Roots of Progressive Psytrance: Magnetrixx

With my article 20 Years of Progressive Psytrance last year I already gave an introduction into the history of Progressive Psytrance, which I will continue this year with a text about an important producer of the development phase. Wherever there is something to read about the origin of Progressive Psytrance, of course Atmos is referred to. From the German point of view Stefan Lewin or better known as Magnetrixx should not be left unmentioned. With his three albums Trittschall (2001), Phase Shift (2003) and Wired (2005) he had a significant influence on this subgenre during its genesis. I am a really lucky mushroom (as the German psyfraggle would say :), because I was able to get in touch with Stefan and he took the time to answer my questions e.g. what actually happened to this exceptional talent after leaving the Psytrance scene and many more.

„Imagination is more important than knowledge“ (Einstein). This quote applies only too well to Stefan Lewin, who didn`t need a profound musical nor an electrotechnical education to achieve a considerable success not only with the creation of his music, but also today with the production of electronic musical instruments. There was never a lack of musical inspiration, because all the other family members played classical or jazzy music on their home piano. But as a child of the eighties it was almost impossible to escape the electronic sounds of Kraftwerk, Depeche Mode or Jean Michel Jarre, which Stefan interpreted on the piano as well as his favorite classic composers Chopin, Schubert, Rachmaninoff or Liszt.

Just as strong as his multifaceted musical interest was his passion for electronic tinkering and physical processes. Stefan was particularly fascinated by magnetism (I then found it superfluous to ask him how he later came to his stage name). The X in the name of Psytrance artists was then copied in the following years by an infinite number of people (But who am I going to tell? :) Unfortunately, his passions were held back by the lack of availability of electronic music equipment or electronic components at all, because Stefan lived in the eastern part of Berlin. If one had no relations to West Germany, with whose help here and there various goods were smuggled to East Germany, then most citizens of East Germany only had unhindered access to electronic (consumer) goods after the fall of the Berlin Wall in 1989.

A wonderful craft curiosity from Stefan Lewin: A sequencer in a paint bucket that drives his Korg MS-20

Like Ananda Shanti Das, Magnetrixx also started composing music with a nerdy tracker program and then worked with the most popular digital audio workstations like Fruity Loops, Cubase, Reason and Ableton Live. Continuous sound sources over the years have been Native Instruments Reaktor and a Korg MS-20, which sounds he recorded for further cutting and processing, underlining his passion for tinkering respectively composing sound. Stefan pointed to his deep interest in granular synthesis which can be found in many of his tracks – consecutive microscopic snippets of human origin.

The statement of Magnetrixx that Psytrance was well known to him since the end of the nineties with the labels Dragonfly, Flying Rhino or Tip Records extends my thesis that Progressive Trance was a further development of Trance in general as well of Psytrance, because this style had been established for years and escaped the „underground“ in 1995 at the latest. I’ll try to put it this way: The Psytrance listeners had experienced the psychedelic power in the already existing style extensively and recognized the potential in the new one. And many who were fascinated by Psytrance in a certain way, but for whom the sometimes quite fast and shrill music was still somewhat incomprehensible, were convinced by the slower and more minimalistic approach, whose melodic and harmonic turns were already best known. And so it is Progressive Psytrance! Meanwhile, also through the exchange with Stefan, I have come to the conclusion that the term Progressive was a bad choice, because one always tries to interpret this term musically in one way or another – and fails.

Recently I read something from the author Mason Curry, who examined the habits of great creative personalities. One of the points was: They didn’t have too many parties. And so did Stefan. He was at the parties and festivals where he was booked as Magnetrixx. He liked to be on stage as a live act, enjoyed to travel around the globe and to get to know different people, but he much preferred the time making music in the studio – to the point where everyone played the same sound. And if any sound is somewhat successful, then every organizer wants to have this sound on his party, even if it is not available in high quality in sufficient quantity. Normally this process heralds the end of a hype, but it should only really take off with Vini Vici in 2015, after Armin van Buuren played one of their tracks in his radio show.

When everyone wants one thing and screams „Here“ loudly because fame and money lure, one or the other turns away and prefers to do something else. With the return to analog sounds in electronic music, Stefan started to tinker again to realize his very own ideas, just as he had done with Reaktor in the digital realm before. Together with his business partner Martin, he founded his company Audiophile Circuits League in 2017, which manufactures its own Eurorack modules for modular systems. Their „System 1“, a lavishly equipped modular stereo synthesizer, has consistently received excellent reviews in the music press. If you don’t feel like working night shifts on weekends anymore and Russian hacker sites offer all your tracks for free download, this is certainly an excellent perspective.

