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Filteria - Lost in the Wild (Suntrip)

Jon Cocco
IsraTrance Junior Member
Started Topics :  17
Posts :  18
Posted : Nov 10, 2013 02:03:56
Filteria - Lost in the Wild
Suntrip Records, 2013
Psychedelic Goatrance

1. Filteroid (Day @ 2AM)
2. Dog Days Bliss (Album Edit)
3. Food Demons (Demon's Head Remix)
4. Life Never Sleeps
5. Lost in the Wild
6. 36th February
7. The Lights of Shibuya
8. Night @ 12PM
9. Birds Lingva Franca (2013)

This fourth Filteria album attempts to push the envelop, creating not only a more psychedelic album since 2009's critically acclaimed Daze of Our Lives (DoOL), but one with influences that range from Hallucinogen and KOB, to Science Fiction/Fantasy, and more! The result is an album discussion for some time to come. But does that make LitW the best Filteria album yet? That's for you to decide. It most certainly has work that surpasses DoOL. That said, it's hard not for me to compare at times considering DoOL was such an evolution from Sky Input (2004) and Heliopolis (2006). LitW is a big step in some ways since DoOL.

1. Filteroid (Day @ 2AM) has a strong, atmospheric opening that includes a vivid psychedelic backdrop. The song reminds me, a little of a more psychedelic sequel to DoOL's Filtertraces (Abstract Dream Remix) via the sound at 1:55 for instance. I adore Filtertraces, so anything that sounds even slightly influenced is hard not for me to compare. Naturally, Filteriod's 95-99% different. A developing stream of sounds move through unique soundscapes, through numerous changes of scenery. The song takes a breather and recollects itself halfway through. The atmosphere's great. I'm relieved to see the artist introducing more to immerse the listener! This song requires many listens to sink in, as it's crammed with ideas. The second half has more take off; it's catchier. Overall, I felt that Filtertraces was more euphoric, magical, and exciting. That said, Filteroid is more psychedelic, intricate, and varied. It's packed with goodies. Anyway don't let what I say influence you too much. Listen to and experience the song for yourself. Great track! B+

2. Dog Days Bliss deserves to be played on dance floors around the world. It hooks right away doesn't let go. The take off at 2:06 is excellent. The song occasionally returns to its chorus-esque leads that develop, around complimentary segments in-between that evolve too! This is another example of Filteria evolved. It's creative, inventive, fun, and exciting throughout. Furthermore, there's breathing room between the climaxes that are engaging! My only gripe is the short transition, from 6:35 to 6:46. I think the artist could've produced a more complimentary interlude before the music's return. The one here involves few sound blips that create an off-tone to dance friendliness. I realize its been done before to make dancers anticipate the returning music. This part simply feels vulnerable, in question, and for home listening relative to Goatrance, the song loses its immersive feel before the last great hurrah. Overall, Dog Days Bliss is a strong and uplifting dance number packed with fun melodies, a healthy variety of sounds, and rewarding climaxes that have engaging breathing room in-between. Strong track. A-

3. Food Demons (Demon's Head Remix) has awesome tapping effects around the beat via 1:07. Some of the synth work appears Hallucinogen-influenced too which is interesting. It seems that Jannis took some ideas from Simon Postford and ran wild with them. Around the tapping, I'm not hooked by the "effects" manipulations. The atmospheric/ambient notes are hauntingly effective. Next is a Juno Reactor-esque current that sounds fantastic as integrated with everything else. The song has so many layers, that by 4:12 the song is almost teetering on too much. But a haunting transition saves it! Past the fifth minute, a heavy Sky Input-esque synth arrives from 5:20 to 5:58. It's so pronounced relative to the other layers that I could have done without it, but it's short lived, not bad, and emphasizes the song's energy. The sixth minute grows more climactic (around 6:15) with higher Juno-esque notes. I find it decent, but not as effective with the ADD special effects, and it is just before, at around 6:22 that the song's plateaued for me. The artist impressively crams in 50-100 layers, my guess. Unfortunately, there's no sense of atmosphere to enhance the final act, and it arguably gets overcrowded similar to the last act of Wormhole on DoOL. Based on perspective, some may love the final third. It could have been a bit more refined, touched up IMO. The song could have ended more tightly at 7:44 too. The track has some stunning work, no doubt, but it's far from superb as a whole in my opinion. Having said that, I wasn't bored for a second. B+

