostly aliens, UFOs and other characters), colourful psychedelic fractals and drawings.
The end of Goa trance music occurred in the period between 1998./1999  with the newly formed psy trance sound which was rather minimalistic comparing to Goa trance, containing less melodies, shorter bass lines and sharper kicks with emphasis on psychedelic sound effects. Many Goa trance projects started to fade, while others formed within the psytrance genre.
Although, some other projects kept their former names while they adjusted their production to the present trend.
One of such examples is a legendary Goa trance project – Etnica. Many publishers also followed the change, and one of the biggest trance labels, TIP records was renamed to TIP World. TIP Records used to publish Goa trance (The Infinity Project, Doof, Psychopod...) while TIP World started to publish new projects like GMS, Logic Bomb, 1200 Mics, and others.

After Goa trance found its place in electronic music scene, many new artists, publishers and DJs had emerged. It would take a lot of time to mention all of the names which took part in the scene during the six golden years of Goa trance (1993-1999). Because of that, we will mention only some of them:


Perfecto Fluoro
Flying Rhino
Blue Room Released
Matsuri Productions
TIP Records

Friday, 13 June 2014 05:07

Life and Death of Psychedelic Rock

Psychedelic rock is a style of rock music that created a correct psycho-acoustic and music base in many of us. It inspired first trance musicians, otherwise early Goa Trance of would be never called Rock’n’roll of 90’s.
So, let’s see our roots. For this we have to make a time travel in the middle of last century. Have a good trip into the epoch of sex, drugs and…..
The Psychedelic scene was primarily a plethora of HIPPIES playing music to augment their LSD and hallucinatory experiences: in the 1960s, in the tradition of jazz and blues, many folk and rock musicians began to take drugs and included drug references in their songs.
The music that the hippies listened to was designed to enhance the MIND ALTERING EXPERIENCES of “Psychedelic” drugs (such as LSD or mescaline), characterized by (or generating): hallucinations, distortions of perception, altered states of awareness, and occasionally states resembling psychosis. The bands that made the music happen were seriously Psychedelic with colourful eyeball searing acid soaked album covers and trippy light shows with a whimsical SURREAL lyrical nature
The music had to have certain aspects to be good enough for the new psych generation of listeners: as a musical style Psychedelic rock often contains some of the following features:
- The electric guitars were DISTORTED with feedback, wah wah and fuzz boxes.
- The mixing in the studio was not just about putting down vocals and music, but very complex and elaborate effects were added such as backward tapes and long delay loops, panning and phasing sounds, extreme reverb on the guitars and the vocals, even vocals that were backmasked or fed through effects machines. THE MUSIC HAD TO SOUND OTHERWORLDLY AND OFF THE PLANET!!!
- The use of EXOTIC INSTRUMENTATION was a key factor particularly the sitar and tabla and other Eastern, or Indian musical instruments
- There was an EMPHASIS ON THE KEYBOARD that dominated the music at times, especially mellotron, electric organs and harpsichord.
To enhance the experience of tripping out the music too was replete with lengthy instrumental and jamming and improvisation with lead and keyboard soloing and extended musical passages with varying time signatures, like a multi movement suite of songs merged together into one LONG TRACK.
- The COMPLEX song structures depended on changes in key, modal melodies, drones and time signatures.
- THE LYRICS WERE SURREAL OR DREAMLIKE, ESOTERICALLY, inspired and based on fantasy or non-sensical, and at times whimsical and humorous. The most significant it’s maybe “white rabbit” (referred of ALICE IN WONDERLAND) by Jefferson Airplane
- The concert performances were a light show to augment the music and LIQUID LIGHT SHOWS REPLICATED ACID TRIPS. Such as this one of Zappa and the Mothers of Inventions:
- the IMAGE OF THE BAND was transformed, no longer wearing suits like The Beatles, Kinks, Animals or the other British Invasion bands, but now wearing multi coloured mesmirising silk shirts and very long hair became the norm. (Pink Floyd with Syd Barret the master of psych)
Development in USA
The SAN FRANCISCO music scene continued to develop and The first Trips Festival held at the Longshoremen's Hall in January 1966, saw The Grateful Dead and Big Brother and the Holding Company play to an audience of 10,000, giving many their first encounter with both ACID ROCK, with its long instrumentals and unstructured jams, and LSD.