Finally, I’d like to introduce you to my favourite Magnetrixx track (beware! taste is always subjective!) which combines many of the features that make it a Magnetrixx track. It has a few hooklines that simply have a high recognition value. A dense and sometimes „wobbly“ groove through many percussion instruments and – I love this crystal clear chord fanned out upwards :)

I would like to thank Stefan Lewin so much for his time and wish him only the best for his new profession. Hope me meet sometime!

Psytrance and Spirituality: From the life and music of Ananda Shanti Das

To describe the phenomenon of psytrance, one would be too short-sighted to look only at the music. After all, it is composed, mixed, mastered and played live or on CD (or sometimes even on vinyl) by humans. Not to forget the decorative artists, the dancers and the other lovely people who turn such a party into a psychedelic and extraordinary music event.

Even a scene as colorful as the psytrance scene brings out its stereotypes. For example, is there any sampled text passage that could add anything new to the topic of drug use? So the message of Ananda Shanti Das as a Psytrance producer stands out, because he promotes to practice Bhakti Yoga and Mantra meditation instead of taking drugs to achieve a higher level of consciousness. I welcome this attitude deeply, because in my eyes the use of LSD, MDMA, Ketamin, Psylocybin, Meskalin, Ayahuasca a.o. is too much hyped just by the use of always new sampled text passages in the tracks (Have a look at

Ananda is a middle-aged guy from Berlin, Germany and belongs to the first generation that grew up with computers und whose sturm-und-drang-time took place at the same period as the development of house and techno music. Instead of spending the entire time playing computer games, the creative mind uses such a device as a musical instrument. This was also the case with fourteen-year-old Ananda, who began to produce his first pieces of music with the tracker programs available at that time. While many musicians have developed a real addiction for hardware equipment (at the moment analog, vintage and modular gear is incredibly popular again), Ananda still limits himself only to his computer/laptop, corresponding software and a few monitor boxes in order to be able to travel between the Canary Islands and Germany with as little luggage as possible.

Funnily enough, Ananda and I were infected with the psychedelic virus at about the same time, around 1995 (One track from that time I remember really well is Sugar Rush from Man With No Name). Shortly afterwards Ananda, who had already been spiritually influenced by his aunt, who was herself president of a Buddhist temple, met his spiritual teacher, with whom he went into teaching. Thus Ananda became a devotee of Krishna in search of attaining a higher consciousness and lived five years in Vaishnava hindu-temples around the world. After this experience he became again a worldly to produce Psytrance, make his living as an independent software developer and help with the construction a temple in Gran Canaria.

Ananda is a constant creator. There are four official EP releases with 3 or 4 tracks each from 2015, 2016, 2017 and 2018 on GOA respectively Ovnimoon Records. What has remained from the previos years is the deep connection with Krishna, which is already evident in a lot of the tracktitles („Krishna Es El Supremo“, „Krishna is black“, „Krishan is the orginal source“, „Have you ever thought about Krishna“). Other Hinduism terminology like Kundalini, Hanuman u.o. or expressions dealing with consciousness somehow can be found. One hears here as one would expect no quotes from drug reports but rather sentences of a purely spiritual nature such as „Krishna is your friend“ or passages about the meaning of the third eye.

Ananda’s tracks almost all have the same basic speed of 140 bpm. He doesn’t even stop at more recent developments like triplets, strong swing, constant stops and starts or especially pronounced drops to produce a hands-in-the-height entertainment psytrance, but here music is produced for a higher purpose, namely to put the dancer into a trance state. When asked about his musical ideals, he offered a list of psytrance producers who can be clearly assigned to progressive psytrance like One Function, Symbolic, Cambium, Faders, Vertical Mode, Circuit Breakers, E-Clip or Outsiders.

Ananda’s music is based on it, but he likes to condense or enrich his music with additional elements e.g an often used rhythmically accentuated und modulated fm lead melody, which reminds of the good old Roland TB-303 here and there and brought him already the comment on Facebook „keep up the good old acid sound“ :). This gets things moving and pushes the whole thing a little further in the direction of Full-On. But that’s enough words now, because it’s time to enjoy some of the fine sound from Ananda Shanti Das, whom I would like to thank at this point for the time he took for an interview from which this text came. Good luck for your further musical and spiritual way!

