Electrypnose Home

By : Trance2MoveU
December 2010

What can be said about Suntrip that hasn't been written a thousand times? The label has resurrected the goa trance scene with artists that make driving and powerfully melodic compositions. This is their 20th release and have decided to throw you a curve. With this album they bring you a downtempo treat. While I think this is nice for the customer, make no mistake it is also quite the savvy business move. What better way to expand your market and increase sales than to get into other genres. Lest you think that this is their first foray into the world of ambient recall the Opus Iridium which was a groundbreaking double album consisting of half goa trance and half ambient. The guys at Suntrip always make a professional product and have a reputation of being very listener friendly and giving the people what they want. Electrypnose is the incredibly versatile Vince Le Barde who has been releasing various types of music for a long time. Subliminal Melancholies in 2006 was a brilliant ambient offering but he has also released several albums of psytrance and Darkpsy.

A5sention- The start is like a needle of a record player at the end of a record as pads float over a single deep bass note. It's deep cold as if I were on a deserted spacecraft. A soft synth melody repeats itself lightly as the bass hits again and again. The track gets warmer with this melody as I reboot the power supply and get life support functions back online. Slowly the computers flicker and the air becomes breathable as a hi-hat flutters. Super space ambient track!

Histoire d'Histoires- As I sit myself at the control station I delve into the ships log. Soft, ice cold pads tell of a sad journey as computer twinklings dazzle and leads wail a lament. Outer space synths reach farther to the stars and are underlined by a deep bass that tell me this really happened. The crew invited a passenger on board that...wasn't what he seemed. This track is wrought with regret but beautifully so. Epic sounding.

A Part Of Myself Is Somewhere Else- Alien skitterings scatter amidst hopeful pads as I am surrounded by the hum of cold machinery. Without a beat the track picks up speed with no discernible bottom end. A glitchy quality permeates the entire track until the kick arrives late. This seems like it would've been a good interlude...maybe it is. Sounds pretty abstract and very floaty.

Sady- A cautious melody weaves through a breakbeat while space sounds swirl all around. They are all placed perfectly as the track bounces along. Crystals sparkle with a slight percussion as the bass continues its measured path. More leads fire delicate strands of acid as the track takes a sharper turn towards the dark. Super!

Triste Gaîté- Electric pianos dance the dance of the melancholy as a bass sound rumbles underneath. Shortly this quickens to a mid tempo pace entering the realm of progressive. Guitar sounding wails frame the track as the break arrives with more atmospheric rushes. Something is building, that much is evident and it is taking its sweet time. Gradually growing into a shriek and then back into the beat. Pretty emotional track with great sounds again.

A Wasp At The Fairies- More ambient twinklings soar high above a distorted breakbeat until that beat becomes clearer. A nice interlude but I don't sense what he is trying to accomplish. It doesn't seem to fit where it was placed. I still liked it though perhaps it needed to be longer to allow its evolution.

Out There- Starting with digital noise until a pad rises from the chaos and more twinkling greets the ears. The track then switches focus as a very Ultimae (think Cell Hanging Masses) beat comes out accompanied by even more high pitched synth sounds. I don't see why that beginning had to even be there...whatever. This becomes quite funky and beautiful with a feeling of regret. Then it switches again with a sad piano melody. Again this was pretty, but didn't have a direction. It sounded like he had several ideas that he tried to tie together.

Triste Vie- A soft piano melody starts out with a sense of sadness but also hints of a brighter day. At 1:45 it becomes more electric with a sadder overtone as pads swirl. The piano returns with some delay and it sounds great with some glitchy atmosphere. Not bad.

Perle De Vie- With yet another forlorn piano melody to begin, a breakbeat enters and then another melody arrives. The key change is a little odd. Like Tim Burton odd, but I can't get a sense of where it was going. It becomes heavily modulated and fades away, allowing the piano to return. It really is beautiful and reminds me of the Ring soundtrack. Jungle sounds and whooshes appear and then float away. Electronic leads join with the piano and the melody sounds very spacious. Very good track.

Dramatic Orchestra- Orchestral strings sound so smooth and fluid and then the electronics begin. Bouncing synths echo off one another transporting me back into space. The strings return and give the track a tension, as if we are up against a deadline. It's very beautiful and haunting at the same time. With this track he is masterful at fading in different sounds. With ease he transitions to electronic bubbling while losing none of the feeling that the strings brought. Awesome!

