Suduaya - Venus

Altar Records: 2016

Again! Again and again and again! I mean, I had a good hunch this would turn out another winner, the Suduaya tunes on various Altar compilations consistently some of the best. Actually diving into his albums though, I wasn't terribly sold just on looks alone. Dreaming Sun and Unity had the sort of New Agey artwork that gives Altar a reputation of being on the cheesy side of psy-chill, though anyone that's taken in a good chunk of the label's output would know such a rep' is bollocks. Not that I should cast stones here, the artwork most definitely a factor in which album's I'll impulsively spring for whenever I dive in for a mini-splurge. If I must choose between mystical mumbo-jumbo or sci-fi star systems, the space stuff is gonna' win out every time. This Venus though, that's equally a reference to planets and goddesses, plus there's an alien hiding in this one's cover art. Guess it won't hurt to finally scope out some Suduaya proper-like.

And the first thing I'm struck by is how much Mr. Roquefere is stylistically influenced from Asura, at least in regards to the opening track. This is actually a remix of the tune Universalis by Astronaut Ape, a track that only appeared on a 2012 digital compilation called Everything Is Possible from smallish Russian label Trimurti Records – obscure, in other words. The original is more downtempo, with light arps and spritely melodies, a pleasant little ditty in its own right. Suduaya basically adds those slow, throbbing prog-psy rhythms in his remix, an aesthetic that Asura practically made his own, though obviously not exclusive to him. Still, if you're gonna' ape the sound of any prog-psy producer, Asura's not a bad source to crib from.

The next bundle of tracks stick to the slo-psy side of things, but doesn't come off chill nor dub in the process. It really is prog-psy at a lower BPM, but with things moving at such a languid pace, it give Suduaya plenty of space in creating ridiculously catchy, groovy basslines. I'd expect these from the psy-dub camps, but these tunes aren't especially dubby in their production. Well, maybe Catalan Wind, in that things get all glitchy-trippy with vocal effects, even breaking out a freakin' brisk 2-step rhythm for a while. Mang', when did Altar start getting hip to the glitch-kidz stylee?

The back-half of Venus ups the pace into your standard prog-psy territory, and Suduaya maintains Altar's high batting average for the most part. Diamond Dust with Cydelix brings some acid action with spacious spritely sounds, Lampyris adds some ethnic vocals, The Muse does that Asura-throb again, Knots Of Eternity features nifty little skippy sounds on the low-end, and Baku goes straight for the floating sunrise morning feels. Or, as I like to call it, prog-psy done right, and Suduaya, he do prog-psy done right. Maybe not changing the game or the like, but every quality scene needs its steadying presences keeping that bar high.

Akshan - The Rise Of Atlantis

Altar Records: 2013

Might The Rise Of Atlantis have been one of Altar Records' most anticipated albums? For sure DJ Zen's print has a number of core acts that folks eagerly await new entries in their discographies, but most of them were established producers before joining ranks. Akshan, on the other hand, came practically from nowhere and smashed it with his debut The Tree Of Life, a record easily on par with the best Altar had to offer. You're damn skippy folks would be anxious to see what he'd come up with next!

And boy howdy-dowdy, they didn't have to wait long, his sophomore effort emerging but a year later. Man, at a work clip that fast, Akshan must have over a half-dozen releases by now. Er, not quite, a lone 'unreleased versions' EP coming the same year as The Rise of Atlantis, and nothing else since. There is a previously unheard track on some 2016 compilation from Hadra Records (AstroPilot and Kaya Project also appear), so maybe Vincent Grenier's been laying quiet working on new material in all this time. I dunno' though, you'd think someone who came out so strongly would have parlayed his initial momentum into more material than that, even if but a yearly trickle of tunes on Altar compilations. Was there some falling out? Akshan figuring he said all that he needed to in two albums? Got a better paying job at a lumber mill? The Rise Of Atlantis flopping?

I can't imagine that last one being the case at all. While not as dynamic as The Tree of Life, this is still one solid LP of... y'know, I can't in good conscious call this prog-psy. Yeah, this is out on a prog-psy label, there are sonic markers that remain popular in prog-psy camps, and I'm sure Very Important prog-psy DJs played tunes off here. There isn't much befitting the 'psy' demarcation on here though. Most of the cliches associated with the scene are absent, perhaps a few tonal touches and not much else. I'm more comfortable calling The Rise Of Atlantis a straight-up progressive trance album, with elements of prog-psy. Not to mention soundtracks for fantasy video games and features. Seriously, the opening titular cut should have an epic credits crawl as a camera zooms in on some amazing, CGI-enhanced vista. Reminds me of how Asura opened Life².

All nine tunes are solid offerings of progressive trance, but The Rise Of Atlantis does suffer from one notable flaw: it's all kinda' samey throughout. Akshan doesn't mess with formula, building his tracks with strong rhythms and trancey leads, each tune featuring a good, unique melodic hook at their peaks. Aside from final cut Calling The Ancients though, which hearkens to vintage Juno Reactor, all these tracks maintain a steady, prog-psy pulse, which does deflate the album's flow when each piece ends. Would work much better as a continuous mix, and there is such an option through Altar's Bandcamp. Just a shame the CD didn't have it too.

Cell - Live At Kumharas (Ibiza - June 2006)

Ultimae Records: 2007

This is what I'm talking about, a perfect confluence of factors slowly chipping away at my decade-old “Buy MP3 Iz Bad” manifesto. I've been jonesing for more music from Cell since the collaborative effort Connect.Ohm with Hybrid Leisureland. That was way back in 2012, half a decade now past, and Alexandre Scheffer's been most quiet since. So I must turn to his older material to get a fix, but where does that leave me? An out-of-print, over-expensive debut album of Phonic Peace, and a trio of live recordings, only one of which made it to CD. Ultimae Records though, they released Live At Kumharas as a digital-only option in 2007, when such exclusive formats were still relatively uncommon. As such, I never thought to check it out, but what's this? Ultimae's having a Bandcamp discount? Gee, I already have all the CDs available. Maybe just this once, I can indulge a digital-only release. It's not like this will become a common occurrence. (Narrator: “It became a common occurrence.”)

Really though, Live At Kumharas is basically a sophomore album released under the Cell banner. Every tune in this seven-track selection remains exclusive to these sessions, none appearing prior on Phonic Peace, nor later on Hanging Masses. Some did appear on other live albums released in this period, but as this one carries the Ultimae seal of approval, I'll count Live At Kumharas as the official representation of these particular tunes. Now, jack this music straight into my ear-veins!

