Sidhartha (2) ‎– Reverse Mode

Metatron Production ‎– MPRCD002
CD, Album

Tracklist Hide Credits

1 Reverse Mode 6:45
2 Motion Detector 6:44
3 Mars Arrival
Featuring – Plutonium (3)
4 Inner Voice 6:44
5 No Worries 7:52
6 Physical Forms 7:39
7 Sudden Shifts 6:56
8 Deep Sonar 6:17
9 Psychotic Behaviour 7:16
10 Dance With The Stars 7:20

Companies, etc.



Mastered at Aleph Zero Mastering Studio.

Total time: 70:26.

Barcode and Other Identifiers

  • Barcode (String): 9120014350463
  • Barcode (Text): 9 120014 350463


Reviews Show All 2 Reviews

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December 19, 2005
edited over 12 years ago
Sidhartha (Nuno Santhos) is a fresh new full on artists from Portugal. He has previously released a track on Kagdila Records. He is now out with his debut album on the new Israeli psytrance label called Metatron Production.

This artist is from Portugal, but the tracks we get here sounds very much like typical Israeli full on trance. The first track goes full on all the way through. Not so melodic, but with quite a lot of psychedelic sounds jumping in there, above the groovy, rolling bass line. Track 2 goes the same direction, here with some breaks and with more floating vibes above the bass line. Track 3 is more pumping with a little bit darker sound. Quite massive full on for the night. Track 4 continues a quite dark sound picture. This one has a melody that should be easy to recognise. Very typical full on of the kind we have heard a million times before. On track 5, he has added some tribal drums above the bass line, which makes it a little bit more fun. The rest, is full on sounds we have heard many times before.

Track 6 is one of my favourite tracks on this album. A little bit more variation, and more trippy, drifting vibes. Track 7 is a massive, pumping track that goes back to a darker vibe again. Here we jump into guitar trance. It seems like most full on artists put in some guitar trance these days. But, this is not among the worst guitar tracks I have heard. The guitar luckily doesn’t get annoying like these 80’s riffs often do. Track 8 is a rolling monster. Here we get some really cool sounds too, which lightens up the track alot in my ears. The best track on this album in my opinion. Very trippy and not cheesy at all. Track 9 sounds pretty good too. Something for the night, with quite evil melodies. We also get a drug sample in there, which he could have dropped. This track reminds me a bit of GMS, but not as fluffy. The last track goes full on too. A little bit lighter, with more floating vibes. Not among my favourites here, but not bad.

This album luckily doesn’t go as clubby and fluffy as most full on albums do these days, which is great for a new unknown artist like this. These tracks sounds very much like a lot of other full on being released these days, but some of these tracks surprised me a little. So check it out if you still are into this kind of full on.


July 17, 2005
edited over 12 years ago
Here's a "small" review of this album I (yep, myself) did and posted at - hope you like it.

What? You never heard of Sidartha? Well, you're deffinitely not the only one. Sidharta is a relatively new portuguese act, signed to the also new Israeli label Metatron Production. Although not really original, his music is quite uplifting, without being cheesy. And don't expect repetitive morning trance, this is quite a psychedelic night time album. Although having quite a lot of flaws, it still amazes me somehow.

The artwork on this album is typical Metatron stuff. The front cover's pretty cool and psychedelic, but the album lacks any inside artwork at all. It's a shame albums these days don't come with a booklet or something, it's quite entertaining. Well, this one doesn't so don't expect any extensive reading here, it's all about the music. That being said, let's skip directly to the important side of the album.

01. Reverse Mode
Here we go then. The track that opens the album also gives it its name. Typical album intro here and we're quickly off to the dancing. Very nice rolling bassline, quite dance friendly, and the drum work is also interesting as well. You might notice the pads and FX during the first one and a half minutes, although not being far from greatness, are everything but original. No biggie though, because you get the first serious lead quite soon, at 1:43. From here on the track gets quite psychedelic and you just gotta love the break at around three minutes. Ok, so the first three minutes of the album are enough to abandon any high expectations of an original ground-breaking album - it's that kind of album, dancefloor oriented, no intentions of innovating here, just making use of the working formula. Ok so this track is quite nice, but it may eventually sound repetitive after listening to it the third time. In conclusion, it's the kind of track you'd be happy to hear in an outdoor party watching the full moon, but not really suitable to listen to at home.

