Submotion Orchestra - Fragments

When a track slips over the six minute mark, it is often accompanied by an air of self indulgence. The drummer decides to venture into the limelight they’ve so dearly craved, a singer deems it appropriate to unleash their inner Robert Plant or a keyboard player becomes ‘at one’ with their instrument. Then there’s Submotion Orchestra. The Leeds seven-piece have tamed such temptations over the course of, just over an hour long, ‘Fragments’ - the follow up to last year’s debut that shows fews signs of struggle in the ‘tough second album’ department. But the signs that are there are those really annoying flickery neon ones.

As the opening tracks ooze into deep bass-driven life, ‘Fragments’ sets off from a similar place to where we left Ruby Wood and Co as her vocal meanders across delicate synth and brass lines of lead single ‘Blind Spot’ like a long lost friend. The rendezvous is carried by energy of percussive intricacies and tastefully manipulated hooks on early stand out track ‘Thinking’.

‘Snow’ and ‘Sleepwalker’ offer a change of pace and reveal growth. Where their debut would leave you waiting for the next effects-ridden chorus, these lighter tracks now captivate in their own right with a refreshingly organic, more mature take on their jazz-influenced sound. This elegant emptiness has been addressed in a mature regression to give the listener a glimpse of the elements that lead the band to the brink of a headline UK tour. At times, these quieter tracks demand a second listen to appreciate how each member has improved but you’re unlikely to mind.

There’s also an experimental feel to ‘Fragments’, a trial period for an unfamiliar form of the band. ‘Eyeline’ and ‘Bird of Prey’ show a darker side to electronic elements with subtle percussive shuffles and flares being the only show of Submotion’s more charming characteristics. With ‘It’s Not Me It’s You’ being the only successful balance of four to the floor bass lines and sparse textures it feels like a venture that needs serious development if it is to be a positive progression. ‘Time Strange’ highlights the issue as the album’s most unrecognizable track with a collaboration with Rider Shafique that, despite a lyrical prowess, feels forced as the group fit their sound to suit his darker motifs. This self-conscious approach to filling a sixty minute album makes the outfit look uncomfortable in attempting a more dance orientated sound that they don’t need.

‘Fallen’ is the finest argument for how unnecessary experimentation is. It is infinitely more fluent than heavier tracks and coupled with ‘Coming Up For Air’, saves the tail end of the album to a show Submotion Orchestra’s ability to create more healthy sounding musical indulgence and euphoria.

At its best, ‘Fragments’ is effortlessly majestic with snippets of a band who have mastered the art of escapism. There is however a sense of frustration in listening to a band not capitalizing on their finest features and not realising just how good they could be.