Future Sound Masters

Future Sound Masters is the first compilation released on TIP New World, an imprint of the similarly named TIP World. In an interview, label boss Richard explains that TIP New World is focused on new artists, non-standard sounds, and material which doesn’t suit the peak-time big room aspirations of the parent label. I don’t find this to be true in any respect for their first compilation release. Most of the artists involved have been producing trance since the early 90s, and the rest is the usual full-on filler. I don’t see the point of a new label for an identical approach, but this is just one of several mysteries surrounding this release.

The packaging is impressive enough, with a slick set of interior designs and a cardboard sleeve with a completely different design. This release also features the return of the reaction sheet—a mainstay of mid-90s Goa labels. The confusing part is that the sheet is printed on the reverse of the front cover, necessitating the sacrifice of some rather cool artwork should anyone wish to send it in. Is it intended to be photocopied? Anyhow, moving on to the music…

Hujaboy kicks it off with the high-tech sounds of Psychedelic Baby. The early minutes are all about playing sound games, as different noises sneak into play. A few of these sounds are very similar to what was heard on tracks like Mr. Peculiar’s excellent song Frontal Reversal (Syncrosect DVD, 2004). The drum programming is all very tight, and the rhythm has an almost cybernetic feel to it. The massive spiralling lead that develops later on sounds great, especially once the layers kick in. A trippy break with some filter tricks is just the thing to launch this fine tune into the last sequence. In the end, it is a slightly above average dance floor thriller.

The first of two Man With No Name tracks is up next. Dirty Trick proves Martin Freeland is continuing to refine his production technique without disrespecting his roots. The beats are balanced instead of overproduced, pulsating away with a satisfying amount of power, and there is no obnoxious bass line to interfere with the straight-forward UK-style melodies. While the lead in the very heart of the track is easily heard to be Martin’s work, the funky riffs that populate the later moments almost sound like something Shakta or Mumbo Jumbo could have come up with. This is solid psychedelic trance—nothing fancy or extraordinary—but quality material nonetheless.

String Theory, previously released on Hyperflow’s debut compilation Lift Off, is a little more involved. The pokey bass line is stronger, while the drum programming remains as polished as in the preceding track. This one really succeeds thanks to the sly cosmic atmospheres that Martin makes use of. The melodies are fairly basic, but quite powerful in an understated way. This has the feel of a very smooth journey through trance conducted by a master of the genre who still has his heart in the right place. It might be a bit less active and celebratory for old fans, but I think Martin has really struck a commendable balance with these new tunes.

Unfortunatly this is a TIP World (sorry, TIP New World) release, so the quality cannot last. Erroneously credited to D-Nox, Beckers’ Switch is easily the most tacky, overplayed, and utterly rubbish vocal anthem of 2005. A catchy electro bass line and some inane club-friendly lyrics somehow catapulted this tune to widespread acclaim in and out of the psytrance world. To make matters worse, there are about a dozen remixes floating around out there, so the hype cycle begins anew whenever yet another remix of Switch sees the light of day. As Bulletproof, Dino Psaras and Ian Rive have taken the absolute worst approach, transmuting the electro house original into a full-on pop trance atrocity. Others will disagree, but I don’t think this is any good whatsoever.

Bio-Tonic’s first outing Mexicosed Brains has all the trappings of a no-nonsense party tune. Crispy digital rhythms, a funky synthetic bass line, and a seething set of electro riffs show some promise. Unfortunately the progression is largely one of increasing the cheese factor. The “mexicoooo” sample gets tiring, several melodies introduced later on are just about as corny and plastic as can be, and the heavy use of filters and production tricks in some sequences is over the top. The last break is terrible, and the warped melody that comes in on the return just kills the track. Rest in pieces.

Science Mythology is absolutely standard paint-by-numbers full-on. The most noteworthy thing about this production is the sample usage, which might appeal to me if this emaciated tune possessed any substance. Both offerings from Bio-Tonic remind me of Triptych: slightly funky diet trance. Not my style.

Sandman is the legendary Israeli producer responsible for Witchcraft and Psycho Toons, two of the most original and beloved releases in psytrance history. Very little has been heard from his studio in the last five years, so the release of these two tunes (along with Tester’s Choice on TIP World’s Imagi:Nations Night compilation) represents a comeback of some kind. Old fans have been dismayed to discover that Izik’s sound has made a huge shift toward the full-on end of the spectrum, with a detectable influence from Xerox & Illumination. That’s all right with me, because the new Sandman tunes are full-on as it should be: big, bold, and psychedelic!

Holy Flip is loaded with a touch of guitar and plenty of samples, but it still rocks. There are all kinds of layers in action, with distinct synthetic melodies and evocative atmospheres. The mood isn’t exactly dark, but it sure is wicked! There are several moments perfect for explosive dance floor freak outs; this is an anthemic track that is deserves widespread appreciation!

Night Tripper has slightly less going for it, as the energy levels are toned down, and the melodies become less involved. An expert use of layering is still in evident in many sequences, and a few of the riffs sound quite psychedelic, but this seems less developed. Nevertheless, I wouldn’t hesitate to throw it into a mix or a set if I thought it was going to fit.

Terraformers & Illegal Machines is a four-person mash-up that involves veteran producer Stephane Holweck. Dragon Dance isn’t anything special, however; this is more of that “high tech” full-on that focuses on a wobbly bass line and screwy random blasts of noise. You know what psytrance has been missing recently? Samples from Fear & Loathing in Las Vegas. I totally miss those. Here we have Christina Ricci’s little speech about LSD that goes “I don’t know what they done to me, but I remember it was horrible.” I could say the same thing after hearing this bland bit of full-on filler.

Future Sound Masters is par for the course from TIP World—a few good tracks interspersed between “crowd-pleasing” dance floor anthems. This new imprint does not stray from the TIP World formula; commercial crap intermingles with the commendable work of some classic old veterans. Naturally, this proves to be problematic were one to simply let the CD play through. What it comes down to is this: Future Sound Masters is another random grab bag of tunes mainly of interest to DJs. I would not recommend it to anyone else.

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