El Cornio (Second Chapter)- Downtempo glitchyness as sounds ping like a submarine at a slow crawl. I find it very cold deep in the ocean, but also very visceral as the sounds are so damn clear. The echoing is quite entrancing and takes you deeper and deeper into his world. The drumbeat increases in tempo as strings usher in a new melody. Very eerie. When the piano comes in it is positively scary. Super f#$%ing track!

Peurs et Pleurs- This is a haunted house track if I ever heard it. Metallic scrapings, deep low pad and echoing eerieness. The piano melody continues to do what it has done throughout and a beat effortlessly assumes shape. Brilliantly done. It's slow and steady, designed to be creepy. Short though it was, it was a nice ending.

First off as someone mentioned earlier in the thread, it sounds very electronic. Very little warmth. Also this could very well be the soundtrack to video games like Silent Hill, good call Jon Coco. There were parts that were very beautiful and emotive, allowing a story to unfold but at the same time, there were a few areas that seemed disjointed or connected haphazardly. It's no secret that Vince is supremely talented, but maybe this album needed a theme or a more rigorous structure. Obviously all the tracks have a melancholy tone and some of them deliver a little brightness as well. At first I thought he was trying to have it both ways. The cold, digital feeling of sadness with the cheesy, almost Yanni-esque warmth that happiness could bring. But with more listens his genius came to light. The title of the album is Sweet Sadness and that is exactly what you get. Mostly melancholy tracks with some brighter areas. Every track is haunting and his talent at mixing sounds is ever present. To say I wasn't expecting this from Suntrip would be an understatement. Highly Recommended.


By : Abasio
December 2010

Electrypnose follows up his amazing first chillout album: Subliminal Melancholies with Sweet Sadness in 2010 on Suntrip Records. Now both Electrypnose and Suntrip are more famous for their upbeat trance music but when they decide to release chillout music it is of the highest calibre. Subliminal Melancholies was an album I ignored for far too long after buying it and I only really got into it after hearing an amazing track I didn't recognise on one of my own mixes, looked it up and realised it was Electrypnose. I then started listening to the album and I really loved the unique sound of bright melodic melancholy. Sweet Sadness too has this oxymoronic feel to it where the music is both bright and sad at the same time, as if a depressive is putting on a very good brave face for the world to see but look deeply into his eyes and you can see the pain and hurt hidden deep beneath the façade.

This album has more of an IDMish feel to it than your usual psytrance related chillout music, the beats are more complicated, the are times when the music gets quite glitchy and the lengths of the tracks vary from fairly long intricate tracks to short sharp tunes that arrest your attention and then finish abruptly. Unfortunately form me, my favourite track is A Wasp At The Fairies which weighs in at just under two and a half minutes. The track is like a short soundtrack to a animated fantasy intro: it feels like I am deep within a forest at midnight under a full moon and there is life everywhere just beneath, above or to the side of perception. It feels great, I really want to know where it is going but then it's over. That would be my only gripe with the album though and when the problem is that your favourite track is too short you can count yourself lucky that the music begs you to listen to it again.

If you liked Subliminal Melancholies then I don't think you'll be disappointed with this album. Electrypnose has done his second chillout album very well, he has managed to stay true to the feeling of the first album while moving his sound forward considerably. The atmosphere is great but seems more polished, more vivid and in my head more animated. The beats have become more varied and in my head give the album a more metallic feel which tugs at the animated feeling I get opposing it while it accentuates it.

By : Jon Cocco

Sweet Sadness is the long awaited sequel to 2006's critically acclaimed Subliminal Melancholies. This is also the first ambient-influenced album by Suntrip Records, and a huge surprise. Some tracks have more of a chill, ambient, and/or downtempo influence, while others are more classical, involve breaks, electro, psychedelic work, or share a combination. The album is filled with sensitive harmonies, soundscapes, atmosphere, and melodies. So how does it compare to the debut? A full review ensues.

1. A5sention starts out with crunchy ambient atmosphere, like a candy wrapper twisting in a tin cup. A slight rush of ambient rises up as warm, tasty melodies appear. Complimented by a gradually building sound; the first half is relaxing and atmospheric, coupled with intriguing sound stimuli. At 4:48, a strong, climactic effect lifts the song forward, like a distorted ocean wave rushing in. Hear it crash and sizzle. The effect is great, soon gone, but provides the track with more energy and appeal. Again it comes in around 5:55; all the meantime a delicate combination of Psy-influenced work and effects blend together, composing unique support as opposed to a typical beat. This is a good opening track that massages the listener's ears and mind before exposing him/her to the bigger world that awaits. B+

