This’ll be of interest to many here, I expect – Lab4’s latest release is appearing on Hard Trance Europe, and the label is running a remix competition with a release on the label as the main reward. Of course that would probably meaning sticking to the hard trance genre in some form, but there’s surely a ton of potential for a more NRG-style track here too.
If you can stomach a touch of social media blackmail to get the files themselves then you’ll quickly be up and running. The competition runs until the end of next month.
As I’m danger of falling behind recent big announcements I’ll break with tradition and catch up with a few of the main ones in a single post. Good training for the hopefully regular appearance of some longer writing on the site this year, too.
Heading the post is the opening track from Proteus’ upcoming artist album. Rather than NRG or anything like it, instead this sounds very much like something that could have appeared on Platipus back in the day, which is of course high praise. The second track, Gute Nacht has also gone online and shows a more familiar darker style – if the previews maintain this standard then it’s going to be quite the release. Plus there’ll surely be some older-school, pacier tracks in there somewhere.
Possibly the biggest freeform announcement is the recent release of Future_Proof Sounds’ second compilation, a strong collection of tracks with Japanese representation from Hyphen and Kokomochi. Kokomochi’s If Not Machine has shades of ikaruga_nex and is a fine follow-up to Iron Sky.
We’ve also got another label entering the scene in the form of Skeny Tracks – it might lean towards melodic freeform and UK hardcore but the first release Retrofuture features a really impressive selection of newer artists from around the scene. Hyphen’s here of course, but watch out too for Sanaas’ Beastout.
Finally for now is an excellent hour of mixed tracks from BRK. Featuring a full tracklist of his own material plus a solitary remix, this is quality stuff and another clear step up for his productions. The collab tracks with GULD and NEON give the set some welcome variety, while Kaos Lodge is one of his strongest tracks for some time and a well-chosen finale.
If you’re keeping up on your goa releases you’ll know that Terraformer appeared about six months ago on Russian label Global Sect. There was a bit of a mixup with my order that has since been very smoothly sorted out by Adept, so it’s finally time to give it some space on TYFTH.
Global Sect continue to go the extra mile with the design and visuals of their releases, and while the spacey theme isn’t as strong as the more organic Mystery of Crystal Worlds the 4 CD physical version is still an incredible sight to behold. Although I might have been right to wonder if there was really enough top-level goa floating around at the moment for such a huge release, there’s a nice variety going on here with some more quality curation giving each CD a strong identity.
CD 1 is as good a start as you could possibly hope for, with a fine selection of Russian tracks joined by Mindsphere’s fabulous Enchanted Land. Alienapia’s Are You Mad? is a nice return to form, but The Essence of Bhagavat-Ghita is yet another excellent track from Psy-H Project and probably my favourite of the CD.
The second CD is more experimental with fewer heavyweight artists, but also as a pretty consistent sound that works in its favour. Edge of Infinity is about the oddest with its piano and guitars, while my favourite might be Clementz’ Conquer the Universe.
CD 3 is more uplifting and features some very strong tracks. Mindsphere’s Hidden Death is one to look out for, as well as the obvious choice of Gaura Nitay. Of the more uplifting tunes I most enjoy Raving Universe’s Ascension, but there’s plenty of quality from Zopmanika, Fiery Dawn, and Artifact303.
The final CD is entirely downtempo, maybe to follow the success of Artifact303’s outro to Mystery of Crystal Worlds. There are some lovely atmospheres here, but Liquid Flow’s Even Horizon sounds suspiciously like a typical goa track with the bpm bumped down a bit…there’s more to most downtempo tracks than that, it turns out. This was the first time to hear Fiery Dawn’s slower work, and the acid lines really do a fine job at this speed.
The absence of E-Mantra aside, this is clearly a very impressive release. Global Sect deserve support for these huge projects, and with something here for almost any goa fan there’s really no excuse not to.
Another addition to the growing list of interesting BRK collabs, this one features UK freeform’s Eryk Orpheus. An unexpected combination of artists, and the clip is very promising – not sure about release info yet but it’s one to keep an eye on, for sure.
I also should have mentioned BRK’s Love Like This, a collab with very occasional producer NEON that definitely sounds like both had plenty of input during production. Featuring one of those never-ending hard dance breakdowns, the track makes very good use of it with a really nice drop.
Presumably we’re all familiar with Blue Revolver, 2016’s fondest of fond tributes to the modern(ish) shmup? I usually manage to restrain myself from too many game-related posts here, but BR sneaked through thanks to Wyrm’s sound design and a pretty remarkable OST from Qygen. Plus of course there was the excellent collection of remixes, including the return of ikaruga_nex and some lovely stuff from Hyphen – the game itself’s a must-purchase if you’re even slightly into the genre, but at the very least you need the soundtrack, which was comfortably one of the best freeform releases of the year.
