Chronika Chapter Two is one of the boldest releases of the year 2005. Boshke Beats are known for mechanist exploits and risk-taking experimentations on the farflung fringe of psychedelic techno. Drawing upon influences from techno, electro, industrial, and psychedelic trance, Alex Tolstey has compiled intriguing tracks in a variety of styles, crafting a gem of electronic music that should appeal to anyone with a love for the soul in the machine. Inga Bourin’s artwork is top-notch, as usual! Let’s dig into the music…

Tony Rohr opens the album with My Mind is Going Dub, previously released on vinyl in 2003. Loaded with a menacing bass line, dirty percussive contortions, and a killer sample from HAL-9000, this tune explores the murky territory somewhere between techno, electro, and the psychedelic – a style that has been described as “voodoo techno” in the press. There is a filthy quality to the production, and the sounds which serve as leads possess an unmistakable dissociative quality, making for one hell of an opener. Tension builds and dissipates with considerable power, conjuring the maximum effect from this grim warehouse sound. Wicked!

Midi Miliz provide one of their more straight-forward tracks next: One Point One. This is sourced from the No Alibi vinyl, released back in 2004. As with all releases from this artist, the production value raises the bar for other artists, with some of the sickest drums on record. The journey is mainly percussive up until the halfway point, after which a stunning atmospheric sound rises majestically from the dark depths. I heard this one live at the Eclipse Festival in 2005 and the power of this arrangement is indisputable, despite the inherent simplicity of construction. Techno fans are going to love it, and it may have some effect on the psytrance fans out there as well.

The Rockitmen reconstruct The Delta’s Hero FX, previously released on a Boshke vinyl, for the third offering. It isn’t exactly a remix however; the entire song has been built almost from scratch. This is a more direct strain of techno, geared towards smashing dancefloor moments, although the heavy emphasis on atmosphere remains. I wasn’t too fond of the original, and while this isn’t bad, it does not capture my imagination the way some of the rest of the material here does.

Midi Miliz is back with one of the greatest tracks on the album. This time it’s a live mix of No Alibi recorded at the Transit festival. The original is a sick piece of work to begin with, and this version is a testament to the excellent show Midi Miliz put on in a live setting. The beat is hard and nasty, with brilliant percussion providing an irresistable appeal. The twin hooks of grinding industrial mid-range stab and spectacular high-end atmosphere conjure a cybernetic mood I refer to as tech noir. It’s an uncommon sound to hear, even within the domain of techtrance, and certainly a special interest of mine. With the excellent production value and storytelling. there is no question: this is a killer!

Fuzzion’s City Limit is a more open-ended electro-trance crossover piece, driving along with wobbling synthetic flourishes and a disinterested swagger. It sounds fresh and appealing, with the steady shuffle of hi-hats and handclaps maintaining an effortless groove. The simple-minded melodic touch is an unexpected and delightful respite from the gritty techno theme of the compilation.

X-Dream’s classic Intercorporal Stimulator has seen a lot of play since it was released on the Microchip EP in 1999. Back in the day this was referred to as “the earthquake track” thanks to a distinguishing break in which the mettle of a subwoofer is truly tested, and the ground begins to shake. After being re-released on X-Dream’s album Irritant and, more recently, receiving a facelift from The Delta, it’s time for the complete Midi Miliz overhaul. What can be said? This is a masterpiece. The hard shuffling percussion is positively schizophonic, adorned with ornamental synth-work tortured to the breaking point. The distorted biomechanical rhythms will indiscriminatly eviscerate any stereo setup. The final minutes give rise to an awe-inspiring atmosphere sacramental in its graceful intensity. Absolutely brilliant!

Metalogic’s Irrational Impulse formulates a cinematic break-tech fusion that celebrates the beauty of the loop. It maintains the blackened atmosphere of the Chronika theme, stumbling heavily between broken beats. As a primarily percussive creation, one can appreciate the drum work, but there is little else aside from a vocoded electro line to shake it up. Solid production, but I need a bit more than beats to maintain an interest.

Fuzzion’s remix to Holeg & Spies feat. BAKXII – Lost in Darkness is one of the great surprises of the compilation. Fusing elements of electro, techtrance, and industrial, the result is an entrancing gothic anthem that is bound to become an enduring classic of modern electronic music. As if the massive grinding bass line were not enough to carry the track, swirling synthetic atmospheres thoroughly glaze the chunky rhythms with acidic overtones. The mournful vocals are going to dissuade some listeners, but as an ex-industrial fan, I find the self-assured lyrics suit the track perfectly. It is ideal for dark dancefloors and underground clubs, and one of my personal favourites from the release.

It’s back to voodoo techno with Taksi, a collaboration between German techno pioneers Paul Brtschitsch and André Galluzzi. Previously released on the eponymous label in 2003, Mal Was Anderes is a timeless techno epic, laced in scattered voices and haunting atmospheric work. Furtive hooks settle into the psyche like determined Von Neumann devices, cyclically deconstructing and re-assembling sound particles into a vibrating melange of robotic rhythms and eerie prominences. It could have been produced and released any time in the last decade, but this is where you will find it. This is great music.