2. Histoire d'Histoires is more harmony driven. It takes a minute to develop a foundation, releasing a contemplative flute-like appearance to the ambient sound. I'm hooked when a delicious combination of melodies appear at 2:12, and compelled yet again at 2:54, when a sensitive melody falls into play with the haunting atmosphere. This sound reminds me of a wonderful sound on Filteria's Filtertraces (Abstract Dream Remix) track, with its beautiful, blinking melodies. Wonderful use of piano enters the second half; providing a more dramatic, substantial feel. While I enjoyed the previous, more ambient-influenced track, I really like the buildup, piano and melodies here. They're haunting at times. I could see this working great in a mature, "self-realization" film sequence. The song feels a little short, but ends well. Great track. B+

3. A Part Of Myself Is Somewhere Else is a fairly dreamy ambient number with similarly dynamic sound mixing from the debut. The overlap of concepts here is interesting: one part is Psy-influenced, mechanical, combined with a second part, warm and soothing. The number's contemplative with a tune's entrance from 1:36 forward. The ambient here sounds as if, to some degree, it could be the score in a strong, reflecting moment in a Silent Hill game. An additional melody enters via 2:30, and enhances the evocative score. The sharp/editing drums and sound effects develop a tasty rhythm from 4:19 to 4:50. This is an interesting/solid track that nicely separates the two more harmonious ones from each another. While the song's softer approach initially turned me off (I think I was expecting something more intricate, massive to top the previous number's melody/sound work) this reflective, moody track has really grown on me. Good work. B

4. Sady begins with gripping ambient, melodic elements, and acquiring a beat around 0:43. The song is very smooth, develops nicely, and has several moments of gentle space where ingredients are added to strengthen the stew. Both the beat, drums, and intricate mixing compliment the melodies; the latter sounds fairly Goa-influenced in the final third. Also sweet is the music's return. I was afraid that the song would end early at 5:40, and happy that it returned both more involved and gripping than before. The work is fairly subtle though; it doesn't jump out but delectably rebuilds itself. The artist sculptures the design into the final third, providing an ultimately more satisfying feel, conclusive feel. Good, if not great track. B+

5. Triste Gaîté begins with beautiful, soft notes via piano. Soon, an inhale and exhale sound, like breathing enters reminiscent to that via Electrypnose's ChillinBerlin song. I love how the music picks up, takes off, changes, and returns here. If down or mid-tempo songs can have climactic elements, or climaxes, this track seems to incorporate several. Simply raise the volume and listen to this. It's driving, atmospheric, infectiously arranged, and filled energy. This is a far superior follow up to Electrypnose's ChillinBerlin song on the popular Opus Iridium compilation from 2008. The energy throughout is great. Excellent work! A-

6. A Wasp At The Fairies sounds closer to Subliminal Melancholies relative to its emphasis on breaks, beats, staccato editing/mixing, melodic chimes, and sound effects. The song starts slow, and becomes fast paced and engaging. It sounds great actually, which is why I'm surprised by its short running time. It's catchy while it lasts, but this could have developed into something really superb, or a sequel of sorts to either debut song, New Wave or This Is The Beginning. Cool track. B

7. Out There continues as if it could be an intriguing, atmospheric extension off the previous track. The ambient notes that arrive early on sounds good. Soon after enters psychedelic sound-work, like pop corn crackling, popping, and snapping. At 2:04 however, the cool experimental work melts away to accommodate a wave of emotion. The ambient layers form a beautiful relationship with several melodies, as a gentle beat enhances the backdrop. A wonderful part of the album takes place at 3:50. This includes piano notes; the story travels deeper. Beautiful soundscapes float across a fantasy/ambient world, as the piano leads the developing path. A shift in emotion takes place around 5:25 relative to sensitive melody work. The song sounds excellent, until a harmony arrives after the music fades at 5:55, which is outstanding. I love the piano, feeling, and harmony throughout this track. It oozes with passion, and is captivating and provocative from start to finish. A

8. Triste Vie follows up the previous track nicely. It begins a strong albeit heartfelt piano tune complimented by various other instruments. A second piano via higher note soon arrives; the two are integrated well together. The first 1:30 roughly is great. The track then enters a cloud walking interlude. It's fairly interesting I suppose (depending what mood you're in). Since my attention was arrested on however, I was expecting something less floating-in-space. To the interlude's advantage, the peaceful sound is very relaxing; it creates some space between two wonderful, story driven segments. After a minute or two, the piano returns in the third minute with simple notes, and picks up a stronger direction around 3:54. The lower, sustained keys are beautiful and affecting. At 4:50, the swirling ambient backdrop via interlude pours into the piano's view, and the listener is immersed in the structure's core heart of the story until the very end. This is another track that shows how versatile the artist is; he's convinced me that he can produce ambient-influenced music on par with some of Solar Field's finest work. I find this song so beautiful, meaningful, and occasionally sad. At times it reminds me two souls, once together on Earth, whose spirits are now free. The music is really poignant anyway. This is a beautiful track filled with heart. A-