Ahh, that's the Cell stuff I've been craving. The psy-chill vibe that's as class as any Solar Fields production, but with a smart sense of restraint, never shooting for the Big Obvious Feels. The Gate has some tasteful tribal drumming to go along with its subtle synths and arps. Above The Clouds gets funkier with the beatcraft and gnarly acid touches while providing uplifting melodies in the background. Misty Morning works in Balearic field recordings as it slowly builds from blissy ambience to laid-back prog-psy grooves – at over thirteen minutes, it definitely has time to stretch things out. Elsewhere, Under The Sun reminds me of an upbeat version of Cell's sublime Blue Embers.

The best shit, however, is in the final stretch of tunes. Right, a 'live set' is supposed to work like that, though this isn't really presented as a pure live set, fades and blends between tracks rather than maintaining a continuous flow. Where was I?

T-Ion (Part II) does a more traditional prog-psy thing, though in the dubby Ultimae way that made them such darlings of the psy-chill scene in the mid-'00s. Hawaii Transit goes even better, including one of those earwormy rhythmic dub throbs you ache to hear return right on cue. Closer Shiny Girl breaks ranks in throwing down with the world beat crowds (we'll find those pyramids yet!), but is a fun capper on this album. If this all sounds rather energetic for a Cell album, well, what did you expect from a live setting?

Astral Waves - Genesis

Altar Records: 2017

Once again, I picked up the latest Astral Waves album without realizing it's DJ Zen's main production alias. I don't think I even checked who the artist was, just perusing through some of Altar Records' recent output, and picking up whatever caught my eye. “Ooh, that one with the dragon looks cool, and this one, it has a final boss of a jRPG, or maybe a Dr. Strange nemesis. Sure, I'll give it a shot. Eh, a new Asura as well? Ah, the cover's just a bunch of high air. Pass for now.” It's been a couple years since his last effort though, and while festival DJing, compilation compiling, studio mastering, and label management undoubtedly keeps Mr. Descoutieras a busy boy, he's gotta' scratch that music-making itch like any of his peers.

Still, I wonder if he really had the time to explore his muse. Genesis isn't so much a new album of new material, as it's an assortment of original productions, plus 'reworkings' of Altar tunes from other producers. No, not remixes, as the inlay doesn't tag the original artists beyond “W+P” credits. Far as I can tell, these are intended to be regarded as Astral Waves tracks, like a cover, or a 're-genesis', I guess. It's not SuryaDemaH's Ashura, but Astral Waves' Ashura II. It's not Alwoods' Rain Of Shooting Stars, but Astral Waves' Rain Of Shooting Stars II. It's not AstroPilot & Astral Waves' Inflation Eternelle, but Astral Waves' Inflation Eternelle II. Huh, why not call it Inflation Eternelle (Astral Waves Version). It's what was done with Dimitriy's take on the tune that appeared on the Fall compilation. I dunno', just seems a tad dodgy presenting these tunes as such, but I'm sure they all gave DJ Zen their blessing.

This is all just niggling-picking though. The music itself is surprisingly diverse and different from what I typically expect out of an Altar record. Gabriel intended this as something of a challenge, making sure each cut was significantly unique from each other so nothing comes off samey throughout (an issue of his last album, in fact). There's also a heavier emphasis on tribal vibes, sections of Genesis coming off like a '90s world beat album, though with modern production chops (can't escape that over-compressed, plastic rhythm).

So you get an extended version of an oldie DJ Zen psy-chill tune of I Believe, redubbed The Believer, now with added vocals from New Age chanter Patrick Bernard. Ashura II chugs along at a crisp pace while digitally chopping up its Indian influences. La Danse du Feu gets in on that Native pow-wow chanting and howling, and follow-up La Danse de L'Eau ups the tempo with drumming and live fluting from Aeolia Project. Then you have your prog-psy numbers (Optimistica II, Rain Of Shooting Stars II, Les Liens du Sang (Profondita Remix)), and a right progressive trance stomper in Inflation Eternelle II. Man, is it wrong that both versions of this AstroPilot collab' get an Ace Tracks nod? Does it matter?

Profondita - Dracarys

Altar Records: 2017

I keep thinking this act's name is Dracarys, with the album titled Profondita. Obviously that's not the case – I wouldn't be reviewing it in a block of 'D' releases if so – but Lord Discogs lists no artist with that handle, and it's a more eye-popping alias than Profondita. You could dress as kick-ass wyrms on stage, maybe get a little fire show going (safety first, always!), have albums themed around storming castles and dungeon raids. It's not unprecedented in this scene, an adored full-on psy album from over ten years ago being The Misted Muppet's From The Legend, and that one's got a whole bunch o' dragons in its cover art (shamelessly pilfered from authentic D&D sources, I suspect).

But nay, it's a Profondita we're dealing with, another obvious indicator of such being Dracarys is their second album with Altar Records. The first, Ciel, in fact came out just last year, which I totally missed since it was lodged among a pile of items that didn't catch my attention then (too wrapped up in dark ambient, I guess). I think I'll have to rectify that oversight, because if this album is any indication, then Altar Records have themselves another premiere talent in the prog-psy side of business. I mean, they did earn an Ace Track status on that Winter compilation, rubbing shoulders with AstroPilot and Asura. What more convincing must I provide? Ah, an actual review of Dracarys. Yeah, I can do that too.

The main criticism I can levy against this album is that it's rather singular in execution. Eight tracks, roughly eight to ten minutes long, all prog-psy. No room for a downtempo cut or a leftfield breaks option; even the tempo is relatively consistent throughout, though does get peppier towards album's end. Mind you, these gripes can apply to the whole genre of prog-psy, so if you've not a care about this style of music, Profondita aren't gonna' change your mind. Hell, if AstroPilot can't convince you, I don't know what will.

That settled, front to back Dracarys is some of the tastiest prog-psy I've heard in a while! Altar Records has maintained a steady level of quality for much of its run, but it's rare that an album hooks me as solidly as this one did, and holds my attention until the end. It's not even a case of Profondita doing anything significantly different from the Altar norm – they just do it with such astounding skill. Their rhythms have plenty of drive while remaining that steady rudder the best prog always offers. The trancey leads tickle your lobes while sending your consciousness floating out in the cosmos (or high in the canopy if you're at a bush party). There's no excessive samples or over-indulgent effects wank. Just solid track after solid track after solid track.