02. Motion Detector
Wowah, this one I wasn't expecting. We've got ourselves a bomb right here, my friends. This just goes to prove that just because the album is named after a particular track, it doesn't mean it's the best track. Only two tracks into the album and I'd bet this is the best one on the album. The bassline is a rolling israeli-style, yet not cheesy at all. It's that kind of bassline that really gets to you, it tickles with your senses and seriously involves you, because it's smooth and it actually sounds like a fucking bassline (you know how most full-on tends to have basslines so high you can't even tell them apart from a regular lead? This one has nothing to do with those). The leads are all looped in a really hypnotic way and there aren't much drums, which is good here, because it doesn't get in the way. At around five minutes there's a break, everything stops and it builds into some more psychedelic nigth time sweetness. There's not much variation going on with this track either, but it's deffinitely a huge dancefloor night-time bomb. I really liked this one, personally a surprise for me.

03. Mars Arrival
Somehow, all the intros on this album sound the same to me. That's cool, I don't mind these intros, they're nice, but it just goes to show once again that this album is entirely oriented for dancefloors, because it doesn't really have any real intros at all, they're just there to serve as an excuse not to start the heavy shit immediately. This bass is a bit different than the rest, it's less heavy, not as full. But Sidhartha did a great job reapairing that by adding agressive low leads and pads, that create quite an amusing effect in your brain - kinda' like the lost of senses (that's good, right? I'm sure it is...). Just try listening to the first minute in a PA system or a really good stereo, with some nice powerful bass, and you'll see what I'm talking about. Ok so the track evolves into a bit of a boring monotonous loop, which only a lead at 3:45 manages to break away. Really psychedelic synth work here, that builds up into a nice little break a few minutes later. A woman comes asking for attention - "Can I have your attention please?" - the beat and the bass come in, always rising and the whole thing just breaks up in your face, as music stops and blows up seconds later. Not the kind of track you'd immediately fall in love with, but it's good enough to keep feet moving and your shoulders shaking. Again, the track starts just like it started (all tracks so far do).

04. Inner Voice
Intro, starting off with a deep kick - not much of a surprise. Although the intro itself is quite good! There's this weird noise, sounds like a detuned violin, a sample (something about Inner Voice, I suppose) and here it comes the real deal. Interesting bass, that you quickly forget about because of this extremely interesting synth that comes in almost immediately. A few seconds later, there's the detuned violin again, which sounds quite good through the whole thing, until it starts to get on your nerves after a while. At 1:45 there's this break and the lead that starts around this time is so fucking close to anything by Talamasca that you'll get the feeling that you're listening to it for a while. One minute later, the lead stops and on comes an even greater synth. I'm quite liking this track at this point, full of rythm, pumping on and on, and layered in a way that guarantees you won't get tired of it as easily as the first three tracks, because fresh new elements are always paving their way through the entire track. New lead around five minutes, quite scratchy and acid, like most of the synths on this tune.

05. No Worries
Ok, so this album is actually better than I was expecting, but still you can't ignore the fact (I just came to this conclusion) that all tracks on the album are built over the same formula. All breaks, rises and leads will start sounding the same by the time you reach the fifth track. This one's very identical to the previous four, with the simple difference in the leads and some FX. The bass, the structure of the track, and pretty much all details that make it a night time full-on track are basicly copy/paste. The surprise here comes at approximately two and a half minutes, where this amazing pumping bassline jumps in - very nice work here, no doubt about it. Takes a minute for the bass to switch back to normal; the transition could be just a bit smoother, because you feel like that break in the middle there is a bit out of place. Seeing as the first four minutes are already gone (and judging by the formula Sidhartha always uses), there souldn't be anything new here. Yeah, the first minutes have fresh stuff, that pop in craftily, then it's re-arranging all the elements in a way that it doesn't sound too repetitive. Sidhartha does it well, he hides imperfections well, but the fact remains that all these tracks could have sounded much better if released individualy on compilations.

06. Physical Forms
Skipping any comments to the intro (just see any of the comments above). Actually, this track does have a few original elements - there's a really nice dance friendly melody smoothly hid in the background, that really gives power and serves great as a filler for the track. Then at 2:15 there's another break and it sounds exactly like all breaks on this album. I was liking the album a lot, but these details are disappointing me a bit. But let's try to get over it for now. This one's quite a nice tune, again with some heavy-ass leads - these don't have the same harmony as the rest of the leads on this album, still they sound quite nice. Deffinitely more of a night-time tune. Unfortunately, this one comes out a bit boring overall and if it wasn't for the few bass changes and mood swings that you ocasionally get, I'd save quite a bad comment for this one. Once more, it's the kind of track that could make success on a outdoors dancefloor, but it will hardly please anyone who listens to it indoors, like at home.