20 Years of Progressive (Psy)Trance

Just as we celebrated 20 years of Psytrance in 2011 (GOA – 20 Years of Psychedelic Trance) , 2018 could be declared the 20th anniversary of Progressive Trance due to the releases from Atmos – Rebirth Of Cavanaough (1998) or Shiva Chantra with his second long player Positive (1998). While the pieces of his first longplayer still contained the typical Goa arpeggios, the second one clearly shows the strong minimalistic approaches with already heavy use of the off-beat-bass (listen to Shiva Chandra – Platic, triplets during the intro!). Shiva Chandra already participated in the gradually burgeoning Psytrance scene with his first album Spicy Moments (1996): „Being back in Germany there have been small private parties in the forrest and i got more into it.“ Later on he distanced himself from the overloaded Psytrance sound: „I never liked such trouble sound and my music had been minimal all the time.“ Atmos, who was musically unknown when he hit the Psytrance scene, made clear that his music was not a further development of Psytrance for him, but a further development of Trance in general. „I don’t think I’m producing any psytrance or ever done. The shit we are doing is just trance or deeptrance.[…] Since I don’t really like psychedelic music maybe I can write some other stuff that i like instead.“ [But he is familiar with X-Dream und Michael Kohlbecker]. Also Son Kite who came up with their debut album Minilogue (1999) statet: „Digital Structures [one of their two labels] is into a trance sound that we would call progressive trance. With this we mean an approach to the old trance sound merged with techno beats.

The way of Progressive Trance into the Psytrance scene has been made transparent by Kai Mathesdorf („The Psytrance Labels“ in: GOA – 20 Years of Psychadelic Trance). The new manager Cass Catbush of the famous Psytrance label Flying Rhino, who just tried to lead the label out of the crisis through reorientation, signed Atmos as new artist and their Vinyl release from Atmos – Klein aber Doctor (1999) as well as their CD compilation Slipstream (1998) were a great success and marked the start of Progressive Trance within the Psytrance realm. It should be noted in passing that Cass naturally also produced this sound :) Don`t miss to listen to this epic track from Cass & Slide – Perception (1999)!

Many other artists like Ticon, Antix, Magnetrixx, Freq, Vibrasphere, SBK a. o. didn`t release any Psytrance tracks before. This means that the new style was not a subgenre of Psytrance at first, but only subsumed, because it arrived and worked well at the Psytrance parties and was distributed through the same channels. The question that now arises is to what extent these two styles have merged, which is to be clarified elsewhere by means of one or more analyses.

These new insights for me were made possible also by the valuable interviews of the crew of, discography collections at and Kai Mathesdorf. Many thanks for that!

3886records // Progressive Psytrance: Walking the thin line – Part II

The musical development initiated by Atmos and others in the expiring millennium has existed to this day. It`s a bit slower and more earthy than „ordinary“ Psytrance and it uses more conventional melodic and harmonic turns – certainly a reason for the commercial success during the last time. The bandwith of this subgenre is very narrow, because with the reduction of speed and a bit of shuffle you find yourself in Deep or Progressive House easily and with the use of a longer chord progression and sweet vocal melodies one serves pop clichés very quickly. 

Never is was easy to use vocals in Psytrance, because there is always the danger of entangling the dancer with it more deeply. On the other hand, of course, man is shaped by the perception of voices and this can be a wonderful musical element, if you use them skilfully. The more I was surprised from this truly classic theme Andreas Linden and Robin Gesell took on: „Ashes to ashes and dust to dust. What if antimatter is all we are?“ Often the Progressive Psytrance leads you back into the next morning where the afterhour party starts and the one or the other might have asked: „So, what is all about. Where do we come from and where do we go?“. A wonderful speculation everyone likes to strip off right away, because where could one find the answer to this? „Beyond day and night, beyond death and life“ The answer eludes the earthly. But that seems certain: „While bodies stay, minds travel far“. Here the core of all religions is taken up: Somehow it will continue. And with that they bring the previously possibly disturbed mind already safely back to the landing. Perfect psy lyrics in my eyes! There are several more tracks from Spekta with vocal elements, but especially with this he has managed a real coup in my eyes.