I've played prog albums that struggle getting even one memorable tune in, and here's Profondita dropping eight of 'em! Absolutely that's bang for your buck, my friends.

Various - Winter

Altar Records: 2017

Boy, was this one a long time coming. Even without my alphabetical stipulation, the fourth edition of Altar Records' Seasons series was quite late. The first one, Spring, was released way back in spring of 2013, over four years ago! Summer came a year later, then Fall in late autumn of 2015. Nothing too out of the ordinary there, having a yearly series with a release date coinciding with its particular thematic season. The whole year of 2016 went by though, with no Winter to be seen. We were assured Winter was coming though, so we waited, and waited, and waited, but still no dragons, just a bunch of floppy wieners- whoops, wrong 'winter'.

Finally, in late February of this year 2017, Winter was released. I guess that technically keeps it within its established schedule, but yeah, compared to the brisk rate of output from Altar Records' first thematic series, this one sure took its sweet time reaching completion. I mean, it's been so long, it's forgotten its original art-style. What happened to the border runes, and the seasonal kaleidoscope stylee? Sure, this cover art is purty as fresh fallen snow, but rather typical of Altar's usual fare. The others had a distinct flair unto themselves.

Whatever. It's always the tracks within that's important and label head DJ Zen still knows how to find 'em, sign 'em, licence 'em, arrange 'em, print 'em, distribute 'em, and- wait, where's the “mix 'em” in all that? What kind of DJ doesn't mix?

Familiar names that return naturally include AstroPilot, his The Wind Through The Keyhole as solid a slice of ethnic-flavoured psy-chill as anything he's ever put out. Long time Altar vets Lab's Cloud gives us a dubbier offering of psy-chill in Alma Zen, while Suduaya's Clear Water opts for a spritely bit of prog-psy (it's almost 'twinkle prog'!). Hm, both these acts have been Altar staples for a while, yet I haven't reviewed anything of theirs. May have to rectify that. Anyhow, the best of the star players is Asura's The Savers, one of the most energetic, gnarliest trance tunes I've heard Mr. Farewell kick out in ages. Holy cow, where has he been hiding this stuff!

A few newer recruits to the Altar family rounds Winter out. Argus gets two track to open the compilation with, The Time Before a pure ambient dub outing while We Are One dips into prog-psy's waters, as does Profondita's Island. At the opposite end, one half of that group, Eyal Markovich, remixes No Gravity from Unusual Cosmic Process into a throwback prog-psy outing - compared to the typically languid pace Altar loves promoting, it's 'uptempo prog-psy'!

Eh, you've noticed something lacking in these detailings? Yeah, cannot deny the 'winter' theme is rather absent in these tunes. For sure they're all great cuts, but they don't make me feel like I'm frolicking in frosty meadows or snow-capped forests. Maybe dark ambient truly is the best winter music out there.

ACE TRACKS: August 2017

So I don't know how many folks 'round these here parts follow festival news, but I imagine the whole 'Shambhala's Burning' thing had to reach a few eyes and ears of those who do. 'Tis true, for half my time up in that mountain valley, the surrounding air was quite hazy with smoke indeed. Heck, even the drive up there from the coast had us chasing The Eye Of Sauron for most of the trip, though I cannot deny seeing a blood-red moon rise over the hills was a trip in itself every night. Still, when the haze gets so thick that you can no longer see the valley walls, and little flakes of ash start falling like snow... yeah, small wonder a firm evacuation notice went out. On the Saturday, when I saw a half-dozen fire vehicles rushing down the highway across the river the festival takes place, followed by a porta-potty on a flatbed, that was when I realized shit had gotten real. Shambhala shutting down a day early was a bummer, but seemed the right thing to do regardless.

But as I volunteer there as well, I had to stay for the 'cancelled' day to complete my shift work (there's always work to be done!). Good thing too, because a light misty rain had settled in that Sunday morning, such that it by the literal 11th Hour, the call came out that the festival was back on, the fire hazard no longer an issue. Sweet deal, we get a 'bonus' night out of it all, and boy did I need that extra night to just let go, if you catch my drift. It didn't matter that none of the headliners I wanted to check out didn't make it (LTJ Bukem, REZZ, The Orb doing their set a night early without me knowing about it). Dancing in a midnight downpour never felt so vitalizing!

Okay, enough of that. Time for another ACE TRACKS playlist, in typical shorty-August edition.




MISSING ALBUMS:
Various - Welcome To The Technodrome Vol. 4
Etnoscope - Way Over Deadline

Percentage Of Hip-Hop: 0%
Percentage Of Rock: 14%
Most “WTF?” Track: Can't deny the Genesis tracks really clash in this playlist.

I don't know what's funnier: that I have a lot of retro-future music from totally unrelated artists here, or that faux-live music from The KLF is followed by real-live music from Neil Young. The bookends flow surprisingly well, but the middle portion does get rather meefy in the transitions. Maybe I should get back to playlists that aren't alphabetical in order. You know, put more effort into these, make them a listening experience again rather than a seemingly random assortment who's structure is incidental to the music on hand. Mmm, nah, I savour the strange transitions.

Chronos - When Mars Meets Venus (Part 1: Mars)

Altar Records: 2012

It's been two years since I dived into Altar Records' discography with abandon, reviewing their compilations and albums from acts like AstroPilot and... Um, okay, it was mostly all AstroPilot, with a smattering of one-shots from other acts. Chronos in particular though, I name-dropped often, someone who's chance to properly shine on this blog was coming. Um, I'm a little behind schedule on that part. His Helios album was a nice tide-over, but more of a dessert to the main course Chronos contributed to Altar's catalogue, a two album concept release titled When Mars Meets Venus.

Not that other artists on Altar didn't release LPs in rapid succession either. The relatively unknown psy-trance project Monkey Machine put out a pair the year prior, and another early Altar work-horse, C.J. Catalizer, had a steady clip of records too (to say nothing of AstroPilot, but y'all must be getting weary of that constant name-drop). None of them explored a specific theme across two records though, with each part reflecting a different aspect of their muse. When Mars Meets Venus not only cemented Chronos' place in psy-chill's pantheon of skillful musicians, but also helped establish Altar as more than 'just another psy label', showing a willingness in letting artists indulge themselves if they had the songcraft backing it up. The label's had some difficulty reaching that creative high ever since, sans He I Promised Not To Mention Again.

