1. LSDing Camping 9:54
2. You will See 7:26
3. InHarmonic Symphony 6:16
4. WeirDub 6:53
5. Don’t Leave Me Alone 1:58
6. The Old Times 7:10
7. It's Not For Money 7:24
8. The New Vibe (twisted parody) 8:54
9. Concertina 9:01
10. The Silence 8:20

Albert Hoffman and Timothy Leary give the opening blessing in LSDing Camping, which bleeds nicely into a proper sacred dub. You can tell right away that Argaman has a firm grip on the art of music making if you open your ears to the harmonies, melodies, beautifully constructed sounds, and intelligent use of effects that define this track. At this point in the album Argaman breaks out some real musical chops for our entertainment on this psychedelic journey. Violins and timpani drums lead us into another dub (You will See, T2). This one is laced with cartoonish vocals and a lightheartedly dark symphonic atmosphere which carries on perfectly into one of the real stunners on this release, InHarmonic Symphony (T3). This is the kind of track that, to a lover of psychedelic chill, really takes imagination and musical amalgamation to a whole new level. The composition is sheer brilliance in my opinion, and to realize the composer plays all the orchestral parts himself is also quite impressive.

The Tim Burton-like violin melodies continue in WeirDub a bit until we break back down into a fun, slow dub with a trippy little auto tuned vocal melody that fades down to the somber and mournful interlude. The Old Times (T6) is another fine showing of Argaman’s talents both on the instruments and on the computer. I have heard a number of classical composers using some electronic sounds in their pieces, but never have I heard a more fluid blend of classical, dub, and everything in between. I feel that some of the lyrics in It’s Not for Money (T7) explain why this album sounds so amazing: “It’s not for money, it’s not for joy, it’s all about the music in my soul.” This album was not developed so that it could be performed at symphony halls; the focus was clearly on using the greatest tool of the 21st century (our beloved computers) to make the music sound as good as possible. The man is not lying, he didn’t do this for the fun of playing at festivals, or the money in selling scores to filmmakers and symphonies (though I really hope he does); he did this for the music, which is something much larger than himself.

The Silence (T10) is another fantastic piece, concluding this opus in a proper classical way. Bringing back familiar melodies and themes but reprised. It’s the kind of ending that makes you want to clap and discuss it with someone.

1. Irukanji- Onset (in) 72bpm 4:01
 2. Irukanji- Swamp 128bpm 7:07
 3. Irukanji- Recapture the Past 90bpm 5:34
 4. Irukanji- Return Home 90bpm 8:43
 5. Irukanji- Hybrid Seven 100bpm 6:50
 6. Irukanji- Nymphosis 120bpm 8:03
 7. Irukanji- On One Wave 130bpm 7:48
 8. Irukanji- Forest Speakers 130bpm 8:38
 9. Sphingida- Crystal Silence 75bpm 4:08
10. Irukanji feat. NeiRula- End (out) 72bpm 7:39

For the sixth in their collection, Sentimony Records deliver a splendid album that is sure to delight the ears of ambient music lovers around the globe. Igor Orlovskiy, who is well known in the trance world a la Sphingida fame, debuts his solo skills in the form of Irukanji!
Z Lisu is an ornate piece, moving through many modes of electronic music without losing its cohesiveness or psychedelic spark. The album begins with a subtle rhythmic build and heady, wet sounds swirling around the mix; really setting the tone of the type of ambience that will define Irukanji. The intro leads into one of the real stars of the album, Swamp (T2). This shining product of musical alchemy has a dark dubstep frame with bizarre psytrance leads and a beautiful stuttering vocal sample, which provides a very colorful forefront to the piece. Moving along, it seems as though the tracks that would excite a dancey chillout DJ are in the first half of the album. Recapture the Past (T3) is sure to soon be a classic slow-trance track: door-knock kick, sixteenth note bass line, polished and unique trippy FX, and pretty but simple chord progressions. Return Home sounds more trip-hoppy and uplifting, but with a touch of grit; and my lovely electronically stuttering woman is back to bless this track as well. The next few tracks slowly pick up the tempo and seem to present themselves as rather varied and formless progressive trance tracks. Hybrid Seven (T5) is more meditative and calm, while Nymphosis is the kind of track that forces your energy level up. By the time On One Wave (T7) hits, the sun has set and the stars are beginning to show themselves in the vast mysterious night sky; this track is the cue for everyone at the festival to get out of their tents and come down to the dance floor! After this, the album fades away into abstraction. Forest Speakers has an odd non-standard beat and Irukanji’s now signature stuttering woman makes her final appearance. We then have a beatless transition into the outro, which is much like the intro and provides closure to the story that has just been told.