Psychedelic music also began to have an impact on pop music, with The Beach Boys under the leadership of Brian Wilson, who had been experimenting with LSD from 1965, and psychedelic sounds and lyrical hints were a major part of the songs on Pet Sounds (1966) and the single "Good Vibrations", one of the first pop records to use a THEREMIN (he controlling section usually consists of two metal antennae which sense the position of the player's hands and control oscillators for frequency with one hand, and volume with the other, so it can be played without being touched. The electric signals from the theremin are amplified and sent to a loudspeaker)
Although San Francisco was the centre of American psychedelic music scene, many other American cities contributed significantly to the new genre. Los Angeles boasted dozens of important psychedelic bands (Iron Butterfly, Love, Spirit, Captain Beefheart and his Magic Band, the United States of America, The West Coast Pop Art Experimental Band, and the Electric Prunes) perhaps the most commercially successful were The Doors. New York City produced its share of psychedelic bands, also Detroit, Texas and Chicago.
In America the SUMMER OF LOVE OF 1967 saw huge number of young people from across American and the world travel to the Haight-Ashbury district of San Francisco, boosting the population from 15,000 to around 100,000. It was prefaced by the Human Be-In event in March and reached its peak at the MONTEREY POP FESTIVAL in June, the latter helping to make major American stars of Janis Joplin, lead singer of Big Brother and the Holding Company, Jimi Hendrix and The Who.
Development in the UK
In the UK before 1967 media outlets for psychedelic culture were limited to PIRATE RADIO stations like Radio Luxembourg and Radio London, particularly the programmes hosted by DJ John Peel.
The growth of underground culture was facilitated by the emergence of alternative weekly publications like IT (International Times) and OZ magazine which featured psychedelic and progressive music together with the counter culture lifestyle, which involved long hair, and the wearing of wild shirts from shops (like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street in Soho and Kings Road in Chelsea boutiques, Britain's hippies comported themselves in stark contrast to the slick, tailored teddyboys (dandies) or the drab, conventional dress of most teenagers prior to that. Soon psychedelic rock clubs (like the UFO Club in Tottenham Court Road, Middle Earth Club in Covent Garden, The Roundhouse in Chalk Farm, the Country Club in Swiss Cottage and the Art Lab also in Covent Garden) were drawing capacity audiences with psychedelic rock and ground-breaking LIQUID LITH SHOWS.
British psychedelic rock, like its American counterpart, had roots in the folk scene. However, the largest strand was the series of acts emerged from 1966 from the BRITISH BLUES SCENE, but influenced by folk, jazz and psychedelia, including: Pink Floyd, Traffic, Soft Machine, Cream, and The Jimi Hendrix Experience (led by an American, but initially produced and managed in Britain by Chas Chandler of The Animals).
The Crazy World of Arthur Brown added surreal theatrical touches to its dark psychedelic sounds, such as the singer's flaming headdress. Existing British Invasion acts now joined the psychedelic revolution, including Eric Burdon (previously of The Animals), and The Small Faces and The Who whose The Who Sell Out (1967, in which are included psychedelic influenced tracks "I Can See for Miles" and "Armenia City in the Sky"). The Rolling Stones had drug references and psychedelic hints in their 1966 singles ("19th Nervous Breakdown" and "Paint It, Black", the latter featuring drones and sitar).
By the end of the decade psychedelic rock was in retreat. LSD had been made illegal in the US and UK from 1966. The murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his "family" of followers, claiming to have been inspired by Beatles' Songs such as "Helter Skelter", has been seen as contributing to an anti-hippie backlash.
At the end of the year, the Altamont Free Concert in California, headlined by The Rolling Stones, became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards.
Brian Wilson of the Beach Boys, Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd, were early "acid casualties", helping to shift the focus of the respective bands of which they had been leading figures.
Some bands like the Jimi Hendrix Experience and Cream broke up.
Jimi Hendrix died in London in September 1970, shortly after recording Band of Gypsies (1970), Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors, who died in Paris in July 1971.
Many surviving acts moved away from psychedelia into either more back-to-basics "ROOTS ROCK", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-laden heavy rock.
Friday, 13 June 2014 05:07