The track itself (Spekta – Antimatter) is solid progressive psytrance craft. 138 bpm, offbeat base, minimal – the bass never leaves the D. But that’s not enough. The remix of Vaas Maro refines the ideas of his label colleagues in a condensed, crisp version. He makes elements appear again in a different light by changing the bass  and shows new perspectives by experimental handling of the vocal recordings. A track that really deserves the label „Progressive“, because he brings in fresh ideas in unconventional dealing with the bass. Unfortunately, unpublished until now. Therefore, this title should be mentioned again at this point:

Spekta told me that often Psytrance tracks are like phantasy journeys and that most of the time his tracks reflect his actual mood while composing them. His pieces are not only fantasy but also time travel, what you can hear in his tracks Comet and Lambda Core. Anyone who has seen the science fiction series Captain Future on television as a kid in the 1970s has a high chance of not having missed Anne Clark and Our Darkness in the Eighties :). Listen to Lambda Core and you know what I mean!

The off-beat bass has been cultivated strictly until the Kronfeld Remix, where a bit of variety came into play and with the Comet track the psy gallop broke completely for the first time. With Unstable Psysotope he left the major / minor melodic scales towards arabic ones to intense the psychadelic mood.  The tracks Level to Level and Eine Ahnung already play in the darker realms of Psytrance.

It’s a pity, because that’s where the story about Spekta and maybe also 3886records ends, which I have seen as a truly authentic approach to progressive psytrance.  Perhaps the last tracks of Spekta reflect not only his own mood and at the same time the attempt as a musician to move more into the eye of the storm of „real“ psytrance parties, but also a movement of the entire scene, which flees into more extreme musical currents of psytrance to escape the mainstream.  „The underground feels threatened and reacts by making the music harder and more monotonous.“ (Oliver Koletzki #fuckedm)

3886records // The worries and needs of a Psytrance labelhead – Part I

Long are the nights of a Psytrance party weekend. The demanding sound, the persistent dancing, sleep deprivation and other temptations leave their mark, if one wants to stay in the Psytrance scene for years, which Andreas Linden has been supplying with fresh and new Psytrance producers, DJs and his own sound as Spekta for the last 5 years. Unfortunately the founder and labelhead of 3886records has to take a break for health reasons. Lucky for me, otherwise he might not have had time to pacify my curiosity about the hustle and bustle of his own Psytrance label, which he has founded in November 2012.

Shortly before, he got to know the organizer of the party series Bonn Goa Backstage, who engaged him as a Psytrance DJ on the turntables, even though he was musically still in Hip Hop at that time. When asked which label name should appear on the flyer behind his artist name, he spontaneously replied: 3886records. The good cooperation with the organizer earned him the job as resident DJ at Bonn Goa Backstage. Andreas understood this as an opportunity and instantly set up a label homepage, which was certainly easy for him as an educated programmer, and began to collect the first artists to produce electronic music for the label with still different genres. With ongoing bookings at Bonn Goa Backstage, the profile of 3886records was increasingly shaped into the direction of (Progressive) Psytrance, already knowing that on the one hand the softer „ass-shaking Proggy“ sound has commercial success in the mp3 portals, but the scene still celebrates the „night sound concept“ with harder and faster Psytrance music during the night. The harder gait is served for example by iDirty records from Cologne to which Andreas wanted to position his own as a musical counterpoint. So more than a dozen artists and more than half a dozen DJs (names) decorate the label homepage of 3886records, which predominantly represent Progressive Psytrance, but also have Psytrance in their portfolio here and there. Among others is DJ Quantec, who referrs to Stefan Lewin aka Magnetrixx in his biography, who decisively influenced und enriched the Progressive style with three brilliant albums during the first decade of the new millennium (Striking here is that artists like Magnetrixx, Quantec as well as Spekta, who had a musical education as children, rather seem to have a penchant for the more melodic Progressive Psytrance).