Black Label is a CAVE style rebalance/update of the mechanics and frontend, with a genuinely interesting list of new additions. What’s bolder though is an arranged version of the soundtrack, wisely deciding not to try out-freeforming Qygen and instead taking things in a more conventional soundtrack direction. Exemia and Hagane are nice choices for remix duties (especially after Exemia’s quality work with Aerolith Aurorablast), and Hagane’s lush, breakbeaty take on Qygen’s tracks is sounding very successful so far. Black Label will be appearing in January next year.
PID has been near the top of the now-lengthy ‘promising newcomer’ list for a while, so it’s good to see him making some even bigger strides this year. We Are Finally Here is a contender for his strongest track so far, with one of the best structures I’ve seen for a while.
Give it a listen all the way though and if you’re anything like me you’ll be more impressed the longer the track plays, particularly post-halfway. The Nomic influence is there from the start, along with plenty of other touches that point towards various flavours of FINRG. Filters and a strong opening melody are all well and good, but when the breakdown first appeared with some percussion to add interest I was afraid that was where things might start to tail off. Not a bit of it – instead a lovely distorted lead goes straight into a Carbon Based-esque filters-and-kick drop, followed by a new spin on the main melody that has the track flirting with very high level territory.
The production isn’t at those same levels just yet, but this is still an excellent track that bodes well for the future, especially now that PID seems to be thinking about putting together an album of his own material.
Although a heroic effort at turning NRG into an acronym was the first thing I noticed here, Japanese label Masamune’s Neologism Raving Generator might actually be one of the most important freeform albums of the year. It’s also another one that should have decent appeal across the whole scene.
Most encouraging is the sight of some new artists stepping up with some very high quality production – Nizikawa’s Ebrietas might be the track that finds the firmest middle ground between uplifting melodies and the more aggressive stuff. The majority of the tracks have most in common with the sound of the UK scene, though there’s a definite J-Core influence to some of the melodies that comes out especially in a couple of polysha’s collab tracks, Omniverse especially.
Sanaas’ PALLADION sounds like a really impressive uplifting track, while Hyphen’s Meaningless C.O.D.E. is one of his strongest for a while, at least to my ears. Unsurprisingly it’s Morita Yuuhei’s Redemption Song that’s my early favourite – the moment I heard the preview I started running through set ideas. I shall definitely be using that one.
Neologism Raving Generator was released at last weekend’s M3, but it’ll likely follow the lead of Psychic Formers and eventually be available online.
update: The CD is now available via Diverse Direct and the Tano*C Store. I’d recommend the former – just after placing an order I noticed the ‘For Oversea’ section with an unusually clear guide in English. Postage abroad seems pretty steep if you’re only ordering a single CD, mind, so it might be a thought to add a couple more to the basket.
Who’d have thought that it would end up being difficult to keep track of new freeform releases in 2017? Electronica Exposed’s 15th anniversary is one of the biggest, and an essential buy.
Happily, this landmark for one of the most important labels of them all has as wide ranging and high quality a tracklist as you’d hope. Most of the UK freeform tracks have a nicely acidic, old school feel to them, while there are some real heavyweights on the Finnish side – remixes of Cyclone and Harder Than U Think, along with Alchemiist’s rework of Can U See Now are all unmissable.
Now this here is an overdue post – and yet it now turns out to be something of a hopeful preview of things to come. Sherkel’s no stranger to any visitor to TYFTH, but after gophering away for years on his own productions it’s surely time for a post to help them be heard more widely.
Since the upload a year or so ago of Night Falls, a full mixed set(!) of NRG and freeform experiments that had some very promising moments, Sherkel has hit on a incredibly distinctive style that takes his melodies in a (slightly) more conventional direction and pairs them with an unbelievably accurate take on elements of Einhander’s sound. That second bit really is something, somehow nailing not only the trademark Einhander lead sounds but also his filtering techniques. For good measure a number of Sherkel’s tracks also emulate Einhander’s percussion style, as heard in Yarai, my choice to headline the post.
Yarai‘s melody is a rework of a Pokemon OST but still has the distinctive Sherkel style – I can’t stress enough how impressed I am to be describing such a new artist’s productions (or pretty new to NRG, at any rate) in those terms. That incredible filtering gets a run out here, and the track is a fine example of Sherkel’s work post-Night Falls. You might also notice that Yarai is already nine months old, but happily there has been plenty of progress since. edit: The version at the top of the post is now the updated, full length track from January. More recent tracks have definitely upped the level once more, giving me hope that at least some will be completed and online before too long. A Night Falls 2 would already be an impressive set.
I should really have mentioned by now that FINRG’s latest EP has been online since last week, as I suspect you’re going to have to search hard to find a better freeform and NRG release anywhere this year. The ever-reliable combo of Alchemiist and Substanced has done it again with Dead Silence and its freeform remix, two tracks that definitely play to the strengths of their genres.
This might in fact be the darkest release since a certain compilation and I’m really looking forward to trying them out in a set. Both are available now from Beatport.
