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Why Modern Psytrance Sounds the Same (And How I’m Breaking Free)

Hey everyone, welcome back to the blog. After a bit of a break, I’m finally back to share some thoughts that have been weighing on me for a while. This one’s personal, and I think a lot of you will relate — whether you’re a producer, DJ, or just someone who’s passionate about psytrance.

Let’s talk about why so much psytrance today sounds the same.

The Technical Trap: Clean Mixes & Shared Engineers

First, let’s get into the technical side. Psytrance has always been a demanding genre to produce, but the level of polish expected today is on another level. With engineers like Mickey from Wajim and Bart Striker setting the bar super high for mix and mastering quality, everyone wants that massive, clean, wide sound.

But here’s the catch:When the same engineers are mixing and mastering most of the scene, it’s no surprise that many tracks start to sound similar. Even if producers have different ideas, the same mixing style and loudness targets bring everything closer together.

I’ve been through that grind myself — chasing perfection in the mix, sacrificing endless hours to dial in those kicks and basslines. And while the sound gets cleaner, something else gets lost.

The Influence of Trends

Then there’s the creative side.When artists like Vini Vici broke out with a more EDM-influenced psytrance, they reached a massive audience. Their shows in Brazil, with thousands of people going wild, made it impossible to ignore their success.

If you’re a working artist, relying on gigs to support your family, how do you not get influenced? It’s easy to find yourself nudging your sound toward what works on big stages — faster BPMs, predictable drops, high-energy builds.

But at what cost?The more we chase trends, the more we risk losing our own unique voice.

Modern Tools, Same Results

Let’s talk about tools.Most of us use the same synths — Serum, Vital, Spire, Sylenth — because they’re fast, powerful, and versatile. But that also means we’re starting with the same waveforms, the same filters, and the same FX chains.

Even with creative sound design, if everyone’s drawing from the same palette, things will naturally converge. The presets, the distortion, the reverbs — they all carry a certain signature.

Don’t get me wrong, these synths are amazing, but relying on them too much makes it harder to stand out.

My Personal Breakthrough: Slowing Down

Recently, I felt stuck.I’ve been producing psytrance for over 15 years, and I realized I was making the same decisions over and over again.

So, I went back to my roots.I opened some of my old projects from 15 years ago — tracks sitting at 134 to 137 BPM. And something clicked.

These older tracks had dirty mixes, less polish, but more character. They weren’t chasing trends or loudness wars. They were about atmosphere, emotion, and flow. When I tried to replace the kick and bass in one of these old tracks, I lost the magic. The dirt, the imperfections — that was the soul.

I decided to write something new at 134 BPM, focusing on feel rather than perfection.And honestly?I loved the process. I sat with a 3.5-minute loop for hours, and it felt right. No need to force big drops or massive breakdowns — just groove, space, and depth.

It reminded me of why I started making music in the first place.

No Expectations, Just Music

Back when I first started as Beyond Ecliptic, I was chasing success hard — two full albums, tons of effort. But nothing happened. The scene shifted, full-on got commercial, and I burned out.

When I started E-Clip, it was just for me. No expectations, no pressure. And that’s when everything started to happen.

That lesson stuck with me.Sometimes, letting go of control and focusing on what feels good is what opens doors.

Today, I’m committed to releasing music that’s true to myself, through my label Sounds of Akasha (which I run with Egorythmia). I want to balance creativity and financial stability, without compromising my sound.

The Future: Bringing Back the Groove

I know the scene is fast, loud, and high-energy right now. But there’s space for slower, deeper psytrance — the kind of tracks you hear on a festival afternoon, where people are smiling, dancing slow, soaking up the vibe.

In this latest project, I used modern kicks and bass, but adjusted them — less punch, more low-end warmth, keeping the psychoacoustic feel of older tracks.

I’m bringing back that atmosphere, those long delay tails, reverb washes, and single-shot surprises that float through the mix without trying to dominate.

It’s not about nostalgia — it’s about balance.

Thanks for reading! If this resonates with you, or if you’re curious about crafting your own sound, check out my course:

And follow me for more content, music, and thoughts like these:

Let me know your thoughts — I’d love to hear how you approach creativity in today’s scene!



 
 
 

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