Back in the early-to-mid ‘90s, there was a sound developing through the cultural underground of the emerging hip-hop and veteran jazz scene that sought to combine the two. It was a sulky and atmospheric collaboration of genres, peppering in elements of soul and funk, slowing the pace, and increasing the tension. Massive Attack, Portishead, and eventually DJ Shadow would go on to put the genre of trip-hop on the map, updating the sounds of jazz, soul, funk, and hip-hop for a new generation. Since then the genre’s creative roots have branched into numerous sub-genres, and as a result its fundamental sound has been progressed upon to near un-recognition. Though this is bound to happen with any successful genre, a new force seeks to balance the best of the old and new, updating the rich sounds of trip-hop’s past from their vantage point high in the sky.
Hailing from the United Kingdom, Submotion Orchestra are here to prove the sound is far from a lonely regression of the past. They’re a fresh ensemble of seven musicians, each holding a rich jazz-tuned style of play, along with knowledge of slick electronics and dub-laced beats. The album opens with “Angel Eyes”, which starts as a serene affair guided by vocalist Ruby Wood’s effortless soulful vanity, before the mix is met by smooth low-end rhythms and a subtle backing orchestra. This is followed by the purely instrumental “Back Chat”, a mysterious number ushered by distant piano hallows, expansive electronics, and a blistering trumpet that sounds like it's echoing through an Italian mobster scene. Moments like the piano line on “Hymn For Him” call back to the Massive Attack’s Protection, and work as an excellent interpretation of snow-filled nights colored by the faded hues of street lights above.
The instrumentation throughout the album is somewhat reminiscent of the cool jazz of the 1950’s, the cold atmosphere of resonating brass coming to mind throughout. Strings are also used to considerable effect, accenting the lush structures to an emotional depth, beneath the fluid audacity. The beats and rhythms are low and forceful, bordering dubstep, yet subtle and respectful of the treble surrounding them. The core of Submotion Orchestra’s sound is Ruby Wood’s vocals, her voice drifting somewhere between Sia Furler’s playful croon and Beth Gibbons’ cold ambient prowess, though she cradles a lush fragility, escorting the unrelenting beauty throughout.
When that quality is harmonized on tracks like “All Yours” and “Suffer Not”, her voice oozes an organic smoothness that transcends their pioneering contemporaries. It’s the sound of ethereal ships-in-a-bottle, once in the hands of humanity, now guided by the free flowing fate of nature’s whimsical embrace. Voice acts as a guide of the trumpet’s distant siren, and it’s a mellow journey to the very end. Taking it all into consideration, it's a bold statement to call your debut album Finest Hour, though Submotion Orchestra demonstrate their point to a fine, glossy print with this piece of majestic finesse, and it shall be interesting to hear how they follow what very well could be their finest hour.
[Submotion Orchestra Website]
[Stream/Buy Finest Hour from Exceptional Blue]
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