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As a group, Submotion Orchestra's collective personal influences span as far past dance music as you'd care to stray. The R&B in Ruby's voice, the soul in Bobby's brass, the jazz in Taz's keys and the detail and edge in Dom's dubstep undercurrents all combine together to create a seamless blend of sounds and emotion.

Fans of Submotion Orchestra have been waiting patiently for this release since the band's last full-length offering, 2012's Fragments and after a long year of work, Alium hopes to live up to those high expectations. Recorded in desolate, rural Wales it sounds as though there has been a slight change in direction for everyone involved. Taking the time to isolate themselves in order to create new ways to express their sound has placed more emphasis on classical instrumentation, leading some tracks - 'Bring Back the Wolf' in particular - to play out as some of the most experimental they've ever produced.

It wouldn't be right to claim that the band have "grown up" given each member reached impressive musical maturity quite some time ago. The mellowness of each track can't be ignored however, and it's the subtlety and quiet of this LP that really shows a deeper sense that Submotion Orchestra are more than festival showmanship. For those who know the band thanks to their stunning live performances, the restrained, rapturous calmness that emanates from tunes like beautiful sendoff 'Worries' or soulful but sparse 'Rust' may come as a bit of a shock. The electric energy they exude on stage has been channeled into creating luxurious swathes of music with deep undercurrents of passion, longing, lust and sadness.

Even when Ruby isn't lending her caramel tones to vocalise her own experiences, it's plain to hear that each member of the band is playing their part from somewhere deep inside themselves. Unafraid to bear their emotions, it's refreshing to hear deeply personal dance-influenced music that hasn't been created with a touch of cynicism or irony.

'The Hounds' shows just how refined Alium is thanks to its influences, moving through many shades of light and darkness, clutter and calm, just like the unpredictable skies of Wales. Maybe there is something to be said for the location where you write your music. It's this unpredictability, as in the moody, electronic rumblings of 'Victim Of Order' or the heavier dubstep of 'Chrome Units' that cement their place as one of dance music's most-needed groups. The genre craves positivity like this.

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