Dag Wallin’s third album on Spiral Trax continues the veteran producer’s exploration of the frontiers of progressive psychedelic trance. There is something distinctly new about this bold release, which departs from the softer sound character evident on 2002’s Electric Roundabout. Although it was never clearly stated, I would attribute the audible difference in sound design to the fact that Dag’s studio was broken into sometime before the release of this album. After losing all his gear (as well as unfinished material, which is now lost), I speculate that he returned to music production using software instead of vintage synths. The resulting material is different from the artist’s previous releases, but the soul of the Human Blue sound still comes through loud and clear. Anyone devoted to classifying psytrance into the main streams of progressive and full-on is going to have a tough time with this one. Calling Electrolüx a hybrid of the two styles would be doing the album an injustice. In truth, the best way I am able to describe this is to simply say that it is a very rich and pure psychedelic trance album. Despite there being only eight songs, the album is a commendable 73 minutes in length. Cover art is provided by DJ Bakke. Now it is time to dig into the album itself…

The album opens on a strong note with a richly psychedelic epic: Soulsqueezer. The synthetic grooves are bound to get the blood rushing as spacious atmospheres seethe in the cosmic background layers. The lead melody which finally drops in the big breakdown is deceptively simple yet powerful in its delivery. Favourable dance floor response is virtually guaranteed with this monster summer anthem!

Demon Dance builds on this initial foray into the more energetic side of psychedelic trance. As the name might imply, there is a more sinister edge to this one. The rhythmic programming possesses a perfect flow, churning along with an intelligent bass line and an evocative array of haunting atmospheres. The lead melody is a sly one, perfectly suited for serious trancing. The middle segment of the song gains a tribal touch, with excellent percussive work and a deeper mood. The final breakdown is one of my all-time favourites – it feels positively magical. The last piece of the track contains no surprises; it simply delivers more of the excellent themes that have come before, at full power. Psytrance seldom gets any better than this!

Virtual Turnaround is a throwback to the old days of Human Blue, driving forward with a steady hypnotic progression that is pure trance. Though it may come across as sounding a bit bland, the drums and groove still possess an effortless flow. It is enough to keep a dancefloor moving, but best used as a set builder.

Harmonix is similar in some ways, maintaining a lot of forceful drum activity, but resorting to a hypnotic approach laden with floating atmospheres. The beat is deeper, and there is a slightly more psychedelic touch at work. As with some of Mr. Wallin’s productions, this is very simple and straight-forward, building towards a sustained high in the latter minutes. Quaint and relaxing, also making for decent set building material, but nothing more.

Songs such as Rollercoaster do not come along very often. This is an immensely anthemic track full of powerful melodies and emotional atmospheres. Warm summer leads surge up from the depths in the early moments, giving a taste of what is to come. The lush breakdown in the very heart of the song delicately introduces the full theme of the track, making a massive impact when the beat finally returns. A smart use of layers, key changes, and smooth build-ups keeps the energy levels at a fulfilling high until the very end. This is just the sort of thing to cause tingles all over. Incredible!

In Between is loaded with Human Blue’s original style of funky morning grooves. A shuffled beat with strong percussion and a dippy bass line sets the score for a systematic progression of elements that builds in slow and subtle ways. Strange sounds in the body of the track are a nod towards minimal tribal motifs, and they work quite well with the casual rhythm. Not bad, but it could have done with a bigger hook.

Drag Queen mirrors the previous approach with a loping beat and a slight tribal influence. Another subtle progression towards higher levels of activity unfolds over the course of several minutes. There is a classy character here that is hard to miss, with plain chords simmering alongside the easy groove. The mid-point break gradually introduces the melodic themes that will define the remainder of the song. An extremely long build smoothly draws the rhythm up from the abyss, after which the story unfolds in a typically understated fashion. Perhaps it is too cautious for my taste, but it is still a very nice song.

Atom is a strange hybrid, pounding away with a heavy pulsating kick and bass combination that strongly constrasts the emotional melodic layers above. Slight hints of future themes are sprinkled throughout the early moments, culminating with a serene breakdown into the fifth minute. After the deep and fulfilling return, the song is on fire with sweet atmospheres and charming leads. The lovely feeling conjured in the second half just goes on and on, as the long lingering climax is sustained over several minutes of intelligent arrangement. A fantastic way to finish the album!

The staying power of this material is remarkable; all of the highlights of this album continue to make my morning set playlists even now in the summer of 2006. I expect that I will still be throwing down tracks from this album for years to come. This is a timeless trance album full of powerful songs crafted to elicit a deep emotional response. I might prefer a different track order for a better home listening experience, but this is simply nitpicking. If you are a fan of melodic trance music, Electrolüx is an essential purchase!

Release Data

13th Moon is Canadian downtempo label Interchill’s first foray into what they refer to as ambient trance, “envisioned by DJ Neerav and Andrew on an afternoon ferry ride out of beautiful Samothraki Island, in August 2002.” The concept is ambitious: 13th Moon is intended to be a source for DJs playing a massive tribal gathering a decade into the future, on the eve of December 20th, 2012. Naturally, the album is steeped in Mayan imagery, with cover art by Gordon Field. Mastering duties are performed by Son Kite, ensuring the best sound possible.

Kiwa opens the album with the 105 BPM groover Dawn, a friendly introduction to the compilation. The low tempo provides the Finnish group with ample space between beats to show off their talented use of bass and percussion. There is an excellent balance between linear four-by-four rhythms and Kiwa’s Dreamtime-era broken beats. The atmospheric components are mature and detailed, with tribal textures evident throughout the meandering storyline. Melodies are not overlooked; mystic leads flourish in key moments, rising from the abyss to captivate and delight. This organic opener is an excellent introduction to 13th Moon!

