Linney’s vocal is the best thing on this record, and Benjo built the whole arrangement to make sure you notice. Make Me Move is a lean tech house cut on Dim Mak, and the production keeps clearing space for her instead of stacking things on top of her.
The groove underneath is unfussy. Driving low end, percussion pulled in tight and dry. Nothing fights the voice for the same space. Benjo trusts the pocket enough to leave it alone, and the drums carry whole stretches on their own with no countermelody stacked over them. It sounds twice as good through a system as it does through a laptop, which is usually a sign the low end is doing real work.
If Linney’s name registers, it is probably from heavier company. She sang on MitiS and Ray Volpe’s Don’t Look Down, which lives about as far from a tech house groove as you can get. Same voice here, no softening, sitting over drums that give her almost nothing to lean on. I did not expect it to work as well as it does.
Dim Mak is billing this as Benjo’s return, and coming back with something this restrained takes more nerve than coming back loud. Nothing on it reaches for a big moment. The groove is good enough that it never has to.
