The debut Lemon Top EP from veteran Newcastle duo My Own Mind — MJ Fitz and Mark Lowry — scores the house music hat trick on a solid underground bopper. “Big Beat” brings dominating drums, subtle layers and airy effects to the party while “All Night” turns it back with an old-school vibe and a punch that will keep the ‘floor moving all day and, well, all night. But the big marks go to the title track, thanks to its jackin’ beats, broad bassline and insightful message that come together to make this the standout track of the release.
The eclectic nature of Submotion Orchestra’s music makes it hard to pigeonhole. This has been the case on all of their albums and continues on their stunning fourth full-length, Colour Theory. They produce music that draws you in and then takes you on a journey. You don’t know where you are going, but you don’t mind at all. You just take in the aura and the vibe as you go — this is what Submotion Orchestra’s music does to you.
With the band’s vocalist Ruby Wood not featured as prominently as she has been in the past due to focusing on motherhood (when she is on the album, her instantly recognizable vocals shine through immediately) there are a guest vocalists who enhance the tracks to great effect, never upstaging or overpowering the rich music.
Andrew Ashong, who has worked with Theo Parrish, features on the luscious “Needs,” an initially mournful number that morphs into something a lot warmer. With Ashong’s vocals gliding over the laid-back bubble of a beat, it is immediately apparent that his vocals fit the song like a velvet glove.
“More Than This” features Billy Boothroyd. His soaring vocals make this track a standout cut while “Empty Love” features Ed Thomas, who sang guest vocals on “Blk & Blu” on the most recent Chase & Status album, Brand New Machine, and Wood on vocals. It is a triumphant soul-esque number with an anthemic quality that sees top-notch performances from both vocalists.
“Still” and “Catching Flies” feature Jaffa and AO respectively and are both fine additions to Colour Theory. The latter especially is testament to the skills of both Submotion Orchestra and up-and-coming producer Catching Flies. What they have crafted is an energetic anthem that will pack dance floors in clubs and festivals throughout the year for sure while the former is a grooving bass-heavy monster.
Elsewhere on the album “The Immersive Amira,” “Illusions,” the beautiful “Kimono” and the magnificent “In Gold” show the depth and imagination of the Submotion Orchestra sound. The fact that the album is called Colour Theory seems apt as the music is so vibrant while the band’s signature fusion of dub, electronic and jazz influences are very much still on point.
With its rhythms, vision and immaculate execution Submotion Orchestra have excelled with an album that will brighten up the cold winter and illuminate the upcoming summer. This year has only just started but Submotion Orchestra have already got it off to a perfect start.
Remasters finds London-based French house producer Giom revisiting music he produced between 2007 and 2012 for vinyl labels Amenti Music, Motion Music, Kolour Recordings, Ornate Music and Fly In A Jam, giving each track a remastered tune-up for 2016.
The compilation opens deep and rolls into a more funkin’ upbeat vibe as the hits tick off. Favorites include the dynamic opening cut “Play On,” the low-key funk and heavy bottom of “Bring Down the Walls,” the sexy groove of “I Know You Were Right,” and of course the uplifting classic “Be Free.” The compilation also features brand new reworks of the upbeat and disco “Stolen Soul” and the smooth pumpin’ feel-good vibe of “People.”
Remasters is a digital collection of some of Giom’s best vinyl-only tunes to date, all in one place. It’s a great album stuffed with great house music.
Colombian DJ/producer Fiona Beeson’s Drift EP will heat up any cold winter dance floor. Big picture: this EP falls somewhere in the deep/tech/house spectrum, but each remix has its own unique flavor and each remixer stays faithful to the original while imbuing it with their own unique personality.
The Original Mix rolls in with dynamic layers and hits the perfect balance between deep boppin’ house beats and melodic grooves. The song’s progressive structure is tied neatly together with a symphonic breakdown and rebuild. Slurm’s remix brings in a heavier kick to support a decidedly tech-driven vibe swirling in atmospheric ambience. Joseki’s vision starts off a bit darker but the subtle percussion and techy riffage really set it apart. Finally, Cesar Caballero’s remix keeps things moving with a humming bassline and energizing leads. It’s the contrast between the highs and lows that make this one work.
Final thoughts? Great EP. If this is any indicator of the future, 2016 will be a big year for Beesound Recordings.