Veteran producer ABA Structure (Kenji Williams) provides the strong second track called Rescue, which features sensual vocals by Irina Mikhailova. Years ago I saw both of these artists on tour with Juno Reactor as part of Medicine Drum – they both put on quite a show! This blissful journey features some of the finest breakbeat patterns I’ve heard in downtempo music, reminiscent in some ways of Deviant Electronics. Warm uplifting trance pads and liquid acid lines flow with ease through the silky passages of this brilliant chiller. Kenji’s violin and Irina’s vocals are perfect for the passionate mood that develops. Stunning!

De-Fex is yet another collaborative project of Eat Static’s Merv Pepler and Will White of Propellerheads. Another World sounds just like a Dendron tune to me, with some of the rough edges smoothed out. The beats are broken, and the song flows nicely with a playful yet mysterious groove. It sounds as if it could have been taken from the album In the Nude!

Human Blue drops the first conventional trance tune on the album with the slow (130 BPM) and groovy Spinnin’ Spoon. Faint melodies tickle the ear in the introduction, and then a dry beat plods away casually for a few bars. Hereafter, the warm bass floods in, as if a fresh log has been thrown on the fire. With Scandinavian efficiency, the song builds steadily, adding layers of smooth sweeping atmospheres alongside the continual caress of light melodic riffs. Interesting percussive textures compliment the bobbing bass nicely. As the song draws to a late climax, soothing melodies sweep by in emotional waves. Beautiful!

Taruna’s Sacred Tree is the surprise of the compilation. Previously this artist had released a couple of ethno-trance albums on Shiva Space Technology, but nothing had caught my interest. The confident grooves evident on this track are a giant leap forward for Jürgen Eppinger. The spoken samples are positively inspired, and there is a heavy emphasis on tribal voices and chants throughout the song. The artist conjures a powerful cosmic atmosphere that is nothing short of epic. The trick breakdown and return is followed by mystic melodies that are wonderful to behold. Even though the production quality is not as great as it could be, this original blend of organic elements is nothing short of magic.

Mystical Sun’s 2012 is a charming return to smooth ambient landscapes. The underlying rhythm is very peaceful, inspiring a deep sense of relaxation. Chiming melodies tickle the senses amidst delicate hazy atmospheres. After Taruna’s top tune, this one chills the storyline in a very satisfying way.

Umberloid is an Ott side project featuring Chris Barker. Neon Tetra is nothing short of awe-inspiring. This breathtaking piece of high-energy psychedelic music slinks by at the improbable speed of 100 BPM. Impeccable drum programming is complimented by Barker’s distinctive bass riffs. The female vocals are very powerful in this one, soaring into the heights in a few mind-blowing sequences sprinkled throughout the track. Brilliant melodies spring up at any moment, wiggling through impossible sequences that are the mark of true musicianship. This fantastic merger of electronic and acoustic elements is one of the finest psychedelic chill out songs out there!

Kaya Project – Stone Turns Black is no slacker either. Seb Taylor’s downtempo side project shines on this sinister tribal romp. Chants, violin, acoustic guitar, and other world music staples are put to good use, conjuring a ritual atmosphere as thick as molasses. This is a distinct and dependable song that I never get tired of hearing.

Prayers for Rain (In Dub) was my first encounter with the West Coast artist Bluetech. His distinctly jazzy style of chill immediately captured my attention, and it still sounds great. Light and easy rhythms gracefully dabble around while a classy set of notes jive it up in the forefront. Psychedelic atmospheres infiltrate many segments, providing a great deal of engaging sound textures. It’s a great tune to end the journey! I would also suggest checking out the euphoric J.Viewz remix on Bluetech’s album Elementary Particles.

13th Moon is a triumph of psychedelic downtempo. It was conceived as a concept album, and it certainly delivers. I expect I shall be enjoying this in 2012, just as Neerav and Andrew intended. The strength of this release is a combination of blindingly good music and incredible versatility. As the liner notes suggest, “13th Moon is an album made as much for playing out (i.e. for DJs and the dance-floor) as for relaxed listening.” Very true! I was lucky enough to have attended a release party for this album while I was vacationing in Vancouver, BC. I will never forget how these chilly gems whipped up a frenzy of ecstatic dancing. Months later I finally obtained the CD itself, and it rapidly became a favourite. It remains one of the finest and most consistent chill out compilations I own! I recommend this album far and wide, to anyone who enjoys psychedelic downtempo, relaxing grooves, and ambient trance. Don’t miss this excellent release!

Release Data

Black Rain is the infamous collaboration between leading French act Amanite FX and Tsuyoshi Suzuki as Prana. This is considered one of the all-time classics of Goa trance, and it received wide exposure in 1996 by being re-released over a dozen times on various compilations.

The original version of Black Rain sounds very much like a blend of Cyclone-era Prana and Amanite FX’s other classic track Alfalfa. Years ago this was a standard set filler for any Goa DJ, but I am not convinced that this version holds up to the test of time. The middle run features a powerful cosmic lead, but everything goes a bit off-key in the last minute.

Blue Planet Corporation’s remix is the version I prefer. The French master has done wonders with the original, deepening the rhythms, cleaning up the melodies, and re-arranging the progression for optimal impact. The Eastern magic is much more evident here, especially in the last few minutes. This one is best heard on vinyl, as the bass comes through with an added warmth that cannot be discerned with other media. There is a small subset of classic Goa tracks which simply sound much better on wax, and this is one of them.

The Black Rain single is the best of the early POF 12″s. Even if my appreciation of the original has weakened through the years, BPC’s remix still does the trick! Old school collectors are going to want this on their shelf, but everyone else can safely pass on it.

Release Data