4. Life Never Sleeps is just as fast-paced, but zippier, more fluid. The synth work blends almost seamlessly into yet another out-of-the-box, yet more refined approach. The first third dedicates itself to a solid foundation, although the synth that arrives at 1:33 is nothing exceptional. The selected sound and manipulations beginning at 3:08 are arresting. Soon after is a sci-fi Matrix-esque synth that's engaging, changes up, and knows when to exit. The second third is rich and absorbing, and surprisingly (thankfully in this sense here) without major leads! Such breathing room provides opportunity for some wonderful, non-dependent (on synths) creativity! To reference DoOL, when I heard the first third of Infinite Regression (Feat Ukiro), I loved the futuristic, zippy sound so much, only to have it lost to an undulating, predictable, Middle-Eastern lead (3:40-4:32 and 6:34-close) that took over and distracted from the cool and kinetic feel established beforehand. I realize the lead was dance friendly and some people liked it. That said, I'm so relieved that Life Never Sleeps avoids the shortcomings on DoOL's Infinite Regression (Feat Ukiro). This track is Filteria advanced. It's excellent from near beginning to end, and an example of the artist's evolved sound when not overcrowded. Well done! A

5. Lost in the Wild is the mixed track on the album for me. I don't mind the rubber-band effect that sounds similar to Hallucinogen's Snarling Black Mabel. I actually like what Jannis did, and from 1:47 to 2:22 is wonderful, though a simultaneous layer that arrives at 1:46 (within this part) sounds cartoony. My issue is 2:38. I thought that we were past such abrasive, in-our-face sounds. Not that I'm against wild, upfront sounds. This particular synth sounds louder, distracting, and less complimentary to the other sounds. There's a transition at 4:00 that breaks into mid/downtempo. It's refreshingly great and really catchy! It only lasts until 4:24 unfortunately where the artist incorporates yet another, not so well acclimated, nor terribly complimentary, digitized lead. By the time it leaves at 5:04, allowing me to enjoy the unique, futuristic scenery (like that scene in Matrix Revolutions where their ship ascends the clouds) I've almost lost all interest. I feel that what brought Infinite Regression down for me on DoOL, happens here. The synth leads are catchier around 5:45 and especially 6:38. I just wish that an alternative synth, one with greater balance and harmony existed from 2:38 to 3:50. This is because the song has some really great work on it. I feel that an improved version of this song (should have replaced this one part of me wants to say but) could do greater justice to this self-titled track that I imagine some will like as a whole. In short, some great work is marred by several debatable synth choices. B-

6. 36th February is a KOB-esque track with Filteria's evolved influence. The result is a unique, highly powered, catchy (most important) song that sounds fairly influenced by the artist's Illogic Logic number on the Temple of Chaos compilation. Fortunately, its sounds aren't as high pitched. I feel that some of the effects could have been lowered just slightly to refine the KOB influence. The first third has gripping synth work that races beside deeper undercurrent sounds and soundscapes. A brief interlude precedes a strong second act. The final third is relentless but not over-crammed, utilizing both KOB and Filteria's influence, and some Hallucinogen too. KOB's general sound has always been rougher, more mechanic, so it will be interesting to see how others respond to it here. With approaches like this, and some slight refinements in the future, I feel that KOB has an even healthier, longer lasting life to go. KOB is alive and well, and Filteria's influence compliments it. A-