Part 1 focuses on the Mars perspective, which generally translates to an uptempo, 'aggressive' side of things. My inner astronomer can't help but balk at this (Mars is by far the more placid planet when compared to Venus' Hell-fire), but I'm confronting centuries of accepted, artistic lore. Thus we get your steady-pace prog-psy numbers like Leaving Gaia and... uh, actually, there's not much standard four-to-the-floor beatcraft found here. For sure the BPM is of a medium pace throughout, but Mr. Klimenko seems adamant in eschewing convention in favour of whatever broken-beat he can throw in. Arkturus (red bodies unite!) goes for a minimalist ambient techno thing, I think Hi Tech Mosaic is in another time signature than 4/4 (I'm no expert), Sequenced Engine alternates between chunky thumps and bleepy shuffling, and Zirda defiantly messes up the standard prog-psy pace. And wait, is that a touch of the 'wub-wub' I hear in Broken Song? Chronos, how dare you!

Detailing all the fine beatcraft on here would take forever, and that's not even getting into all the lovely melodies and ear-wormy passages too. Shining Parallel World comes rather close to aping classic Orbital, Lullaby For The Little Robot is all sorts of quaint and twee, and Pain Feedback sure wants to get its prog rock on. There's so much going on with Part 1, it feels like the album never ends, lasting much longer than its recorded time-stamp. It's an album that needs repeated listens to digest it all, but with a feast this grand, you can't help but return to the buffet for more.

Various - Water

Altar Records: 2009

Hey, remember Altar Records' Elements series? I reviewed nearly every single one of them (including the 'hidden' sixth element) only, what, two or three years ago now? Eh, I could simply check my archives to verify? Oh, man, that was over five-hundred reviews ago – who has time to sift through that much backlog! Though I'm almost certain, should I skim them over, I'd find a hi-lar-ious claim that y'all wouldn't have to wait too long for Water's review, maybe even a ridiculously optimistic prediction of later that year.

Another thing I should probably do is go back to the other Elements CDs (Air, Earth, Fire & Ether) for a quick refresher in this series' development, but why bother? I have to admit, when I first got the collection, Water didn't stick with me on my initial run of each volume. Not because it lacked dope tunes or anything, but because I knew the other four (plus one!) would require my immediate focus for review, thus letting this one slip by the wayside. Now, with it finally up to the mic' with its chance to shine, Water gets all the solo glory it deserves, none of its elemental siblings crowding it out of the spotlight. At least, I'm assuming that's how I've approached this, because I honestly don't recall Water being this good when I got it way back when. Did I even listen to it before?

Like, the first track is Marianna Falls from Asura, with Charles Farewell executing at his Asuraian best. The languid pace, the spacious sounds, the sense of uplifting cinematic grace... holy cow, how did this song not make the cut on his 360 album the year after? And speaking of Ultimae alum', Aes Dana is here too with Cyan, doing that steady-paced prog-psy thing he often does so well. Androcell also shows up for a rather Balearic bit of psy-dub in Seahorse Dreams, which makes sense given the marine theme of this compilation. Man With No Name's oldie Sugar Rush is also given a lush reworking from a Kanc Cover, more known as Opsy around the time this came out.

But hey, enough about the outside talent, what of the Altar roster, how do they stack up? Pretty good for the most part. Chronos does a widescreen psy-chill thing in Planetarium, AstroPilot ups the pace to prog-psy's chugging domain in Voda, DJ Zen offers up a lengthy goa-breaks-psy-world-chill-trance remix on Zymosis' God Is Mine (it's so long, he kinda' throws everything into the pot), and RA brings Water to a close with a pleasant enough psy-chill cut in Creation Of Tefnet.

If there's any complaint to be had with Water, it's that the elemental theme is only loosely followed upon throughout. Perhaps this collection of tunes have a more 'flowing' feel about them compared to the other Elements, but that's about it. Really, Water is just another solid CD of music from Altar's formative years, which ain't no bad thing at all.

Carbon Based Lifeforms - Interloper

Ultimae Records/Blood Music: 2010/2016

I didn’t think I’d ever get this album. Hear it at some point, sure, all of Carbon Based Lifeforms’ music available on streaming services now. Unlike their first two though, which Ultimae would re-issue in anticipation of a new CBL album coming out, Interloper only had its initial run. I’m not sure why they didn’t re-issue it with the release of CBL’s space ambient opus Twentythree - both Hydroponic Garden and World Of Sleepers were, with spiffy new cover art and everything. Maybe it was still relatively new, so hadn’t yet gone out of print like Ultimae’s older CDs? It wasn’t long before Interloper did sell out though, now commanding exorbitant prices on the open market. And since it seems unlikely Ultimae will re-issue any of their old catalog on CD again, yeah, I had resigned myself to having Interloper missing from my collection.

Then I caught wind that CBL were re-issuing their first three albums on CD anyway, plus vinyl options too. Holy shit! For sure it wasn’t Ultimae doing it, and I doubt they could afford it on their own Leftfield Records print (that’s digital anyway). Nay, they turned to a nearby Scandinavian outlet that specializes in all manner of record distribution: Blood Music. Wait, the death metal outfit that’s given synthwave poster-boy Perturbator a home? I… I mean… that is… how in…? WORLDS COLLIDING!!

So now I got myself a CD copy of Interloper (care of Blood Music. Blood Music!), and I have to say this was not the album I was expecting. Given the original foggy cover art and CBL’s ongoing drift into more minimalist songcraft, I figured this album would be the logical step between World Of Sleepers and Twentythree. Not in the slightest. If anything, Interloper just might be the most ‘pop’ album in Ultimae’s history.

The duo has had its fair share of sublime melodies - MOS 6591 from their debut undoubtedly their peak – but it isn’t their defining trait. This album, though, has ear-wormy melodies to spare. The titular opener hits you with an immediate winner; Supersede sounds like elements of Epicentre (aka: the other memorable melodic track from their debut) were repurposed for a prog-psy groover; Frog has an overwrought twee melody that could be an ambient track on a Solarstone album; M seems to have movie credits in mind; and Polyrytmi, after a lengthy, subtle build, erupts at the end in such a way that would have even Solar Fields saying, “uh, maybe tone it back a bit.”