Label boss Alex Tolstey teams up with the Kozlovs for the final exposition as Triple Distilled vs Fuzzion. Midnight Circulator is a moody synthetic cruise through tempermental audioscapes. The sound design is the right mix of crisp and dirty; lush with thick sweeping sounds and heavy downtempo rhythms. I am used to considering the chilled finale of most releases to be throw-aways, but this is actually very good.

The widespread consensus is that Chronika Chapter Two is the best Boshke release yet, and I fully concur. Not only are the original tunes outstanding, but Alex T has smartly chosen a pair of proper techno tunes to re-release to fresh audiences. As a listening experience, this is top-notch, provoking a fresh response with each new song. Few compilations seem to push the boundary as far as this one does’ few manage to play host to such a variety of approaches and techniques while expressing a single cohesive vision. I really couldn’t think of a better compilation in the techtrance realm. Trance fans might fail to be persuaded by the fundamental allure of this slick package, but anyone who has ever liked techno is bound to be caught up in the magic. Chronika Chapter Two is a landmark in modern electronic dance music. Don’t miss it!

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Here’s an EP with a short half-life… it was blisteringly good when it came out, with that killer combination of full-on melodies and dark rolling beats. There was something about the apocolyptic track titles that really got to me when I was first getting into the psychedelic trance sound. Unfortunatly, since the Wizzy guys have taken this approach to so many new levels in the years since this release, there’s no real reason to go back to these early efforts which now sound terribly amateurish in comparison to their intricate later productions. I couldn’t consider this first and only record a classic by any means, especially considering how quickly their talents began to shine. Tracks like Twisted Love and Shores of Freedom show off the incredible power of their old style, totally eclipsing this pair of early efforts. Then again, it could be that Wizzy Noise’s sound was so much better suited for the digital medium, and the vinyl pressing hampers the fullness of their original sound. Whatever the case, I don’t think it’s a very good record any more, and would pitch it to collectors only.

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The Velociraptor EP combines the talents of mid-period T.I.P. artists Growling Mad Scientists and Synchro. In the years that followed, both acts began to follow seperate paths, forsaking the early innovative spirit for commercial aims and rhythmic navel-gazing, respectively. In 1997 these acts were developing into their creative prime, however. An intoxicating off-shoot of Dutch break-trance and rich psychedelia results in two solid tunes on this slab of vinyl.

Velociraptor effortlessly slips into intricate rhythmic permutations, smoothly rattling from one detailed structure to the next. The Synchro influence is very apparent in the drum work, but GMS provide their scratchy leads and a wicked haunting atmosphere. The execution is subtle yet entrancing, substantiating the song’s persistant appeal.

Bandicoot on the Run is a fast, fun, and funky tune with a drive that reminds me of Caterpillar. Tightly timed breakbeat samples ricochet amidst the bouncing kick and phrenetic bass line, developing an enticing grind which is thrown into overdrive in the staggered 3/4 timed body section of the track. Wacky cartoon-style samples, probably from the console video game of a similar title, provide some levity as the track digs deeper into wobbly acid-laced rhythms. It’s infectious, groovy, and still psychedelic in the old style. Sick material!

All in all the EP offers up one frantic monster of a tune alongside a moderately more serious track with a dark edge. This is without question another successful record from the T.I.P. Records glory days.

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This is the sound of summer: sixteen upbeat tracks smoothly mixed into a journey that softly builds from thoughtful grooves toward an energetic peak. The introduction is purposefully sedate, though Cosma’s song rapidly catalyses the emotional power of the developing storyline. The mix keeps on pumping steadily until Jaïa’s From Tokyo, when a funky tribal twist alters the trajectory and sends the mix spiralling up into the full-on morning trance style of Psypilot and Mr. Peculiar. The last track is a winning remix of an old classic which is sure to leave one with a lingering sense of residual warmth and satisfaction.

Heliocentric is my second shot at a harmonic mix, blending melodies in complimentary keys for the majority of the transitions between tracks. This allows me to mix for longer periods of time, enriching the flow with a greater degree of musicality. Enjoy!

MP3 Download | Stream · Download count: 6,698.

Mixed & Arranged by: DJ Basilisk
Size: 146Mb
Format: 256k MP3
Length: 79 minutes
Recorded: January 13th, 2006

Electric Embryo is the debut compilation from Sweden’s Yage Records. DJ Bröte selected the tracks for this one, selecting tunes from across the world. The comments concerning the style in the liner notes are completely accurate; the style is dark and full of energy, with frequent forays into humour and absurdity. In fact, this is easily what seperates this compilation from the rest of the usual dark-themed compilations of this nature. The common thread that binds most of these tracks together is the irreverant and playful approach. I usually prefer a much more serious tone in my trance, but I was intrigued enough to purchase this compilation anyway, just to see if there might be something here for strange moments and weird times on the dancefloor.