Due to the fact that Andreas works as a professional programmer, he has never had the pressure to make a living with the label and his music. That is a good starting point, because labels of this size do not generate much sales with mp3s. It is more about demonstrating presense in the big online portals like beatport and others showing that the music label is managed professionally. Financially a bit more interesting is a live performance with their own music (And that has always been like that – in every music genre – best as a non-GEMA member, otherwise you have to pay for own music!). But even a formerly well-known Iboga act like Antix stated: „We are not rich with money but feel very rich in our lifestyle.“ And that seems to be the biggest lure in the scene, because despite the high demanded professionalism, the chance of a fair financial reward is rather grim. Professionalism is what labelhead Andreas demands of his artists, because he believes that the time of the entry-level of 3886records is over. This includes not only quality, quantity, a musical development as an artist, but also reliability, because nothing is more embarrassing for a labelhead to have to apologize for a not appearing act, because he has missed his schedule. This high standard ensures a clear portfolio of artists. But it happens also that one or the other high flyer wants to leave the label and switch to an already more successful one. Another difficulty is to give label tasks to others, so that they are done with the same commitment and reliability, especially when no or only a small financial compensation in prospect. And if there is someone doing a good job, you do not want to scare him off with deadlines. That makes growing difficult, because there are so many time consuming activities you can`t handle on your own all the time: contacting and maintaining organizers, preparing the releases of new tracks and the online promotion for these, listening to demo tracks a.s.o.

Stay tuned for the second part about further musical aspects of Spektas work!

Kick and Bass at Liquid Souls Sweet Things Remix

Thanks to the producers for sharing the full length track ! I love this one and especially the very warm, round and tight kick and bass. First it is to say that the idea of my analysis here is based on a Youtube tutorial from Sonic Elysium. For me it shows that one of the strongest tools for the analysis is the synthesis!

At around minute two it is possible to extract the kick and the bass quite purely without any other sounds.

Picture 1

What you see here is a soundeditor view (Audacity) of one quarter of a bar or four semiquaver of it. It is easy to calculate the exact timings in milliseconds (ms), if you devide 60000 ms (one minute) by 138 bpm (speed of this track) what is 434,78 ms. Part A is the kick. B and B‘ are the two bass notes.

Two things to mention are that there is no gap between the (visual) single parts at all. The kick is a bit longer than the duration of two semiquaver (ca. 217 ms). The maximum volume of all parts is exactly the same (see the yellow line). Listing carefully just to part A, will bring you to the conclusion that there is an additional, more gentle third bass tone. The sequenzer grid notation would look like this:

Picture 2

The track is in G min. This means that the kick could be tuned to G1 or D2 (It is a common technique to tune the kick to the root tone or use the fifth) which corresponds to 49 respectively 73.42 Hz (Here you can find a chart with all tunings). Because of the gentle bass note on the second semiquaver we just can listen to the pure kick for one semiquaver (Picture 3, only Kick).  All four semiquaver look like the green wave in average mode in the Voxengo Span. There is some additional dirt in the highs of the kick sound.

Picture 3

With this information and a lately found YouTube tutorial I go into the synthese part and try to recreate the kick drum with Kick 2 from Sonic Academy. As most psytrance kicks this is also a sinewave sweep.

Picture 4

Now I try to verify with the spectrogram analyser, the wave form and my ears to hit the right kick sound. In Picture 5 you can see above the original kick sound and below the recreated one.

Picture 5

Wherever you read and hear about the psytrance bass sound it is claimed that it is always generated with a sawtooth oscillator, and if you look to an oscilloscope it would look like this (One semiquaver note played with sawtoothwave). I altered the phase of the oscillator to get a nice klicky sound (as suggested).

Picture 6

As you can see this looks very different to the bass tones in Picture 1. An understanding of the overtone structure of a sawtooth wave will help us to reconstruct what happened. Let`s have a look at the additive synthese waveform generator from Choosing „Saw tooth“ presents a waveform like this:

Picture 7

By studying this nice online generator you can learn that the sawtooth wave is a mixture from several sinewaves and its overtones. Emphasizing e.g. the second overtone will generate a waveform like this (This could be done e.g. with an equalizer, a saturator, a waveshaper etc.):

Picture 8

Now with all this theoretical knowledge you think you have a fundamental understanding how this sound is done and you can make a perfect copy? Maybe you can, but I can`t :) I sat s e v e r a l evenings trying to recreate this!  For the bass I used NI Massive, equalizer and waveshaper. I grouped this with the mentioned Kick 2 and treated with a ms equalizer, a buss compressor and a limiter.  Compare the visual result with Picture 1:

Picture 9

Here is my audio result:

Listen to the original:

There is still some „secret sauce“ left! :)

Notes on playing electronic dance music „live“

Music just from speakers sometimes might be strange or irritating, because the originator of the sounds can’t be seen like e.g. a  violin player, where every visible musical gesture creates a sound event. That could be the reason why the DJ has been pushed into the light again, although originally it was planned that the personality of him or her just should serve anonymously as a ceremony master for the dancing crowd. But a lot of dancers always dance or look into the direction of a DJ, because they expect or need some additional entertainment respectivley they search for the sound originator. Just following the craft of DJing is not very exciting, what leads to the fact, that DJs with additional entertainment qualities got more popular than others.

