Back to the Future

Back to the Future is the second psychedelic progressive compilation from Groove Zone Records out of Japan, who had previously released an eponymous debut. It was followed by the release of the Magnetic Storm compilation later in 2005. There is no specific theme at work here, although most of these tracks are fairly light and morning-friendly. Unfortunatly the tracks are slightly mixed together, which is a pain for DJs seeking to use most of these tracks as an intro or outro. The cover art is plain, the mastering by Metronome is adequate, and 71 minutes of music provide good value for the money.

In a strange move, Sweden’s Threshold Productions opens the compilation with a low-bpm comedown tune entitled Free Dive. This one is atmospheric, soothing, tribal, and fairly relaxing. Long spacious pads are drawn out to extremes, and a simple guitar melody provides some spice. There is an unfortunate use of the “DJs took pills for seven days” sample that has appeared in so many songs already. Free Dive is pleasant, but it is not very distinct or engaging.

The Japanese act OMB shares the silky smooth Kani as the second track. This is true progressive trance with little in the way of a psychedelic influence, but it is rich enough to possess widespread appeal. While there isn’t anything in the way of melodic hooks, this track is simply inundated with complimentary layers of sensual atmospheric sounds. Every element flows along like mercury. It might not stand out from the crowd, but Kani is certainly worth examining.

Halifax & Vision is a good proggy match-up, fusing Ryan’s warm enveloping bass character with Marc’s tribal percussion and straight-forward composition. The arrangement is very linear, churning along with a fat and steady groove. The breakdowns are all quite classy, raising the energy with simple yet effective techniques. The only thing that could qualify as a lead is a sound like a klaxon that goes off every now and then. The production quality is excellent, but without much of a hook, Don’t Worry is simply above average progressive set filler.

V-Tunes conjures the first favourite of the compilation with Sonar Groove, a well-titled track with a self-evident theme. The drum programming is loaded with refreshing grooves and quivering rhythms, all of which sound absolutely wicked. The sonar sweeps are immediately recognizable – sounding off into the distance – and there are several other nice melodic touches. V-Tunes strikes a great balance between dynamism and a static flow such that this polished work remains fully engaging and utterly timely for the duration. The storytelling is clear and distinct, and the production sounds great. There’s not much more I ask for in a progressive tune; this one is gold! A perfect set builder.

Psyless Groove, a Danish export signed to Iboga, is up next with Plastic Karma. Here is another fat and funky progressive psychedelic tune with tribal percussion, wiggling bass lines, and subtle melodies. The production sounds good, the grooves are effortless, and a vocoder sample spices it up. Something about this fails to make an impact with me, but I don’t believe it is any great deficiency in the song itself. It seems to lack much of a climax and the development is ponderous at best, but it would make for a good DJ tool no doubt.

Vibrasphere’s remix of the classic Segment tune Whooky’s Wha is a surprising disappointment. The original is a fantastic piece of funky guitar-laden psytrance, and the Swedish dub-trance maestros are certainly the best choice for a remix, but something was lost in the translation. Despite the hard-hitting toms, smooth transitions, and deep dubby rhythms, I don’t feel as if the potential of this remix was met. I think the problem may be that every sequence feels as if it is leading up to something, but the track never really explodes. It seems like one long string of lulls and transition points, as if it were an unfinished story. This is especially noticeable in the last three minutes or so, during which almost nothing happens. If you like your progressive slow and unchanging to the point of somnolence, perhaps this will be for you, but I prefer the excellent original version.

Sensient is the odd man out on this compilation full of pretty progressive sounds. Sublime is a deep and menacing piece of techtrance in the Australian producer’s signature style, breathing new life into the minimal concept with incredibly psychedelic sound design and some of the best production value in the business. The progressive arrangement is brilliant, ratcheting up the tension and energy levels with a very intelligent placement of elements. The haunting atmospheres is thick with noises from the cybernetic jungle, punctuated by eerie melodies and a few perfectly placed jazzy touches. The final build features an incredible rising tone that will push the limits of any sound system. This is one of the finest tunes Sensient has ever released, as well as a truly staggering piece of brilliant minimal trance.

Side-A’s Edelweiss (2nd Life) is one of the most gorgeous trance tunes of the year. The groove is deep and punchy, with churning bass and precise transitional cuts. The majority of the activity takes place on the melodic plane, as a multiplex array of leads progressively unfolds with increasing emotional impact. The mystic morning flourish that strikes up throughout the early portion of the track sets the mood, while the amazing melody in the last minutes ensures this track meets its potential for greatness. Incredible!

Andromeda delivers an excellent closer with Porno Sonic Sounds, one of the artist’s better compilation appearances. The funky morning sound is in full bloom, lashing out with sharp percussion and nervous bass pulsations. After a bit of a pointless intro the song begins, immediately expressing emotional depths with catchy melodic hooks. The track drives straight into the middle break with a steady flow, rewarding listeners with another soulful lead on the other side. In truth, this is a very simple song, but it really works.

Back to the Future is a major improvement on the sound of 2004’s Groove Zone compilation. There are some excellent contributions made here, from Sensient, V-Tunes, Andromeda, and especially Side-A. Many of the others are quite decent as well. Even the Vibrasphere remix, which I really didn’t think much of, is fine for background listening. Considering the diversity of sound and the general flow of the compilation, it is as suitable for home listening as it is for proggy DJs seeking a more material for their binder. With the talented compositions of some of progressive psytrance’s best artists on display, it is easy to recommend this compilation.

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