Recomendation:  I would highly recommend this album to beat-driven, abstract, and progressive ambient fans alike. I have already gotten much enjoyment out of this one particularly because it’s so unique and unpredictable.

1. Archronon 8:56
2. Sacral Meetings 7:49    

The Greek God of Time is back with a fresh new piece of the puzzle for us to contemplate. Chronos is a name that has been becoming more and more recognizable in the psychedelic music scene over the past few years, especially since the release of the massively powerful album, Steps to the Great Knowledge (Sunline, 2007). Soundmute Recordings has a great knack for releasing great two-track digital EPs, boasting tracks from artists such as Asura, Side Liner, and Carbon Based Lifeforms to name a few, so expect no less with this one.
Natus In Spiritus delivers the kind of sound we’ve come to expect from Chronos a.k.a. Nick Klimenko: solemn, mysterious, epic, and intense. Archronon starts with eerie ambience & subtle tribal rhythms and builds into a heavy slow break beat with a dramatic rave lead blessing the beat. It provokes me to think big thoughts about the future of the world we know, the inevitable change we all must face, and the unseen dimensions eternally floating on top of ours. Sacral Meetings continues along the same thread but a little faster and dreamier; the way he parries a melodic riff with electric sound FX sounds like the ghosts of psytrance past.
It has been interesting thus far to follow our friend Chronos through his musical development. This EP along with other single track releases have me on the edge of my seat in anticipation for a new full length album.

1. One Drop or Two 8:18
2. Gathering of Lights 8:57
3. El Jaguar 7:49
4. Sparkles 7:59
5. Wakan Tanka 10:22
6. Beyond the Continuum 8:15
7. Blessings 19:20

Calling all Shamen: grab a spliff and the keys to your flying saucer, we’re listening to “Druid’s Brew!”. As Dymons takes us on a journey through hypnotic tribal rhythms, Rasta-approved chords hitting the upbeat and full-bodied ambience, one begins to lose track of time and space.
The album does a fine job of telling a story, starting with a proper introductory track, moving into the vocal hit Gathering of Lights featuring the beautiful vocals of Amina Djahnine. Once this song hits, I return to that moment at a festival that so many of us chillers are familiar with: dancing barefoot on the grass slowly and passionately, savoring the divinity of the moment, and letting the music fill you with an overwhelming feeling of contentedness.
The album maintains this moment for me through the next few tracks, producing a meditative listening experience. Dymons moves us through elements of dub, tribal, and trance rhythms. The soundscapes are very colorful and polished, and the instruments are widely varied and well placed. You really get the feeling that each track tells a chapter of the whole story, leading up to the magnificent nineteen-minute conclusion, Blessings. This track is a true dub epic, which stands out in my mind as one of the finest works in our little genre I’ve heard in recent times. Vocalist Amina Djahnine returns with another haunting siren song lightly placed over an exotic, melodic, dreamy, dubby bed of sound. The main thread of the track weaves in and out, making itself present enough to make the track whole, but vanishing for long enough to allow one to get lost in the mood. I am also always happy to hear a bit of psychedelic spoken word in moments like these, in this case we hear Ralph Metzner emcee a few lines here and there.

Recomendation:  If you didn’t already get my message: I would highly, highly, recommend this album to everyone out there who’s experienced some inner peace; to the people who appreciate the mystery of life; and to the people who know all about the hardships of life but continue to shine their smiling faces. Much respect to Dymons for his efforts, but this album was created through him by something greater.