Vibrant Forms

Chronique

A full-length album compiling Fluxion's first two Chain Reaction EPs -- Lark and Largo -- Vibrant Forms is a showcase for the artist's elegant application of the classic Basic Channel sound. Like those early-'90s releases, and also like the Maurizio and Vainqueur records, the tracks compiled on Vibrant Forms sound as if they are hollow; Fluxion emphasizes low dub basslines, the crackling of sparse high-hat loops, and nearly inaudible synth washes that ambiently hover in each song's exterior, leaving nothing poignant in between. This approach to techno composition has a mesmerizing effect. The lack of midrange percussion and more apparent synths make the tracks seem ambient, as does the distant hovering ambience. The crackling high-hats, though sparsely sprinkled onto the tracks, and the liquid dub basslines, though subtle and non-intrusive, move along at a modest tempo. Fluxion's approach produces many variations on a techno style that seems ambient yet, when one considers the driving sense of tempo underlying every track, is actually mobile. But this isn't music to think about or analyze; it's intended to be felt, both physically via the bass tones and emotionally via the haunting dark ambience. The ten tracks on this full-length illustrate variations in Fluxion's patented style, just as Vibrant Forms II accomplishes to a further degree. Some may find this album's epic tracks both repetitious and rather monotonous, yet this is half their beauty; if not for the seemingly endless track lengths and the sense of indolence, the sounds wouldn't be nearly as effective. It's best to experience this album first before moving on to Vibrant Forms II, which doubles the amount of music and takes a slightly more minimal approach, slowing down the tempos a bit and stripping away some of the sounds. Vibrant Forms II is a bit more challenging, although Vibrant Forms is by no means an accessible listen to anyone unaccustomed to the minimal Chain Reaction sound.
© Jason Birchmeier /TiVo