Psychedelic Blonde

Psychedelic Blonde, subtitled “Psychedelic Swedish trance,” was released by the Israeli giant Phonokol in 2002. It compiles material previously released on USTA (Underground Sound of Tel-Aviv), with the exception of one older track taken from a Krembo Records release. Ignoring the questionable cover, this is a fine collection of (mostly) Swedish psytrance from the turn of the millennium.

Human Blue (Dag Wallin) opens the compilation with Moods, a slick and sophisticated offering drawn from the New Frontiers compilation (2002). Similar in style to the sound of Wallin’s second album Electric Roundabout, Moods is a classy introduction to the Swedish trance sound featuring gorgeous melodies effortlessly swirling above deep, glistening rhythms. Stellar.

The Israeli artist Lish stands out as the only non-Swede present on Psychedelic Blonde. Kakvo Iskach, which is taken from their debut album Dejavoodoo, may have been included for its superficial resemblance to the Swedish style of deep progressive psytrance, but it is an ill-fitting match. Although it is a decent track, Kakvo Iskach is not composed with a genuinely Scandinavian approach; this piece is closer in style to the contemporaneous sound of Cosma, Domestic and (to a lesser extent) Psysex. Fat synthetic grooves peppered with small hints of melody maintain some measure of influence, but it doesn’t really go with the rest.

D.N.A. Trackers by S>Range is taken from the Israeli Flip On Henfield compilation released in 2001. It is composed in the fat chugging style known from productions such as Kym, Black Lotus, and Micron Transponder. The heavy-handed mechanical bass lends this one a distinctly unusual flavour; there is nothing else quite like it. I feel as if some of S>Range’s other efforts in this style were more successful, but this squelchy pounder is still good to own.

12 Moons is one of the most artistically accomplished artists from Sweden, but curiously enough, he never had an album released on Spiral Trax (a critical benchmark achieved by the other Swedish artists involved in this compilation). Elak Javel is taken from a vinyl single released on USTA in 2001, the flip-side of which is the second-to-last track on this very CD. This tune expresses the mean and forceful side of 12 Moons, as suggested by the opening sample: “Remember who it is that you serve. Open your eyes!” Richly textured rhythms provide an appropriate counterpoint to piercing leads and creepy atmospheric surges as this mystifying odyssey unfolds. There is an understated brilliance to this production—it is quite an experience!

The Clutch (also from Israeli Flip On Henfield) reaches into the darker side of Human Blue, incorporating tribal-organic rhythms and eerie melodic flourishes. The Clutch is arranged in a classic two-stage build: it surges upward toward the half-way mark, abruptly dissipates into pure rhythm, and then begins anew. The second stage accumulates an immense amount of energy as it progresses, eventually reaching a spellbinding climax in the last minute. Although I am not a fan of the samples from The Matrix, they are easily ignored. This is a good tune!

Roadtrain, the most ancient track re-released here on Psychedelic Blonde, originally appeared on DJ Zoo-B’s Psychedelic Krembo 4 compilation in 1999. For the discerning listener and student of psychedelic trance history, this early Vibrasphere production offers insight into the roots of the unique Swedish trance aesthetic. Group member Rickard Berglöf had been releasing music as half of Subcouds since 1995, but his productions in the mid-nineties were not significantly different from the general sound of old school Goa trance. After founding Vibrasphere with Robert Elster in 1999, the duo rapidly assumed a central role in defining the sound of Swedish trance. Roadtrain can be seen as a stepping stone to the sound heard on Vibrasphere’s debut album Echo, one of the first wave of artist albums released on DJ Anti’s legendary record label Spiral Trax. Although it features the moderately dubby melodic signature well-known from Vibrasphere’s later work, Roadtrain is remarkably similar to X-Dream’s classic song Zebra, released in 1996. As one of the key instigators of the movement toward cleaner sound design and progressive arrangements, X-Dream’s contribution to trance history cannot be understated. It is not inconceivable that Roadtrain was inspired by their pioneering efforts. At any rate, it is interesting to consider the possibilities.

Prex is the name given to the collaboration between S>Range and Noma. Taken from the Dig It (2001), S4 is their greatest work, and my ultimate favourite from this compilation. It features the heavy chugging bass character known from other productions by these artists, with one significant innovation: awe-inspiring cosmic melodies. If you ever wish to take a trip to outer space with the help of a really fantastic piece of music, try this one out. Every sound is placed with what feels like effortless skill; nothing seems forced or untoward. Together, S>Range and Noma have forged one of the most underrated classics of Swedish trance. Magnificent!

In addition to appearing on the aforementioned 12 Moons vinyl release, Sneaky Suspicion was released on CD with the Digital Drops compilation. Deep and sublime, this grizzly track is loaded with snarling hooks and mysterious hints of dark melody. The progression is gradual, resulting in a strong hypnotic effect. Quoth the sample: “People want paradise. They will have it.” Solid work from 12 Moons.

Matenda rounds it out with Fantasia, which also served as the closer to Israeli Flip On Henfield. This is a lovely floating tune full of tropical charm: light guitar, wistful melodies, and calming atmospheric sweeps reminiscent of early-nineties trance. With the backing of a throbbing rhythm section, all bases are covered on this gorgeous production.

Although re-releasing material is usually frowned upon by the more critical members of the psytrance-listening public, Psychedelic Blonde is a notable exception to the rule that such releases aren’t worth any attention. USTA’s quality standards were seldom consistent during their tenure as one of the more active Israeli labels between 2000 and 2002—in fact, aside from the debut albums from Lish and Jirah, I found nothing in their catalogue worth owning. However, as a huge fan of Swedish trance, Psychedelic Blonde gathers together some of the very best of USTA’s discography. Were it not for this widely available Phonokol release, I might not have come to own all these fine songs. For all fans of Spiral Trax, Swedish trance, and the artists involved in this release, I highly recommend it.

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