Hidden Streams

A Series on Early Goa Trance Part I: K.U.R.O.

2006-12-22T14:23:00.000-08:00

And so Hidden Streams rises from the dead after more than half a year of non-existence.
And instead of getting more dark ambient... you get Goa Trance?
Before you start scratching your heads too much, I should probably begin to explain myself.

A lot of you probably hear the word trance and think, at best, of ultra repetitive beats with cheesy melodies and maaaasssiiive anthems. At worst, you might think of mostly talentless hacks fading between records in front of millions of brainwashed fans who think the DJ is actually making the music. While both of these stereotypes can be (somewhat closemindedly) applied to the modern-day mainstream side of trance, the subculture of Goa Trance as it existed in the early to mid 1990s, and even as it exists today, is entirely devoid of these phenomena.

Although perhaps the best introduction to the genre for a newcomer would be to read an excellent article entitled Goa Trance: A Psykotropic Trip Through Tribedelic Transcapes (which may be found here: http://www.scu.edu.au/s chools/arts/music/staff/mh/goa.html), in shortened form, Goa Trance (also known simply as Psychedelic Trance or Psytrance) is a form of electronic dance music that developed in Goa, an area in India, during the early 90s. Its hallmarks are a steady stream of 16th and 32nd note melodies (often played in "asian"-sounding scales), and an emphasis on psychedelic effects and noises (often jokingly refered to as teleporter sounds.) Another key part of the "Goa" sound is its use of vocal samples to set the tone of a song - a good example comes from Wonderland by California Sunshine, wherein an ambiguous vocal sample whispers "So weird, I never forgot it - where do you think it comes from?"

The music developed as a combination of the hippie culture which had dominated Goa since the 70s and the late 80s EBM and New Wave music which gradually found its way into the outdoor party scene of the area. Injected into this mixture was a great deal of Hindu and Buddhist thematica and symbolism, which, although still present in the genre today, has gradually given way to an emphasis on "psychedelics" and "drug culture" as the genre found popularity outside of Goa. Nevertheless, even at contemporary Psytrance parties, it is common to see fluro tapestries of Lord Shiva painted right alongside a psychedelic mushroom design. (It should be noted that Goa parties tend to focus more on fluorescent and psychedelic lighting than on flashing lights, lasers, and the other stereotypical hallmarks of electronic dance culture.)

Perhaps because of this focus on spirituality in the genre (which often went beyond merely "Asian" symbolism to focus on the spiritual realm as a whole - see Cosmosis - Find Your Own Divinity for a good example), the Goa/Psy dance experience has never been truly the same as the "Rave" culture in the rest of the world. Goa and Psy parties are intensely tribal, and the producers, party organizers, djs, and dancers tend to think of themselves as a close-knit community rather than a scene.

It is precisely this tribal spirituality that appeals to me in the genre and allows me to value it higher than other, more "base" forms of party music (which, admittedly, are still fun in their own right.) Some might argue that the spirituality of Goa Trance is merely surface-level: and in many regards, they would be right. Nevertheless, however, the transcendental feeling which the music evokes is unparalleled in any other form of electronic dance music.

As such, and since I am actively involved in the Psytrance community as a party organizer, DJ, and producer, I have decided to do a series of posts centered around Goa Trance. These posts will, for the most part, focus on vinyl single releases rather than full albums, and in keeping with the spirit of MP3 blogging, I intend to provide ripped copies of every single which I discuss. I may occasionally venture into full album territory for more important releases, but as full albums are a lot easier to come by than rare vinyl, I don't intend to upload any full albums.

This series of entries will mostly deal with the early days of the Goa culture, from roughly 1992-1999, prior to the depopularization of organic, asiatic-influence Goa (in favor of the purely "psychedelic" sound) which happened circa 2000.

I have chosen to start with a Japanese artist, Takeichirou Kurosaki, who goes by the name K.U.R.O. when producing. Although K.U.R.O. is still involved in the psytrance community, his newer music, though excellent, has largely gone the way of minimal techno-influenced psytrance, and has left the original Goa spirit behind. As such, I intend to provide you with his first single, the Japan EP, released in 1994.

The significance of this EP is two-fold. The Japan EP marked the first release on the now legendary Spirit Zone lable, which has become a hallmark of quality music in the Psychedelic Trance community. Secondly - this IS such an example of insanely good music. Although it doesn't fit the "Goa" description perfectly, oweing to the lack of streaming 16th note melodies, the psychedelic atmosphere of the single set the benchmark for the early Goa music community. In particular, the first track, "Zoa (Remix)" encapsulates the entire Goa experience, from the eastern melodies, to the vocal sample ("I found God!"), to the stunning climax of the song. Zoa quickly became an anthem in the early days of the trance-dance scene, and there's little wonder why. The track feels unquestionably majestic.