Psychedelic Electronic Dub

When we were preparing this edition, we consulted with few respected and aged Psychedelic Gentlemen from USA and UK, such as Raja Ram, DJ Chicago, etc. for getting more obvious information about 60’s and 70’s psychedelic music. Psychedelic Rock of 60’s? Yes, we know. Crazy raves of 80’s? We’ve been there.. Goa Trance? That’s our life…
And you know what we all realized? A huge gap in the development and establishment of psychedelic music from the middle of 70-s till the end of 80-s. None of us, neither one of the Old Dudes could remember any new genre appeared in that years, that could open people’s consciousness and lead it to its freedom.
“Poor freaks”! How they were living?! What they were doing?! And what did they listen to? These questions pushed us to make deeper research and activate some connections from Other World.
And we have found – what ruled the psychedelic society in that days.
Dub is a genre of music which grew out of reggae music in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, and emphasizing the drum and bass parts (this stripped-down track is sometimes referred to as a 'riddim'). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, and occasional dubbing of vocal or instrumental snippets from the original version or other works.
Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others in the late 1960s. Similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock (most significantly the sub-genre of post-punk and other kinds of punk, pop, hip hop, disco, and later house, techno, ambient and trip hop.
Dub music is characterized by a "version" or "double" of an existing song, often instrumental, using B-sides of 45 RPM records and typically emphasizing the drums and bass for a sound popular in local sound systems. A "version" is a record with the vocals removed, the alternative cut of a song made for the deejay toast over the top. These "versions" were used as the basis of new songs by rerecording them with new elements. The instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar. The music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be further augmented by live DJs. The many-layered sounds with varying echoes and volumes are often said to create soundscapes, or sound sculptures, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. There is usually a distinctly organic feel to the music, even though the effects are electronically created.
A reason to experiment with mixing was rivalry among sound systems. Sound systems' sound men wanted the tracks they played at dances to be slightly different each time, so they would order numerous copies of the same record from a studio, each with a different mix.
Evolution of dub as a sub-genre.
By 1973, through the efforts of several independent and competitive innovators, engineers, and producers, instrumental reggae "versions" from various studios had evolved into "dub" as a sub-genre of reggae. Errol Thompson engineered the first strictly instrumental reggae album, entitled The Undertaker by Derrick Harriott and the Crystallites. This album was released in 1970. This innovative album credits "Sound Effects" to Derrick Harriott.
In 1973, at least three producers, Lee "Scratch" Perry and the Aquarius studio engineer/producer team of Herman Chin Loy and Errol Thompson simultaneously recognized that there was an active market for this new "dub" sound and consequently they started to release the first albums strictly consisting of dub. Lee "Scratch" Perry released Blackboard Jungle Dub in the spring of 1973. It is considered a landmark recording of this genre.
Dub has continued to evolve, its popularity waxing and waning with changes in musical fashion. Almost all reggae singles still carry an instrumental version on the B-side and these are still used by the sound systems as a blank canvas for live singers and DJs. In 1981 the Japanese band Mute Beat would create dub music using live instruments such as trumpets rather than studio equipment, and became a precursor to the acid jazz, ambient and trip hop music genres. They collaborated with numerous Jamaican artists such as King Tubby, Lee "Scratch" Perry and Gladstone Anderson amongst others and became a large influence upon future dub musicians.
In the 1980s, Britain became a new centre for dub production with Mikey Dread, Mad Professor and Jah Shaka being the most famous. It was also the time when dub made its influence known in the work of harder edged, experimental producers such as Mikey Dread with UB40 and The Clash, Adrian Sherwood and the roster of artists on his On-U Sound label. Many bands characterized as post-punk were heavily influenced by dub. Better-known bands such as The Police, The Clash and UB40 helped popularize Dub, with UB40's Present Arms In Dub album being the first dub album to hit the UK top 40.
Traditional dub nowadays has survived and some of the originators of dub such as Lee "Scratch" Perry and Mad Professor continue to produce new material. New artists continue to preserve the traditional dub sound, some with slight modifications but with a primary focus on reproducing the original characteristics of the sound in a live environment.
Friday, 13 June 2014 05:07

