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Of course, every Juno Reactor album greets you with its big, signature opener and “Final Frontier” is the launch pad that instantly rockets you into space. The album is definitely not lacking in the experimental department and it ventures into a vast spectrum of vibes and emotions. But the showstopper and reigning champion of Golden Sun is without a doubt the pulsating and rip-roaring “Guillotine.” Following in the footsteps of “Masters of the Universe,” “Hotaka” and “Zwara,” complete with hair-raising chants, rockin’ guitar, and high-octane percussions, it’s the relentless, unstoppable freight train of the album. If “Final Frontier” was the rocket that launched you into space, then “Playing With Fire” is the capsule returning to Earth, burning through the atmosphere and then gradually descending you to safety. Maestro Ben Watkins, creator of Juno Reactor, has put out one of the best albums of his career. This entry was posted in CD, New Releases and tagged CD review, juno reactor, metropolis on April 14, 2013 by Fred Mills. Some artists and labels prefer certain tracks to be purchased as part of an entire release. Another common problem of remixes – trying to cram too many sounds into one track – is also found here, as on the Ace Ventura remix of “Conga Fury.” There are some good drumbeats, but it again drags out far longer than it should. But the positive potential of the remix is also represented here, particularly on the Bombay Dub Orchestra remix of “Pistolero.” This is the track that best represents the global aspect to Juno Reactor’s sound, with a beautiful Spanish guitar well blended with a slow synth and soft wind instrument melody.
The genre-bending band has returned in full force with their 8th studio album, The Golden Sun of the Great East.
It may very well be the contender for the band’s best album opener, ever, and it’s certainly worthy of being part of a soundtrack to some epic space-opera movie.

The exotic and somewhat erotic “Shine” sounds like it came straight out of some steamy, sci-fi Bollywood flick. Layered with synths and strings, it’s an ethereal, slow burn type of track that builds up to a chilling crescendo of haunting vocals before serenading you again as it fades to a finish. Announcing our newest department, which we hope will intrigue, enthuse, energize and - if we do our job correctly - even aggravate and prompt a back-and-forth dialogue. Many of the tracks, like the nine-plus-minute-long Perfect Stranger remix of “Rotoblade,” have some interesting elements like the clashing drums heard here, but the excessive repetition of the melody causes it to fade into the background. The off-kilter synth is interesting at first, but then becomes irritating, especially when mixed with echoing vocals and loud chanting. The Uber Tmas remix of “Hotaka,” despite the chugging, tape struggling to start sound on the intro, offers a light, fast synth punctuated by a brief but powerful guitar riff, with a smooth segue into a more static electronic rhythm.
And this time, their journey comes full circle as Golden Sun seems to share more DNA with their earlier works Beyond the Infinite and Bible of Dreams than it does Labyrinth and Gods and Monsters. Fans from the earlier days of Juno Reactor will also be pleased by the amount of dark atmospherics sprinkled throughout. Even when paying homage to their roots, the band continues to remain an evolving experiment, always fresh, and they once again proved they can’t be slapped under one single genre label. At their worst, they just add more sounds to drag out the song into a barely recognizable mess.
The Soundvandal remix of “Children of the Night” is even more forgettable; essentially a long, soft, and very slow beat dragged out for the entire track.

The sounds mix well together, making this remix one of the good ones in a collection that could be called Remixes: The Good, the Bad, and the Ugly. Please donate so that we may continue to provide the best possible content to ReGenerate Your Mind! Yet, somehow, no matter how much of a throwback it is, they continue to break barriers and take their unique blend of trance, electronic, and world music beats to new heights. So an entire album of remixes is understandably met with skepticism, particularly one from Juno Reactor, a project already based in Ben Watkins’ work with a revolving cast of collaborators. And then there’s the eerie doom and gloom of the menacing “Zombie.” In the vein of classics like “Children of the Night” and “Mutant Message,” the three tracks sound like they could all be soul mates. It explores a wider and deeper range of emotions, moods, soundscapes, and cultures and takes you on a cerebral journey that other types of electronic or dance music rarely so often do. This may very well be Juno Reactor’s first horror trilogy homage—Vampires, Mutants and Zombies—Oh My.
If you’re seeking an escape from traditional electronic music, this album is more than worthy of a listen. In a time when current electronic music charts are populated by cut and paste “feel good” dance anthems by the likes of Swedish House Mafia or Tiesto, the genre-defying Juno Reactor is a breath of fresh air and it’s nice to experience something that comes from outside the box.

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