For a while more and more electronic „live“ acts enter the stage to give the impression that the music is created in front of the audience. But one wonders how tons of hardware are being operated from two producers, who wave their arms in the air to animate the crowd. A closer look reveals that playing live often is reduced to a live arrangement by activating and deactivating preproduced tracks in a digital audio workstation or just editing some effect settings with an external controller.

A more valid live act for me was Element (Dieter Gerbe, Marc Engemann). They had really live elements like a drummer and a guitar player next to additional eletronic sequences.

A couple of days before I found this guy, which really impressed me, because it seems that he really is able to play his setup live and the music is being created during his session.


Elements of Progressive Psytrance

In this article I will follow another approach by looking at the base elements of Progressive Psytrance. I will explain this using different tracks to show their variations.


If you have a look at the Beatport Psy-Trance Top 100 page these days one can find a dominating tempo  for the progressive tracks – 138bpm. From a commercial point of view it seems at least that the progressive sound has gained the upper hand at the moment, because faster „classic“ psytrance pieces > 140 bpm (e.g. Planet Goa – Tristan, Trippy Trail) are heavily outnumbered.


I guess the most famous bass phrasing is the „offbeat“ bass. You can hear this here:

At the piano roll this would look like this:

offbeat base2

While the bass drum hits are on one, two, three and four (four-to-the-floor) you can find the the bass tones beetween the gaps by counting: one AND two AND three AND four AND. This element already could be found e.g. in the track La Musica Tremenda from Ramirez (1991).

The next bass phrasing is used in more uplifting tracks like this:

A rhythm sometimes called as „horses gallop“. The basedrum and the bass tones build triplet figures which reminiscent of horses gallop.


The next one creates a nice layed back feeling:


And the faster pieces use a bass phrasing like this.

Together with the bassdrum one can here constant semiquaver notes.


Of course there are a couple of slight variations of the above mentioned phrasings and additionaly enriched with shuffle/swing,  but I would say that these are the most widely used ones.

Yahel – Atmosphere (2003)

Thanks to Yahel Sherman for sharing this mix on soundcloud. The first track „Atmosphere“ (starting 23:30) from his Album „Hallucinate – Journey Into The Unknown“ (2003/Phonokol) will be analysed here soon.

Why psytrance is (not) shit

This video from the guys is just great, because it has an enormous portion of humor as well as true facts as well as an appeal to bring something new into this music genre.

20 years of producing has led to a write out of the musical „language“ of Psytrance so that most of psyacts sounds the same („Everybody uses the same vengeance sounds“ – Yes, I agree with this). But of course there is also an expectation of hearing amoung the listeners and dancers, who exactly wants this sound or this element, because they know it „works“ for them. For me the „Offbeat“ base is a mercy, because it gives drive to every piece using it. Yes – it starts to get on my nerves also, if it is doupled with a loud open high hat and an additional short synth „pleep“ (last hipe) all the time.

A short break which leads to the same loop in the context of Psychadelic Trance means to me that the producer wants to bring back again the focus of attention to this (unaltered) element – absolutely allowed. One of the strongest methods to get someones attention is to use human voices in a piece of music, because human nature is focused on it. But it is a necessity to process the words with effects, that they could not be understood anymore. Otherwise you would/could start to think about the statement and loose the concentration towards the music (have a look for „Scat-Singing“ in Jazz music as an equivalent).

In 1970 every small boy wanted to become an astronout. Today they want to become a DJ, but the DJs are fading away from the line-ups and „liveacts“ could be found instead. But how to become a lifeact? Buy the software Life from Ableton and tons of preproduced sounds and loops. Put together everything in no time, be a „liveact“ and sound like everybody else :-(. If you want to be this kind of producer – have a look here:

So, in my opinion everyone (concert organizer, label, musician and audience) should ask oneselve: Do we need ten acts sounding the same? Should my new album sound exactly the same as the last one? Do I want to listen to ten tracks sounding the same? If everybody is answering with „yes“, everything is fine. If not – change something!

New developments and conditions are going to lead to new sounds. But – be patient! It took 10 years to reinvent the Psytrance sound (with Progressive Psytrance) .