The remainder of the Japan EP release is wonderful, but doesn't quite hold up to the significance of "Zoa (Remix)." Track two is the original mix of Zoa, which, while nice, is lacking the energy and the spiritual, tribal, transcendent feeling that so unites the remix. Track three, Inner Dis-Communication, is a perfect Goa song which, while not as unique and attention-demanding as the remix of Zoa, would perhaps serve as a better archetype for the sound of the Goa Trance genre as a whole.

In addition to the Japan EP, I have uploaded the 1996 remix of Zoa, which was featured on K.U.R.O.'s full length album, Revolution. To my knowledge, Zoa (1996 Remix) never recieved a vinyl release, and it's honestly a damn shame. The 1996 update to Zoa builds upon the earlier remix of the song, which headlined the Japan EP, and uses the characteristic melody of the song and the vocal sample both to greater effect. This remix, in combination with the first remix of Zoa, the original version of Zoa, and Inner Dis-Communication should provide for a stellar introduction to the psychedelic Goa experience.

Images of the Japan EP Vinyl:
http://www.discogs.com/viewimages?what=R&obid=89774

K.U.R.O. - Japan EP:
http://www.mytempdir.com/1129872

K.U.R.O. - Zoa (1996 Remix):
http://www.mytempdir.com/1129889

ZOÄT·AON

2006-07-25T03:10:00.000-07:00

Electrifying, magnanimous, terrifyingly alien - there are a lot of words that I could use to describe the sonic output of Finland's Jaakko Vanhala, member of the seminal I.corax project. However, despite the attempts on the part of record lables and mediaphiles alike to pigeonhole Vanhala's music into the ambient genre, I must admit that ambient is not one of the words that immediately leaps to mind upon hearing his music.

The music of Vanhala's ZOÄT·AON outlet, as exhibited on his 2005 album Star Autopsy, is extremely active, dynamic, and constantly morphing. It is intensely structural, with welldefined climaxes, lulls, and transitions. Compositionally, this album relies on resonant metal clankings, extremely harsh synthesizers (this man really loves his low frequency oscillators), indistinguishable whispering, a variety of acoustic instruments (including thighbone trumpet), and a host of processed found sounds. The result of this sonic alchemy is by no means ambient. ZOÄT·AON reminds me more of an H.R. Giger painting than of wallpaper for any nameless place of resting or peace (a thought perhaps reinforced by the everpresent triangular geometry of Vanhala's designs.) Quite frankly, this music is loud, active, and attention-grabbing. Anyone who can relegate this to the background has serious hearing problems.

So, if not ambient, what is this, then?

Honestly, I'm not entirely sure it needs a genre. According to a 2006 interview with Vanhala, which is available on his website, the words ZOÄT·AON themselves are defined, but undiscovered. Vanhala wishes for us to discover our own definitions of his project by listening to the music, much as he discovers the symbolism behind his moniker through the rituals of composition and recording. It seems to me a diservice to force such transformative music into a simple lable such as "ambient." This is ritual music, through and through; a powerful vessel for exploration and transformation.

I've chosen to upload one selection from Star Autopsy, and it can be found below. The title of the piece is "Dark Grammar."

Song Download:
http://www.mytempdir.com/825353

ZOÄT·AON official site:
http://www.helixes.org/zoat-aon/

ZOÄT·AON's lable, where you may find more song clips and information on Vanhala's 2006 release, The Triplex Bestial:
http://www.auralhypnox.tk/

Please remember to support the artist.

Beginnings

2006-07-25T01:23:00.000-07:00

"To read a newspaper is to refrain from reading something worth while."

Such is what Aleister Crowley had to say about the lower-cost publications of his day. One can assume that, when confronted with the marvels and madnesses of the internet, he would have much the same to say about blogging.

It is my intention for Hidden Streams to rise above this least-common-denominator system of blogging, in which an uninteresting topic (shall we say, the common fraction) is repeated ad nauseam amongst a group of "individuals" who do little but echo each others catchphrases. This panglossian approach to music critique relies on a hive mindset in which little to no thought is given to the content or the value of the music, focusing instead on the context and the image (the hipness factor) of the music.

Hidden Streams, therefore, is tragically un-hip, ill-advised, bold, and individualist. I intend to give my personal insight into what I consider to be good music (perhaps, the uncommon fraction?), be it dark ambient, country, new wave, black metal, or really... whatever I am moved to tell you about.

It is my hope that this reading is worth while.