Examples of the downtempo acid-chill CBL are known for do exist between these big moments, some with a few new wrinkles added. Right Where It Ends, with its treated vocals and unconventional rhythm, wouldn’t sound out of place on L.S.G.’s Into Deep; Init and misleadingly titled 20 Minutes adds glitchy beats; but by and large obvious melodies dominate Interloper, with a few vocals thrown in for good measure. A handy introduction to CBL for associates not so inclined to the underground side of chill-out music, this.

Various - Greenosophy Chapter II: Collected by Mizoo

Ultimae Records: 2017

This label’s full of surprises as of late. Not only have a couple unexpected acts returned with new albums (Scann-Tec and James Murray), not only did a new live album get released on CD (necessity of said live album still up for debate), not only did some melody return to one of their releases (Eyes To the Height), but now a follow-up to Greenosophy too? Who’d have predicted that?

No, seriously, I wonder, because the original compilation came out a half-decade ago; and honestly passed with little fanfare. Mind, it didn’t do the Mizoo project many favors having its release scheduled between two Solar Fields albums. Not to mention Fahrenheit Project wrapping up the year before, plus the additional compilation of Ambrosia coming out within the same twelve-month period. Oh, and a follow-up to Oxycanta the year after probably whisked away whatever ‘Another Ultimae Compilation’ buzz Greenosophy had going for it. Timing just wasn’t the best for that particular CD, is what I’m saying, and with Ultimae moving on from festival-friendly, mellow psy into the domain of dub techno for their chill offerings, would there be a need for another Greenosophy at this point? Sure, Mizoo could adapt to the label’s current aesthetic as Nova did with Passages, but that’d just be redundant at this point.

A glance at the track list didn’t dissuade me from that assumption either. Scann-Tec’s here, Cell is here, MikTek’s here, and Aes Dana crops up twice. All musicians I like for sure, but also clearly infatuated with dub techno’s aesthetic as of late. Mizoo opens Greenosophy: Chapter II with prog-psy veteran Ovnimoon though, his track Algun Dia more a moody, mysterious ambient piece with a gentle bleep melody lazily drifting along the droning pads. A nice opener, but then we go deep into experimental dub with Claudio Prc’s Domo, the sort of ultra-minimalist track that would have been an experimental piece during Plastikman’s Consumed phase. We’re in for a bit of a trudge in this one, aren’t we?

Not in the slightest! Scann-Tec’s Parsec was one of the better tracks off his Unyt album, and we get a tasty edit of that here. Following that is Security from Cell, doing a… prog-psy thing? Whoa, I don’t think I’ve ever heard Cell up his beats this much. It’s still relatively chill and all, but definitely at a foot-moving pace. And the two Aes Dana tracks that follow (including a collab’ with Mizoo) maintain the pace, though still keeping things on that minimalist vibe he’s been infatuated with as of late. And in case you didn’t get enough melody from Murray before, here’s I Awake and Hybrid Leisureland giving us a straight-up psy-dub outing in Metaworld. Haven’t’ heard something like that from Ultimae for an age.

For the tail-end, Mystic Crock brings acidy downbeat, Ascendant provides a bleepy prog-psy track (trance!), and MikTek does his usual widescreen trip-hoppy thing. All this leaves me thinking, “Please don’t let the next Greenosophy be another half-decade in the making.”

Aquascape - Underwater Stranger

Altar Records: 2011/2012

Label raids are good fun and all, but there does come a point where all the intriguing releases run out. There’s only so deep down the rabbit hole one should explore before considering just how necessary total and utter completion of a label collection is necessary. No, it’s true – no single print is one-hundred percent infallible. Plenty are ace, top grade even, with track records shaming many of their contemporaries. A perfect run of platinum quality releases though? Not bloody likely. Even my all-time favorites (Ultimae, Turbo, Waveform …Cryo Chamber yet?) have a few CDs in their catalog that, in hindsight, I really didn’t need to have. To say nothing of other labels I’ve dug into over the years.

Take Altar Records. They’ve a few acts I’m quite committed to scoping out with each album, and digging further has revealed a number of solid CDs along the way. That said, the label’s assorted yoga and meditation offerings definitely are not on my interest list, nor can I say I’m committed to checking out every psy-chill act that gets signed to them. Having exhausted most of the recognizable name, however, I’m left with an alternative selection process: does it have interesting cover art? Well hey, this Aquascape looks unique compared to the usual ultra-mystical stuff Altar goes with - simple, elegant, inexplicable manta ray. Sure, I’ll give this a shot, fits nicely with the ‘water theme’ I was splurging with at the time anyway.

And boy, was I not expecting this. A decent collection of psy-chill, sure, Altar’s early track record pretty spot on for this sound. Aquascape though, they kinda’ slipped by my attention, even after giving their Voice Of The Universe track on the Air compilation an Ace Track honor. The duo, comprised of Andrey Kostomarov and Anton Salikov, didn’t stick with Altar for long though, mostly contributing to Tunguska Electronic Music Society compilations and, more recently, Plusquam Chillout. Lord Discogs tells me they’ve only released one other album since Underwater Stranger, a digital LP on Tiger Grass Records called Sunrise In Fog. Damn, I hope that’s just incomplete information, because if this album’s anything to go by, they’ve got a good sound going for them.

Right, their take on psy-chill does occasionally dip close to the shores of sappy New Age stuff, but never such that I get my cringe on. Mostly, we’re fed a steady diet of dubby grooves, acidy sounds, and guitar solos. Oh yeah, Anton provides various acoustic, flamenco, and spacey guitar work. While not on the level of Steve Hillage, it adds a fresh dynamic to your standard psy-chill tropes.

I won’t deny Underwater Stranger lacks the sort of tunes that leap out and grab your ears by their balls (!?), but it’s an album I find enjoying front-to-back every time, easing me in for a smooth, chill ride as I go about my business. Music good enough as wallpaper, but dynamic enough for those times you want a little zone-out time too.