9. Perle De Vie has more energy after the previous, piano-led, floating experience. It begins gentle, with a different piano fell entirely. A slow, plodding beat arrives within the first minute. The vehicle soon acquires a unique, catchy melody. Atmosphere is projected as the plodding beat's joined with multiple supports, altered Psy sounds, tweaks, and melodic elements. As the music fades, a solid piano-driven tune enters, and is soon complimented by another. Floating soundscapes move through ambient, as the warm melody becomes the gentle, now softly floating away piano. A warm atmospheric interlude emerges, involving animals, running water; sounds as if we're in a jungle or by a stream or waterfall. I find the interlude more interesting here than in the previous, otherwise strong number. After the intriguing center-space, the music with more angles, layers, development, and appeal. It's like a beautiful creature opening its wings (showing its soul at 7:31). I especially love the sensitive/piano arrangement from 7:31 forward. Moments like these elevate an already great track. A-

10 Dramatic Orchestra starts out soft. It takes full advantage of an instrument, making it quite possibly the most paramount sounding number on the album. The track builds extremely well (no spoilers). It's smart and rewarding. One may not realize the songs sheer power early on, but the work is nevertheless impressive. The first two parts are great; they flow very well with final third. This is easily one of the biggest, best tracks on the album. It's excellent, sounds epic, and defines the term dramatic orchestra. Superb! A-

11. El Cornio (Second Chapter) incorporates a variety of zippy, crack/pop, twisting effects to the sound of a piano, altered ambient notes, and more. Around 2:00 is where the song seems to grip onto something more substantial; with an echoing thud, the deep ambient stands out. The beat is slow, and picks up speed at 3:16 which is catchy. Moving through various musical instruments, a contemplative, eerie tone takes presence at 4:00. The artists approach to storytelling appears throughout the album, and I'm reminded of it at times here. A chilling atmosphere, with what seems to include literal, tediously mixed water droplets, compliments the notes. There is a subtle, psychedelic touch here too that is cool. While the previous song captured me more by its sheer power, this song is refreshingly different, less musical, and more ambient/textured-influenced. It's cool. I like it. B+

12. Peurs Et Pleurs is quite possibly the most ambient-influenced song, or at least of them here. It's floating, atmospheric, and calm. Ambient extends the opening of the track, which develops nicely around 2:23, when various elements, a moment of drums arrive. The work seems more subtle here, the tone is most relaxing. There is a strange, eerie sound that arrives later, almost like a wink to the artists darker work. I really like the sensitive melodies and distorted piano in the second half, accompanied by the ambient notes. The combination works well, and my only gripe is that, well, the track ends because I don't want the album to end. Because we rarely seem to get ambient-influenced albums like these now days, and actually I don't think there is any album like this one. Peaceful closing. B

In conclusion, Sweet Sadness is a great follow up to Electrypnose's Subliminal Melancholies. What the debut had in eclectic mixing via scratch pads, sound effects, Sweet Sadness makes up for with strong ambient-influenced soundscapes, warm melodies and atmosphere, crisp sounds, beats, harmonies, and rhythms. There is even some electro/breaks, psychedelic, and experimental work integrated into the whole. Tracks reflect a variety of emotions, from beauty to sadness, determination, contemplation, and peace. I enjoy listening to the album straight through, as it flows well, especially in the second, more harmonious half. If I were to gripe and/or nitpick, the debut had more scratch pads, drum kits, and sound effect/intricacy that I occasionally miss here. Also, A Wasp At The Fairies is too short. I wish it was longer. That said, the energy of Triste Gaîté is great. The surreal/haunting soundscapes of Histoire d'Histoires is excellent, and tracks like Out There, Triste Vie, and Dramatic Orchestra are some of the strongest songs I've heard all year! Sweet Sadness is one of the best, most interesting and provocative downbeat/tempo albums of 2010. Thank you Vince le Barade/Electrypnose and Suntrip Records for releasing this long awaited, beautiful, and engaging follow up to one of my favorite albums: Subliminal Melancholies.

Favorite tracks: 1, 2, 4, 5!, 7!!, 8!, 9, 10!, 11.


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