Thanks to Benjamin Halfmann (Audiomatic) for uploading this full lenght track to soundcloud.
Now I want to analyse this track from 2013 to show a real contrast to the last one from Hallucinogen – LSD, which has been produced nearly 20 years ago.
Even if the Hallucinogen track on soundcloud is mastered for new (what I guess), you can see at the soundwaves, what happened to actual productions – they are pumped up to its limit. Compression, limiting, loadness maximizing a.s.o. The internet forums are full of tips and tools how to pimp your loadness. By the way – I really love it, if it is done very well and every drum sound hits you like a slap in the face So, from my point of view Audiomatic refined this piece from DNA and have made the best of it.
Before I start to analyse the track in detail, I want to point on the (for me) outstanding and obvious element – the very artifcially designed tone colour melody (Klangfarbenmelodie). It is more a motif, because it is very short; first presented at 01:37 – 01:41. That is the clue of the whole piece for me and what makes the piece a modern one – disregarding from the digital electronic sound production!
Beats per minute and key of a track could be optained from a mp3 store in the meantime, which is 138 and Gmin. The introduction lasts until 01:10 (Falsification of thesis no. 10 „Why psytrance has become shit“ ). During this first scene one can hear three so called „uplifters“ 00:00 – 00:07, 00:29 – 00:35 and 00:48 – 01:10 (without hall flag). After the first one (airy synthsound with a long hall flag) a deep and constant synthbass can be heard as well as the quite pulsation of the high-pass filtered bass drum. From 00:17 an arpeggio is fading in (we will take a closer look to it later) – also high-pass filtered, which is pitched upwards together with the uplifter. Not to forget to mention the downwards chord set ala Jean-Michel Jarre from bar 21 (gmin 2nd inversion, F 1st, gmin 1st; gmin 2nd, F 1st, Eb 2nd).
Bar 41 is the beginning of scene B. Very pure and powerful base drum and offbeat bass only for eight bars are following. An vocal sound uplifter and a short drum fill leading into the next eight bars, where the main Klangfarbenmelodie is prepared and foreshadowed.
Another uplifter (this time as a chord and a one bar break) lead into the next 16 bar part, where one can hear the central phrase of the whole tune.
Ok, it is not only a tone colour melody. It is also a melody based on g min chord (g – b – d) and the phrasing of the first five notes correspond to the off beat base. The repetion of the motiv above just contains the first three notes. After this the whole 4 bar phrase will be repeated tree times. Just to make it very clear I roughly rebuild this short melody for you:
Bar 72 serves as a pickup for the following 4 bar break. The next 32 bars divided into 2 pieces by a short break are for the dancers. There is not much happening here except the representation of variations of the main phrase and the adding of additional rhythmic elements. The end of scene B leads into scene C at 03:07 which is a 32 bars large break. Also here no new musical elements are introduced, but the transition from the four-to-the-floor beat to this one (picture here) takes the energy out to relax for a moment.