Cosmic Replicant - Soul Of The Universe

self-released: 2014

Another album from the Cosmical Replicantian One I snagged for free at the ever-awesome Ektoplazm.com. However, this one differs quite a bit from the other, Landscapes Motion, and not simply because Soul Of The Universe is a proper full-length album (the other was more a mini-album). Just based on cover art alone, it’s almost as though we’re dealing with two entirely different producers: one a barren picture of rock and dirt, the other a rather cheese-ball bit of New Age space CGI. Another key difference is that Landscapes Motion came out on Pureuphoria Records, whereas Soul Of The Universe was strictly self-released by Cosmic Replicant, with no label backing. Wait, I understand why Landscapes wouldn’t have been picked up by Altar Records, that five-tracker far closer to the domain of dub techno than anything a psy-chill print would have interest in. This album though, it’s totally up Altar’s alley, about as psy-chill and prog psy as anything they’ve put out.

Wait-wait…! Prog psy?? I thought Cosmic Replicant was all on that bleepy downtempo shi’. Since when has he done something as comparatively hyper-active as prog psy? Possibly right from the beginning on his debut album Future Memories, but I still haven’t taken that LP in full yet, so I cannot confirm nor deny Pavel’s always had an inclining. Lord Discogs tells me there’s ‘Progressive Trance’ on that album though, so I’ll take it that The Lord That Knows All isn’t deceiving on that front.

But yeah, most of what I’ve heard from Mr. Shirshin seldom breaks the 100 BPM mark, hence hearing the dub techno off Landscapes Motion being such a surprise (to say nothing of the unexpected genre leap). Having more uptempo material on Soul Of The Universe has truly thrown a wrench into my preconceived notions of what a Cosmic Replicant release may entail. If he suddenly puts out a dark ambient opus on Cryo Chamber or teams up with Banco de Gaia for a remix, my tidy compartmentalized music world shall be split asunder as only AstroPilot has proved capable of doing thus far. Not bad company at all.

Dodgy cover art aside, Soul Of The Universe is a solid enough album of psy prog-n-chill tunes, such that I’m surprised Altar Records didn’t pick this up regardless. Were they afraid of Cosmic Replicant overload with Mission Infinity already slated for release on their 2014 calendar? And while having prog psy on this album was surprising enough for me, I’m just as impressed by Mr. Shirshin’s handling of the genre, each finely crafted examples of the sound that fans shouldn’t overlook. My only quibble with Soul Of The Universe is its lacking the identifiable ambient ‘bleep’ techno vibe that I’ve come to expect from Pavel, the downtempo cut I Robot and chill acid tune Exotic Species about the closest we get in that vein. Kinda’ makes this album difficult to stand out from the annual glut of prog psy without those distinct HIA charms.

ACE TRACKS: August 2016

I miss nRelate so much. Why did it have to shutter its servers? Engageya was an alright substitute though, despite only ever crawling my blog a year’s past for related content. Unfortunately, I think that service has been compromised by scammers, as a strange link to A Trip In Trance 4 started cropping up in its recommendations. Bear in mind I had not yet gotten to that CD, the link referring to the original review from way back. I did click the link, and when Chrome gave me the trusty “This Website Will Fuck Your Shit Up!” warning, I backed out, and promptly removed the app. I tried contacting Engageya regarding the situation, but never got a reply. Hence, back to LinkWithin, a serviceable option, but hopelessly limited. Plus, why does it suddenly stop at January 2013 for suggestions, then pick up again December 2014? It’s got lots of weird gaps like that, but eh, better than nothing. Maybe one day a proper nRelate replacement will emerge. Maybe…

Speaking of milestones, I just passed the 1,000th release reviewed for this blog! Turbo Studio Sessions (Vol. 3) earned the honor, and I can’t think of a better pair of CDs to have done the deed with. Erm, even if it was just an uploaded older review of electroclash. If we’re to get proper-technical about this though, Turbo Studio Sessions (Vol. 3) wasn’t the 1,000th release reviewed on this blog at all, as there’s still all those original uploads from EMC’s initial launch. I seldom count those in any interesting stats, but if I did in this case, then Michael Mayer’s Touch would have been the real 1,000th. Oops, kinda’ missed that one. Okay, enough blather, here’s ACE TRACKS for the month of August 2016!


Full track list here.


MISSING ALBUMS:
Various - Turbo Studio Sessions (Vol. 3)
Various - Tunnel Trance Force Vol. 30
FPU - Traxxdata
Various - Transmissions From The Planet Dog
Various - Trancespotting II

Percentage Of Hip-Hop - 0%
Percentage Of Rock - 8%
Most “WTF?” Track - Any of Neil Young’s vocoder stuff. The sheer audacity of it all!

Easily the biggest August Playlist I’ve ever put together, though that’s not saying much. Most Augusts I take a two-week festival vacation, and one year I didn’t write anything at all. Despite still dealing with a bunch of TRANCE music, there’s at least some extra diversity compared to July’s playlist. A splash of rock, a sprinkle of jungle, a peppering of synth-pop, and a smash of psy. Oh, and The Hip. As coincidental as their inclusion is, I’m glad they get in here as well. It seems appropriate.

Akshan - The Tree Of Life

Altar Records: 2012

When exactly did Altar Records get their break? Was there positive buzz right from inception? They certainly had enough talent on hand to give them a solid foundation, though much of it was on loan from established prints, names that had already made a mark elsewhere. Truth is when I browse through the label’s early catalog, I don’t see many standout releases beyond the key acts that went on to become staples (AstroPilot, E-Mantra, DJ Zen ‘natch). I didn’t come around to Altar until way late, and most folks I knew didn’t either. Something had to be that trigger though, a catalyst in gaining more eyes beyond early adopters. Seems this debut from Akshan is often pointed towards as one such contender, an album catching the ears of many who’d never even heard of Altar before. Looking at other releases from the label about that time (Solar Walk 2, When Mars Meets Venus, Silence, Fruits Of Imagination re-up), yeah, I suspect mid-2012 gave a good bump for the boys from Quebec.

Akshan more commonly goes by the name of Vincent Grenier, but Lord Discogs doesn’t give much more information than that. Nor does it reveal any prior work to this one, The Tree Of Life not only his debut record on Altar, but debut period. He apparently spent some time honing his craft in the years prior though, a practice that paid off when he finally struck a deal with Altar. For if this LP truly is his first offerings made available to the public, The Tree Of Life is a darn slick first impression. I’d expect nothing less of someone stating Ultimae as an influence.