Leon Theremin

In many of our previous editions we published in FREAKS HERO section some forgotten biographies that were rediscovered and rewritten by us. And one of the most bizarre is the Soviet-American inventor and pioneer of electronic music, Lev Sergeevich Termen (aka Léon Theremin, 1896-1993). Termen, “the secret link between sci-fi films, the Beach Boys, and Carnegie Hall,” whose “electronic musical instrument took the world by storm in the 1920s and '30s” — several decades before the rise of electronic popular music — had been forgotten for 50 years in the East and West.
Some remembered this name, though–among them were Robert Moog, the American pioneer of the synthesizer. Few musicians using the 70s’ Minimoogs or the Moog Tauruses knew that the invention of artificial sound originated in early Soviet Russia. The synthesizer is actually the later form of a music machine invented by a Russian in 1919 and produced in the USA in the 30s: the theremin or thereminvox (Termen’s voice).
Theremin's ancestors were French. He descended from the Albigo, a clan of "socialistically inclined" heretics who were routed by Catholic crusaders in the fourteenth century. His ancestors were scattered around Europe and took part in many revolutions. One branch of Theremin's genealogical tree sprouted in Russia. Young Theremin enthusiastically welcomed the October Revolution, which merged in his mind with the scientific and technical revolutions he loved. He was fond of repeating a phrase of Lenin's that supported this view: "Communism is Soviet power plus electrification of the whole country." It was with delight that Theremin would always remember his meeting with Lenin in 1922, when the world's first "official" concert of electronic music was performed in the Kremlin upon the leader's request. Being a pragmatic man, Lenin was attracted to Theremin's idea for using the remote triggering of sound signals to create alarm systems. This alarm-system version of the theremin concept was made top secret. Another invention of Theremin's that was unusual for the time---a large-screened television set ---was also made top secret after it attracted the attention of the military (NKVD) in 1927 (known as the NKVD in the 1920s and 1930s, this agency later became the KGB. It was in this way that Theremin forged relationships with the Soviet secret service that were to drag on for many years. Theremin earned the right to devote himself to his favorite field—electronic art—but under the condition that he would be the obedient assistant of the Soviet government.
Although Termen had a musical education (he played the cello) he was first and foremost an inventor. He was not interested in politics but mainly in technical inventions—something repeatedly pointed out in the portrait of him painted by Zelenka. Termen was indeed an extraordinarily gifted inventor and also a brilliant engineer. Let me just name a few of his inventions:(48) a television apparatus with 100 lines (which was classified right after its invention in the twenties), the rhytmikon (an early drum computer), an electric cello, several instruments for combining music and light, an altimeter for airplanes, and an electric glove which was the predecessor of the cyber-gloves constructed several decades later. Only in the perestroyka period has Termen been credited with even more fantastic inventions, which seem to be right out of a spy novel. Back in Russia he invented two types of bugs–both based on his innovative principle of contactlessness and both aiming at abolishing the usual interfaces needed for eavesdropping.
He was still fascinated with the subject in his 90s, but the man who had lived almost a century died at the age of 97 in 1993.
Not only Termen’s inventions but also his exceptional biography attracted people from different backgrounds–from those engaged in electronic music to journalists interested in the history of the Soviet secret service. The combination of the invention of the synthesizer (thus fathering the essential and omnipotent instrument of pop music) and his work for the NKVD gives him the appearance of an obscure but attractive wizard around whom a true cult developed. The internet without a doubt fostered this cult, allowing the multilingual theremaniac to make connections between the Moscow theremin center, with valuable texts on the history of electronic music and developments of multimedia (an excellent site mostly in Russian, not exclusively dedicated to Termen; http://theremin.ru/). The Milano based Thereminvox.com (“Art, Technology & Gesture”),(13) a site dedicated to Galeyev’s light music performances in the Institute "Prometei" in Kazan, performances of Termen’s grand-niece,(http://www.lydiakavina.com/where.html) conducting workshops all over the world, down to the thereminworld.com with a forum, a shop, as well as audio and video samples ) You will find several amateur sites of different quality dedicated directly to Termen (like the Theremin Enthusiasts Club International) and dozens of sites which make use of his name and inventions. It is quite telling that many musicians who use the theremin themselves, or just theremin fans, have the feeling that the theremin (coined as the “tractor replacing the plow in music” by the Soviet press in the 20s) is not presented flatteringly enough in the official discourse about musical instruments; we will find several short histories of the theremin, some of them with rare illustrative material of the first theremin boxes and the first thereministes in the world. On this site you will hear a short theremin sound when opening it. If by now you would like to actually hear what a theremin sounds like, you can listen to Les Baxter with delightfully vibrating Samuel Hoffman, “Music out of the moon” from 1947, “two of the earliest, if not the earliest, pop theremin albums ever produced”.
Surfing the WWW in search of famous people who played the theremin you will find most probably the Beach Boys with “Good Vibrations,” J.M. Jarre using it together with a laser harp in his shows,(16) his “protégé” Albert Einstein, testing the instrument together with his wife while he was working on his own scientific problems in Termen’s house in Manhattan on West 54th Street,(17) or Lenin playing Mikhail Glinka’s “Skylark” with Termen four-handed. It is also known as a favourite instrument of Dr. Albert Hoffman.
Termen remains relatively unknown in Slavic Studies and in the history of media. Very little scholarly literature exists on him, although his inventions and his biography call for a contextualization and a thorough evaluation not only from a political and musicological perspective, but also a cultural point of view. He certainly is a phenomenon very much connected to his time and the country of his origin.
Moog stresses that Termen’s work is the cornerstone of the use of electronics in musical instrument design. The most significant difference between a theremin and an analogue synthesizer like the Minimoog is that the latter has a keyboard as user interfaces and is therefore easier to play. The difficulty of the theremin is that there are no visible markers for finding individual notes, much less determining the exact pitch.
But the Thereminvox sound remains the first psychedelic artificial sound on the Planet.
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