Mechanix begins with a standard stomper entitled Lifelines. This is the heavy Doof Records style of dark psytrance, known from groups such as Entropy and Jocid. I tend to draw a comparison with other high-energy forms of electronic dance music such as hard house when I hear this stuff. The progression of noises isn’t overly intelligent; this is all about the churning robotic rhythms and simple crowd-pleasing tricks. During the breakdown a sample plays through: “sometimes the mind needs to discover things for itself.” This is followed by a tricky sort of build that peaks with a scream. It’s rather moody and minimal despite the jumpy bass line. I don’t find it all that interesting but nor is there anything plainly wrong with this. Mediocre.

Toxic produce a similar style of music, though it’s more on the side of Psychotic Micro, who also has a track here. Katarzis is the usual blasting stuff, full of nasty riffs and big obnoxious rushes. At times the products of this group can sound positively adolescent, but this one has a self-assured poise which partially redeems all the bubbling overenthusiasm. Though it’s not my style, I’ll admit it’s a fairly solid tune from Toxic, possessing a certain brash and uncouth charm which is sure to appeal to existing fans.

Electrypnose’s 6h Debout Indux is an absolute gem. The pacing and tension building are magnificent, building irresistable rhythms in the early minutes alongside samples from some science fiction video game, setthing you up for dancefloor combat. Orchestral elements shine in the murky haze as the artist brings the listener deeper into the dark reaches of his entrancing vision. Surging synthetic riffs apply pressure, giving way to haunting music box melodies and a menacing stomp session. The final passage is doused in rich cinematic overtones, providing a distinct finish for this epic monster of dark psychedelic trance. Easily the best of the compilation!

Screams is fairly typical for Baphomet Engine, hard and full of aggressive noise patterns and sinister sample work. The arrangement is rough and ready, with a slightly sloppy percussive flow that is one of several drawbacks. What this song really lacks is a kick with a bit more oomph. The results are trite and uninteresting to me.

Wizack Twizack’s Hallucination continues to strike the same vein, although it does seem slightly more coherent. The sound is very muddy and unfocused however, which may or may not be the intention of the artist. The theme here is dissonance and vertigo, as repetative noisy melodies sneak and snarl over a slightly deranged rhythm. The last few minutes are especially creepy. Decent but it’s nothing I’d make a point of playing out.

Psychotic Micro tends to come across as a less serious version of Azax Syndrom, and Face of Fear is one of his most corny diversions yet. The setup yields little in the way of clues – it’s a fairly straight-forward dark full-on thriller for the early moments. The break in the last third introduces the surprise ending. Building up in characteristic crowd-pleasing fashion, the song explodes into a frenzy of lunatic bass lines and comical melodies that sounds like an evil circus to me. What the hell? There’s nothing serious about this funny romp through twisted sounds.

Damage delivers one of the most hilarious joke tracks I’ve ever heard. Resurrection of the Nothing is a sick-in-the-head production with anthemic properties: undead hoovers, grinding guitar stabs, insane bass lines. There is an undeniable rave influence present in this track, which likewise flavours the productions of several other South African artists. The big surprise is a chopped and tweaked excerpt from the theme to the Neverending Story, which is simply ridiculous. One of several massive breakdowns kicks in with more hilarious samples, and continues the absurdity until peaking with a very emphatic “whatever!” The rest is so over-the-top that it hardly seems worthwhile to describe it. The song meets an untimely demise after seven minutes of desecrating all that is sacred in music with some hilariously ironic sample juxtaposition that yields “neverending bullshit!” This is so choked on samples and full of shamelessly cheesy elements, yet it’s actually one of the best tracks on the album! I suppose that if one is going to produce something in this direction, ya may as well give ‘er.

I haven’t liked any Dark Nebula singles in recent years, and my response to Melding Plague is no different. It’s bouncy and sinister, full of samples from some sci-fi video game, and sounds as if it were produced in a marsh. Lots of people like this group, but they just sound like they’re trapped in 2002 to me. Nyet.

Procs wraps it up with one of the most bizarre tunes of the year: Jerry, Här Är Din Framtid. No rules apply to this manic 155 BPM blaster, which playfully snags samples out of Space Balls and A Nightmare Before Christmas. In terms of style, it sounds more like the artist’s Duck Off side project than the material on Procs’ debut album. This is menacing, chaotic, and deranged; something for dedicated psychonauts only. I might not find a time or place to play this out, but I enjoy the scathing frontiers of psycore, so I’ll admit to having a soft spot for this mental finale.

Electric Embryo doesn’t feature the sort of dark psychedelic trance that I really enjoy, with a few exception. Electrypnose’s contribution is magnificent, as noted, and I do enjoy the far out sounds of Procs. Damage surprises me with a track that sucks so hard it’s good. Aside from that it’s an assorted grab bag of silly tunes. I will say a few good things about the release however: this certainly does remain faithful to the idea of dark and slightly humorous! For DJs seeking some sinister and mischevious sounds for their wallet, this is a definate possibility. I can’t see it applying for the home listening environment, but hey – some people are really into this sound, so use your best judgement. Darkpsy fans should check it out, but everyone else can avoid this one without regret.

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