07. Sudden Shifts
The title of the track here was promising. This album is indeed needing a sudden shift, and quick! I wasn't too confident though, but I was surprised. This tune is indeed a sudden shift in the pace of the album. Although we're in for a guitar tune, which is one of the biggest clichés currently around, it's quite a nice guitar tune. The intro alone is enough to realize this track's different: it's doesn't start off with that deep one-hite kick and the rising beat, it starts differently, and then it explodes. And although the bass makes you think otherwise, this is the least night time oriented track of the album so far. It has an heavy bass indeed, and the rythm of the drums is really fast-paced, but the melodic leads remind us of the good old days of Goa and dancing to the magical melodies under the sun. One more break and this is where you get the guitar work, quite crafty in the background. The playful thing with the bass at 3:15 may sound like a stupid little detail but it represents the first change in this album's breaks, which is a really good thing. The leads from here on are all quite electronic and are sure to keep shoulders shaking across the dancefloor. At approximately four minutes the major break of the track is also different from the ones on all the previous tracks, thank god! Apparently I was wrong about the second track being the best: this is the real deal! The break I was just telling you about builds up into a more night-time kind of trance, with the guitar coming along once more, but it somehow sounds heavier. Nice work here, overall. Still nothing new, but at least it's not too repetitive.

08. Deep Sonar
I don't know how this track relates to the portuguese events organization Deep Sonnar, but I figured there must be some relation, I don't know. Anyway, we're deffinitely back to the old formula - the intro is proof enough. After two minutes of sound, the leads so far have all been used somehow on the previous tracks. If anything, the drums and the gthic background lead on this track can make any difference when compared to the rest of the album, but it still doesn't justify the fact that this could very well be a remix of any of the first six tracks. Which is why I could say about this track anything I said about those six. It's a very dance friendly track, would work just fine on a dancefloor, but it doesn't tell any real story (unless you're on drugs, then it tells all sorts of different wonderful stories).

09. Psychotic Behaviour
This album could very well have only three tracks, and this could be the third. It's not as different as the Motion Detector and Sudden Shifts, but it's just as good. Not that the leads are groundbreaking at all, they're pretty much the same, but this one has more of a tribal feel to it, with some really tasty drum work. A few of the synths are very hypnotic, in a scratchy, acid way. The breaks, rises and all other details remain the same, and I'm such a perfeccionist that it seriously gets on my nerves, and it's almost enough to ruin this track for me. Fortunatelly, there's a positive side to this track, and it makes it up for its flaws. Still, I wouldn't reccomend listening to this album as a whole, because you'll eventualy get so tired of it you'll miss all the good details on tracks like these. But try to stay focused and pay attention when you listen to this tune, the 2nd and the 7th track, they're the only tracks here suitable for home listening. The rest, I'd only reccomend for parties.

10. Dance With The Stars
Oh fuck! I was seriously expecting a dub track... Or breakbeat... Even some experimental kind of Psychedelic trance would be good. But no. I think it's really important that people start discovering new ways of music, new sounds, new soundscapes. Yet this album ain't helping at all, it's just helping out in the massification of an homogeneous music culture, which is bad. But I'm running away from the subject here. Tis track is one more half-night-half-morning track, the bass and drums are no innovation here, but it's a tune that does have some spiritual melodies and leads that push this track a bit over the line to the light side, in a good way. Some of the leads are a tiny little bit new and fresh, but overall it's more of the same. If you've been listening to the entire album as a whole, you'll be looking forward to the end of the album, before you can even start appreciating this track. You might notice I've been lacking the words to describe these latest tracks, but I seriously feel like I've said more than enough about the album. I even repeated myself several times, but it's not my fault, it's that kind of an album.

Well, the album's over and I was a bit disappointed at the end. It's a group of good tracks, that would be perfect for any compilation, no doubt there but, as a whole, the whole album is just a seventy minutes track. Right now it's important to discover new acts, but that give a real meaning to the word new. Acts that are not only oriented to such a particular and restrict style of music, but that dare going new ways instead of using the working formula. Because if we overuse it, it will eventually stop working. And that's the thing with Sidhartha, he discovered a working formula for his music, and he did it so much that he forgot about how important innovation is these days in this style. In the end it sounds like an album made too quickly, with the purpose of selling, getting gigs, and making money. I think Metatron rushed themselves with this album, trying to make a name for themselves, and it didn't pay off. It's certainly an album that will not make a whole in the industry, and although I'd reccomend the Israeli-kind-of-music fans to go out and buy it, I'd advise you to listen to the 2nd, 7th and 9th tracks first. Gets three starts for the effort.