7. The Lights of Shibuya starts out beautifully, with warm atmosphere, a rustling of leaves and/or mild rainfall among children's voices. The gentle notes at 0:46 are beautiful. The song soon adopts psychedelic ingredients to remind us that this is no walk through the tea garden. The synth work that begins at around 1:40 is decent. I prefer the bit at 1:50 since this later plays a roll in the epic conclusion. There is Hallucinogen influence too, and that's a good thing. The ambient and supporting sounds from 2:46 to 3:10 are very nice! The synth that arrives at 3:11 however stands out so much; I find it a bit distracting compared to the other ingredients that are so attractive and irresistible. More transitional fluidity would have been nice here to bridge the beauty with aggression. Beginning at 4:44, the arrangement is imaginatively catchy akin to Simon Postford's long missed departure from Goatrance. I simply wish that the first third was a bit more patient because the second half, the last third especially is outstanding. The Lights of Shibuya encompasses some of the catchiest Psychedelic Goatrance work I have ever heard. A

8. Night @ 12PM sounds vastly different from the other songs. It isn't maximal. It's not intense. There's no climax, briefly an intro, and the first two minutes will impress few, if any. If that sounds strange, you may be surprised to hear that this is one of Filteria's most sleek, unique, and refined songs yet. It is also, maybe the smoothest track on the album, and unquestionably adds variety. I find its distinct sound refreshing. The song moves almost seamlessly through each act, encompassing a modern Goa sound that never missteps, not for a second. I love how the song evolves past the second minute, its fluidity and elegance. Night @ 12PM showcases a whole other intellectual side of the artist, sort of like Khetzal's Nyiragongo track on Corolle. Listen to this at nighttime, while driving or on ear buds (not while driving!). This may just be the most flawless track on the album, or at least arguably. But then I'd be arguing with myself. A

9. Birds Lingva Franca (2013) is an improved version of the artist's solid original on 2008's Opus Iridium compilation. This is an entirely rebuilt track with the main melody in tact. The result? I think it's great. Included are small buildups to the synth lead, stronger supporting sounds, more varied synth/sound work, and more. One little nitpick is that the main lead goes on for so long (like the original) that even that it changes up, I grow a bit tired from it after a while, but that's me. On the plus, the last third has some very nice, fresh elements. I was initially a little surprised to see an old edit here considering this is a new album. I like all new tracks. There's something nice though about having this as a bonus track where the album ultimately ends. While some may not be thrilled by the choice of having an older song rebuilt, I think numerous fans will appreciate it. B+


Filteria's Lost In the Wild album is not what the doctor ordered. It goes beyond that. This is an imaginatively produced, unique, psychedelic, and at times overwhelming, bombastic album with some of the year's best electronic songs on it. Not only that; it showcases some of the catchiest work in the genre and innovates upon it. Life Never Sleeps, The Lights of Shibuya, and Night @ 12PM are just three examples that showcase wonderful work. Dog Days Bliss (Album Edit) is one of the most fun, dance-friendly songs I've heard in a while. I wasn't bored hearing this album for a second! New influences include Hallucinogen, and thanks to a plethora of diverse sounds and variety, LitW is quite possibly the greatest Filteria album yet. DoOL is superb too, and smoother I'd argue, though it didn't take as many risks as LitW that have paid off here. You just can't eat your cake and have it to, and speaking of cake, its a lie.


- Food Demons (Demon's Head Remix) could have been a little more refined in the final third.
- The self-titled track has synth leads (at times) that I find less complimentary to other layers i.e. 2:40. Fortunately, these shortcomings are few and far between, and I hope that the fifth album will have evolved past them, as I find little not to like on LitW.

In a nutshell

Filteria's 4th album is the most impressive electronic [uptempo] album I have heard so far all year. I feel that Jannis challenged himself, and experimented the most with this album to date. It shows. The end result is a milestone in Psychedelic Goatrance, highly Recommended. The cover and inside work is awesome too. On a side note, the Nebula Meltdown album is really good (and now that I've reviewed both) for those into the more spacey/harmonious side of Psychedelic [Goa] Trance. Enjoy!

Favourite songs: 1, 2, 4, 6, 7, 8


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