Vibration 5

Vibration 5 seems to be the last of the series, once the leading compilations in Medium/Midijum’s portfolio. Vibration was originally founded to showcase the deeper side of psychedelic trance, from minimal to progressive with occasional hints of morning-friendly melody. The fifth edition veers off from the established tradition at times, exploring a hybrid between full-on and progressive. Such a change in direction is warranted, as there had been a three year gap since the release of Vibration 4. Label owner DJ Bim had taken a different tack in the intervening years. As of 2003, experiments in fusing full-on and progressive began to be referred to as ‘neo’ full-on, but Vibration 5 is perhaps too progressive for that designation. Think of it as upbeat progressive with some full-on influences—stronger at some times than others. This sound mixes well with contemporaneous releases from labels like Z.M.A., Candyflip, and AP Records.

Opening the compilation is Gaudium’s Liquid Frequency, a rumbling piece of Scandinavian progressive in the Spiral Trax tradition. The arrangement is very low-key but not exactly minimal—merely restrained. The most distinguishing feature is a repetitive bass noise that grumbles and quavers throughout. This classy production is very similar to the material found on Gaudium’s full-length album Nordic Nature.

Symphonix – Submit sounds slightly more mainstream by comparison, as it features a number of deep vocal samples:”you must submit” and “don’t be afraid.” The beat is a little clunky, grooving along without being too deep. Cinematic flourishes in key breaks add character, as do a few snappy snare drops. The result is something of an eighties-flavoured progressive sound. Nothing special.

Casui is a side project from Bastian Hoffmann of Native Radio, an act that also released their debut album Chiba City Blues with Medium/Midijum. Air on a G-String immediately caught my ear with its sensual usage of classical violin. The source for this is almost certainly a 19th century arrangement of Bach’s Air known as Air on the G string. Blending authentic classical music with smooth and polished progressive trance is a keen idea, and Casui executes it well. The arrangement is just right, with a series of increasingly powerful breakdowns pushing the energy levels up as the track unfolds. Serene atmospheres cruise alongside thrumming bass lines and ornamental percussion. The results are simply gorgeous, making this luscious song the favourite of the compilation. For the DJs out there: beware the final conclusion, as it breaks from the rhythm, and may cause dissonance in a mix.

M-Sphere has a history of providing stand-out tracks on Medium/Midijum’s compilation releases, so it is no surprise that Stonewashed is a great piece of work. This song is very visual; the psychedelic sounds that appear throughout the tale build a strong mental image for me. I imagine myself in a cathedral, long abandoned and fallen into ruin, water dripping from the ceiling into black pools below. The brooding groove seems to speak of forgotten lore and ancient spirits. Cinematic pads with a slightly Gothic feel deepen the mood, while ethereal voices, emerging from the short break in the middle, charge the atmosphere with spiritual significance. After the break, processed guitar stabs wail into the night and a bubbling acid line comes into play, delivering on the potential amassed by the deep and mysterious beginning. This is true progressive trance: building from a sparse domain of vibrant noises to the shining peaks of an acid-crazed high. M-Sphere has provided another eminently satisfying production with Stonewashed.

Cosmic Tone is an Israeli artist that seems to have been heavily influenced by Cosma, but never excels to Avihen’s high level of quality. Execution is full of catchy harmonies and rolling full-on bass lines, but it sounds plastic. Still, I have not heard much better from this artist, so it could be all right if you don’t mind the somewhat obnoxious bass line.

Next we have the first of two from Mandylion, a fresh artist who provides a menacing slice of progressive psychedelic trance. After Dark is over ten minutes long: quite a journey! The kick and bass line combination really chugs along in this one. Liquid sounds smoothly glide through moody breakdowns and dark melodies invigorate with a sizzling electric energy. This track is a real builder, steadily growing as time goes on, making for a substantial piece of dark progressive psytrance.

The next one is Nocturne, similar in style but immediately somewhat lighter in character, despite the name. Delicate sounds envelope the driving rhythms with good results. The half-way point is marked by a wryly used sample from Bram Stoker’s Dracula: “the children of the night… what sweet music they make.” It flows onward to the very end without developing quite as much as After Dark, but it isn’t bad.

I.F.B. close the album with Timebender—the fastest track on the album at 145 BPM. I suspect this is a tribute to the style of old school German hard trance. Rough beats and smashing hi-hats promote a very straight-forward drive, while a dirty and distorted lead grinds along providing a lot of raw energy. By psytrance standards the arrangement is curiously devoid of atmospheric filler. Sometimes I find it charming, but others might not.

Vibration 5 is no more than an average release. Casui and M-Sphere shine, while Mandylion at least stimulates, but there is little more to excite most progressive psytrance fans years down the line. DJ Bim manages to avoid any real duds; none of these songs are genuinely bad. With a few gems in the bunch, it makes a decent enough listening experience, but remains unlikely to induce an overly enthusiastic reaction from experienced listeners. Still, it could be worth checking out for the better tunes, or for those who have a special appreciation of moody German progressive psytrance.

Release Data

Title: Vibration 5
Label: Midijum Records (Medium)
Format: CD compilation
Released: 2004