Review Summary: Another damn near perfect album to keep me warm through the next few chilly months.
It's getting cold outside-an inevitable symptom of the coming winter months in southern Kentucky. I usually associate this time of year with staying cooped up in my room, working on whatever piece of literature is devouring my attentions at the time. But I also associate winter with certain styles of music: specifically jazz, dub, ambient, and trance. For me, these sounds embody the very spirit of what winter is for much of the world: cold, gray, and somber. The music of Submotion Orchestra infamously meshes elements from electronic dub, r&b, soul, and jazz music into a sound that goes down as smoothly as sipping from a warm beverage of choice during these long, chilly months.
After the release of a somewhat by-the-numbers (yet still quite adequate) EP entitled '1968' last year, Submotion Orchestra are back with an album that sees them further refining their sound into what is some of their most vibrant and organic compositions to date. “Awakening" kicks the record off with an impressively layered use of drum and bass before SO's signature incorporation of trumpet enters the fray. The track provides the album with a grandiose instrumental introduction that will undoubtedly translate well into the band's live set. It seems that the band sought to make every aspect of this record a little bit bigger than previous installments, with a keen attention to how it will sound once performed. "Time Will Wait" is a treat because it provides the listener with their first new dose of Ruby Wood's emotionally evocative vocal performances. Wood continues to improve here, calling forth the ability to croon her voice in the most soulful of ways. If you want proof, just listen to her hypnotic verses on the track "Rust" and tell me that's not some of the most memorable moments of her vocal career thus far.
The band incorporates the use of trumpet more freely here. Instead of hearing Bobby Beddoe’s trumpet occasionally soloing through the bridge of a track, you will find it weaving its way through almost all of the compositions much more frequently. Putting emphasis on the trumpet pays off in dividends, as it was one of the most unique and acclaimed aspects of their sound. “Victim of Order” for example uses trumpet subtly throughout the track to further elevate Wood’s gorgeous chanting of “dry your eyes, dry your eyes, dry your eyes.” Tracks like “Life After” and "Rust" work in much the same fashion.
There is truly something for just about everyone to be found here, whether you crave the free flowing jazz instrumentation of “The Hounds,” the lumbering, bombastic dub instrumental of “Chrome Units,” the soulful yet popish sensibilities of “Trust/Lust,” or the emotional sparseness of “Rust.” “Bring Back the Wolf” happens to be one of the most surprising moments on the record, showcasing one of the band's most experimental soundscapes yet.
Finest Hour opened so many musical gateways to new genres of music that I’ve since come to gain a deep appreciation for. It has been a joy to see this band evolve so quickly and effectively in the years since then.
Alium is a transitional record that might, given time, sit neck and neck with some of the most memorable pieces from their first two offerings. Until then, I’m left with another damn near perfect album to keep me warm through the next few chilly months.