Mr. Grenier also states Juno Reactor as an act taken cues from. I can hear that, Akshan leaning rather tribal compared to Altar’s usual fare, though not in any overt manner. Tracks like Jungle Fever and Back To The Origin mostly stick to the widescreen prog-psy stylee Altar consistently dishes out, but throws in more sounds and rhythms that recall some of Ben Watkins’ heavier moments. Elsewhere, Adagio For The Braves has a breakdown that features the famous Chief Joseph “I will fight no more forever” speech, though not to as great effect as Peyote’s use of it if I’m honest. Still, that melody after… damn…

As for the rest of The Tree Of Life, it’s an Altar Records album. Um, I’m not sure what else to say beyond that. Most tracks follow a similar template of moody, ambient build, establish a slow n’ steady prog pulse, grow in intensity with subtle swirly, trancey sounds, finally peaking out with a lengthy, cinematic piece at the end. Angels Never Cry has spritely melodies, Symphonic Tendencies indulges the acid along with orchestral swells, Eternity uses stuttering voice pads, and final track Waiting For You features an extended symphonic denouement. There honestly isn’t much variation between tracks but if you fancy your prog-psy and chill with a melancholic flavor, you’ll definitely enjoy The Tree Of Life.

ACE TRACKS: February 2016

Oh my God, did February ever suck. Okay, there was that kick-ass Deadpool movie in there, plus d’em Golden State Warriors continue to astound in ways I never thought possible with NBA caliber basketball before, but in terms of getting significant work done with this blog, ugh what a slog. Never before have I been afflicted with flu aches/dizzying fever/curse of Cthulu symptoms like that, and I pray I never do again. That said, I did accomplish a couple things, one of which being an obvious fresh coat of template-paint here, hopefully making things a little easier on the eyes now. Also, I’ve added a couple Pages to the side-bar, one to keep all past and future ACE TRACKS playlists in an easy-access point, plus a FAQ for anyone still not up to speed on what this blog’s all about.

My main goal though (and thus far failure), is organize that gargantuan cloud of labels into something resembling a glossary or table of contents. Give folks easier navigation through the insurmountable back-catalog of reviews that’s accumulated, y’know? I’ve yet to find an easy fix for this though, and I’ve been told nothing short of a complete, ground-up redesign would accomplish what I want. *sigh* Am I gonna’ have to learn to actual code now, and not rely on templates? How was I to know things would get so big?


Full track list here.

MISSING ALBUMS:
Various - Summer
Various - Simulus
Ciaran Byrne - Nine Lives Causeway
Various - Montreal Mix Sessions Vol. 5 - Tiga: Mixed Emotions

Percentage Of Hip-Hop: 0%
Percentage of Rock: 0%
Most “WTF?” Track: Nothing at all.

Hope y’all dig the Psychonavigation Records love-in here, as that’s practically the entirety of this playlist. Even the few albums outside the Dublin print mostly fall within a similar style of music. Thank God for Tiga bringing a tiny bit of variety here, but I thank God for Tiga about many things regardless. I'm kinda’ surprised this playlist’s as long as it is too – felt like I got through barely anything this past month, but at least this bulk of alphabetical backlog is finally caught up with. Finally get to move onto a brand new letter, with fresh genres and fresh labels! …including two more Psychonavigation CDs, and a Carpe Sonum CD within the first week.

*sigh* Y’know, I think I'm actually starting to look forward to that eventual review of Live's Throwing Copper.

Various - Summer

Altar Records: 2015

Feel that in the air? The warmth, the brisk breezes? Why, you could almost claim it summer now! What's that, everywhere east of Vancouver? You're still all cold and bitter and wretched and miserable? Sucks to be you then. Why, y'all could never listen to this CD from Altar Records so ludicrously out of season and appreciate it with appropriate weather beaming through the windows. True, we had to put up with some three-hundred million gallons of rain before getting to this balmy June-ish clime’ we're enjoying deep into February, but now that we do have it, our smugness knows no bounds or remorse. Still, DJ Zen better hurry up with the Winter edition of this compilation series, lest the window of season appropriate street dates pass by. Quebec may deal with snow all the way into July [citation needed], but officially winter’s done on March 21, less than a month away from the time I’m typing this. No pressure, yo’.

Summer is probably the most predictable of these Season CDs thus far, in that DJ Zen couldn’t help but gear his selection of tunes for the outdoor party vibe. The entire psy scene is practically predicated on flailing under warm, starry skies, on tropical beach fronts or in cool forests at night. You sure wouldn’t throw a psy party on an alpine glacier, is what I’m saying (though that’d be a pretty dope setting for a Biosphere concert). And while I’d applaud the Altar Records head if he took a musical gamble for this volume, there’s no thematic point in eschewing a sure thing like this. Summer is the psy-tranciest season of the year, so DJ Zen may as well give us the psy-tranciest CD out on Altar Records he can muster.

And the first few tracks promise as such. Groovy psy-chill is always a fine way to open a compilation of this sort, and Sudaya provides a scorcher of a track in Over The Edge, synths and pads soaring in from deep cosmic realms. It’s a bit on the hammy side, but so earnest in delivery it wins you over regardless. By cut three, we’re already in prog-psy’s uptempo realm, Elea’s Yãtrã getting its world beat vibes on with plenty o’ sitar action. A couple solid psy tunes after that from E-Mantra and Merlin, and then Summer plummets right off a cliff.

No, but really, I thought plodding numbers like Alwoods’ Blue Horizon had long been left to the monotonous era of minimalist dark psy fifteen years ago. And why is it over eleven minutes long? Hardly anything happens during that length, it doesn’t build to anything substantial, and we could have had two cool tracks instead for that amount of runtime. Even Iboga Records never got this monotonous. Much.

One bad track isn’t a deal-breaker for Summer, with AstroPilot, Abiogenesis, and Asura rounding out a decent enough finish. Given the strong start of this CD though, such a dud does leave an unfortunate aftertaste.

Astral Waves - Magnetique

Altar Records: 2015

I always keep forgetting this, but Astral Waves is Gabriel Descoutieras, more commonly known as DJ Zen; aka: the head of Altar Records. This isn't some scene secret or privileged information. Heck, just last year, I made mention of it in the Fire compilation review. He doesn't turn to this alias often though, so it's easy to overlook his association with it. I believe he's only released two proper albums as Astral Waves anyway, including this one. The first, Mystique, came on Monsieur Descoutieras' original print, Sunline Records. After getting Altar Records up and running, he returned with Magique, a remix album of other Altar artists. Oddly, this wasn’t made clear on the backcover, tracks listed as though they were his tracks. Um, oops? There’s also a very recent collaborative album with one flutist Aeolia called Yoga Temple, which looks to be exactly like what it says on the title. Pass on my end, thanks.

