After the very fantastic Alex Smoke album, Soma Records unleash another artist album that is sure to tickle the fancy of many a house music lover. The duo Craig Morrison and Graeme Reedie team up as Silicone Soul to deliver their second album Staring Into Space. The album follows their debut LP ‘A Soul Thing’ which featured the stunning ‘Right On’, and this album looks to continue the great reputation these two have forged in the last few years.
The album begins delightfully with the smooth basslines and summer grooves of When the Devil Drives and Folie A Deux. One of the highlights comes in the shape of their first single from the album, Les Nocturnes, a production that relies on a delightful smooth rolling bassline, and some uplifting stabbing synths. Inferno is a little darker with its sharp basslines and smooth atmospheric elements, while Feeling Blue lifts the tempo with an uplifting vocal house cut. Smoke and Mirrors takes the album on a funky trip with some blessed out beats and delicate piano lines. The album drops the pace yet again with a downtempo loungey style tune with You Can’t Lose What You Never Had.
I’m not sure what to make of Under A Werewolf Moon as it has one of those horrible bouncing melodies that atrocious Euro trash from the nineties used, however, it at least pulls it off a lot better then that did. Room 666 At The Deadly Hotel brings a psychedelic touch to the album with slow beats and some uplifting high pitched screeches. Smooth house is the name of the game again with the penultimate production in Burning Sands and it is a great way to introduce the last production, a track that is gritty with its New Order sounding hooks, its deep and dubby baselines and its retro male vocals. It is indeed a great way to conclude the album.
I must say that Silicone Soul to indeed deliver a fine album. If you are aware of their sound then this album will definitely not be familiar, as for the most part, they stick to what they know best with smooth chunky house cuts. There are productions that veer away from their norm, and thankfully they do these track quite tastefully, creating a pretty well rounded album.
The album begins delightfully with the smooth basslines and summer grooves of When the Devil Drives and Folie A Deux. One of the highlights comes in the shape of their first single from the album, Les Nocturnes, a production that relies on a delightful smooth rolling bassline, and some uplifting stabbing synths. Inferno is a little darker with its sharp basslines and smooth atmospheric elements, while Feeling Blue lifts the tempo with an uplifting vocal house cut. Smoke and Mirrors takes the album on a funky trip with some blessed out beats and delicate piano lines. The album drops the pace yet again with a downtempo loungey style tune with You Can’t Lose What You Never Had.
I’m not sure what to make of Under A Werewolf Moon as it has one of those horrible bouncing melodies that atrocious Euro trash from the nineties used, however, it at least pulls it off a lot better then that did. Room 666 At The Deadly Hotel brings a psychedelic touch to the album with slow beats and some uplifting high pitched screeches. Smooth house is the name of the game again with the penultimate production in Burning Sands and it is a great way to introduce the last production, a track that is gritty with its New Order sounding hooks, its deep and dubby baselines and its retro male vocals. It is indeed a great way to conclude the album.
I must say that Silicone Soul to indeed deliver a fine album. If you are aware of their sound then this album will definitely not be familiar, as for the most part, they stick to what they know best with smooth chunky house cuts. There are productions that veer away from their norm, and thankfully they do these track quite tastefully, creating a pretty well rounded album.
Cologne
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