So DJ Zen doesn’t get behind the producer’s chair much, content in being a facilitator for other artists while giving them a spiffy mixdown and super-spiritualized cover art. In terms of music and talent, I’ve often mentioned Altar comes off like a little sibling of Ultimae Records, but their overseers are definitely cut from a different cloth. Aes Dana is quite prolific on his label (by Ultimae standards anyway), while DJ Zen’s much more chill. I sense a reason for that though - and oof, do I feel a bit of a cad typing it. Aes Dana just has more unique ideas worth exploring as a producer than Astral Waves.

For sure, Mr. Descoutieras is a solid producer, crafting his psy leaning chill and prog as capably as anyone on his roster. He may not kick out as much music as AstroPilot, E-Mantra, C.J. Catalizer, (Altar namedrop, etc.), but he definitely knows what works for the genre. Opener Emergence with Suduaya (France) and Sukhush (Brooklyn) (!) does the dubby bliss-out vibe with extra flute action, Le Rêve Éveillé with Sufi’s Life and Merlin (really, Lord Discogs, the fortieth Merlin?) ups the tempo into prog-psy’s domain, and Les Liens Du Sang with Aureohm (singer from Costa Rica, I think) soars in that spaced-out hippie-flail way any solid outdoor party goes. Astral Waves goes solo for the next two cuts, the happy, spritely Déploie Tes Ailes (que?) and darker groover La Danse De Elfes (ooh, I know what that one is in English!). There’s another spaced-out prog-psy cut with a rub on Androcell’s Efflorescence, plus two collaborations with Alwoods in Suntrap and L'Oiseau De l'Aube, both going more goa (acid! nice).

And yet, through all of Magnetique, I can’t help but feel this is just DJ Zen ticking off the things that makes this music work, seldom exploring it any further. There’s good tuneage here, yet with so much collaborative work, nothing I can identify as a definitive Astral Waves stylee. Maybe that’s all we need from the Altar Records curator though.

ACE TRACKS: January 2016

*sniff, sniff* What’s this I smell in the air? Is that… free CDs? Why, some friends are moving soon, and are looking to offload a little excess packaging. Most definitely I’ll be willing to take some of them for you, give them a new, comforting home. How many do you have? Thirty, eh? Mostly alternative rock… some old and new folk stuff… a little soundtrack fodder… ooh, a few key albums that I really should have in my collection. Yeah, sure, I’ll take the lot. I’m already plenty encroached within my apartment, what’s another mini-pile of discs at this point? I feel like I’m forgetting something here though, something that’ll impact my routine in the near future. Wait a second… oh, oh no! Dear God, why do I keep doing this to myself!?

Anyhow, here’s the ACE TRACKS playlist for January 2016.


Full track list here.

MISSING ALBUMS:
AuroraX - Evolutionary Journey
Dr. Octagon - Dr. Octagonecologyst
Various - Fall
ASC - Fervent Dream
Dao Da Noize - Kalam
Banco de Gaia - Last Train To Lhasa (20th Anniversary Edition)

Percentage Of Hip-Hop: 5%
Percentage of Rock: 0%
Most “WTF?” Track: Anything Dr. Octagon. You’ll laugh, you’ll cry, you’ll hurl.

Way heavy on the ambient, atmospheric, and chill music, this one. And what does come with a beat is almost exclusively the domain of the psy scene. There’s a few sidetracks along the way – Perturbator, Dr. Octagon, Liquid Stranger kinda’ – but all these label splurges has left me a playlist of primarily similar-sounding tunes. Thank goodness for Psychonavigation Records’ freewheeling genre hopping, eh?

As such, this may just be the most cohesive sounding ‘alphabetical arrangement’ playlist I’ve done thus far. Or the most boring, if you crave dynamic mixtapes.

AstroPilot - Fruits Of The Imagination 2

Altar Records: 2012

A ‘revisiting’ of an album half a decade after the fact isn’t so daft. Artists grow as they continue making music, evolving their craft as they adopt new styles and techniques into their repertoire. And if any record out of AstroPilot’s discography deserved another look, it’s Fruits Of The Imagination. For one thing, it was released on Avatar Records, and Mr. Redko had long since made a home for himself on Altar Records. With each passing year, that first album grows more difficult to find on the regular markets, and he very well can’t grab the rights back from Avatar for a reissue on Altar. Okay, maybe he can eventually, but in the meantime, how about that ‘revisit’ concept to tide things over? Most of the original’s elements can be used again, and this time given the once-over with learned skills and adopted genres.

For instance, there really wasn’t much prog-psy on Fruits Of The Imagination Prime. That album was sort of a blend of world beat and psy dub, with a few visits into breaks and psy along the way. Five years pass, and AstroPilot has shown himself very adept at breaks and psy (ambient too), and he’s beefed up everything to reflect that. Structurally, they’re still mostly the same tracks, but there’s more detail to his music now, beats more dynamic and timbre more expansive. I wouldn’t go so far as to say it dates his first album, but it does sound more basic and unrefined compared to Fruits Of The Imagination 2. For folks getting into AstroPilot’s music in the here and now, this is probably the better option for a purchase. And if you already have Fruits Of The Imagination The First, Mr. Redko entices a secondary purchase with a new, unreleased track called Asian Express, a floaty bit of ethnic flavored prog-house as heard from the way-before days of the ‘90s. Okay, so maybe that isn’t so tempting for a wholesale re-splurge. ‘Tis a nice bonus for us late adopters though.

Oh hey, I haven’t even detailed any of the actual tracks here, have I? Silly me, providing comparisons between two albums all the while assuming y’all have heard one or the other. Hell, this is all assuming it’s AstroPilot fans reading this to boot. Come to think of it, I’m taking a leap of faith on figuring folks even know or care much about the psy-chill scene to begin with, what with dropping genre tags and label names. Why, someone reading this could very well not even be into electronic music, only here hoping for another dalliance into hip-hop or rock music. Help, I’ve fallen into some sort of perspective pit!

Sorry for that. Truth is Fruits Of The Imagination, in either form, isn’t the most exciting AstroPilot album to talk about. He skillfully hits the standard tropes of psy-chill word-beat prog (etc.), with 2 being the obviously more polished version of the two. Some may prefer the older’s rougher edge though.