Deep Space Orchestra At Juno Download

Review: The Use of Weapons imprint has mastered the easy to grasp, hard to master formula of matching clutches of (excellent) original tracks from Cottam and label bosses Deep Space Orchestra with well-chosen and even better executed remixes from the likes of Hunee, Neville Watson and Marcello Napoletano. The fourth release sees a change in tack, with the label opting to focus on original material from 6th Borough Project, Haku, Andy Ash and of course Deep Space Orchestra. Graeme The Revenge Clark and Craig Smith kick off proceedings with the suitable thick set slow burning "Estranged Lover", though it's "Rugo" by Haku that impresses most. The new project of Deep Space Orchestra's Chris Barker, the track is a superb kaleidoscopic concoction of fizzing uptempo live percussion, synths and drum machines that has more than a touch of the Carl Craigs about it. Andy Ash switches proceedings back to chunky mutant discoid dirt with the heads down, tops off vibes of "Somehow" while the Deep Space Orchestra head for the expanses of future tech jazz with the ten minute odyssey "Erase Everything".

Review: Since pricking our consciousness at the tail end of 2010, Deep Space Orchestra have rarely failed to impress. Their skill lies in crafting deep house that displays a deep love and knowledge not only of analogue jack tracks, but also the wide-eyed futurism of Detroit techno. "Blindsided", their second single for FOTO, once again ticks these boxes, layering fluid, stargazing melodies and hissing cymbals over a sturdy, analogue deep house groove. It's one of their best to date, we'd wager. The obligatory remixes come from Medlar and Andy Ash. The former's version is typically thick, organ-heavy and woozy, while the latter turns the intricate original into a bumpin' chunk of heady deepness.

Review: Si Murray and Chris Barker aka Deep Space Orchestra have been making some serious waves since they first began producing together in 2005. Releasing on a set of reputable labels such as Delusions of Grandeur and Drumpoet Community over the following few years, they now hold a stellar rep for their raw and groove ridden deep house. This time round, the pair have been snapped up by Quintessentials and frankly, we can't think of a more suitable artist-label partnership. The Bucktown Fever EP kick starts with the smooth and sophisticated "Bucktown"; rich, pumping and analogue, its driving rhythm and vintage charm make the EP a winner before we've even flipped over. Once we do however, "Arrakis" holds its own with delicate strings, simple chord sequences and sensual vocal snippets, bound together by tight hi-hats and a deep round bass. Lastly, "Don't Move" and its intriguing field recordings and expertly executed percussion tips an already outstanding EP into a timeless, classy piece of wax that we highly recommend.

Review: Having secured one of our favourite elongated slo mo acid bumpathons in the shape of Cottam's all conquering "Sunrise Sunset", Use of Weapons label bosses Deep Space Orchestra return to the helm for the third release. The Northern duo has cut an increasingly impressive presence of late, across a number of labels and the two original arrangements on Ghetto Science Institute are perhaps their finest to date. Both the title track and "Vanishing Point" stand out for their refusal to stand still, rhythmically running through several ideas and directions throughout the course of the track. Equally fine are the chosen remixers, as Neville Watson and the elusive Marcello Napoletano each tackle one of the tracks. Watson takes the lead with a typically analogue heavy, loose limbed revision of the title track underpinned by some expansive pads. The midway point where it explodes into colour is truly delightful. Napoletano's take on "Vanishing Point" retains the source's ever twisting subtleties and displays all the Italian's canny percussive tricks, and similarly accrues a heady amount of energising steam as it rattles towards its conclusion.

Review: With a name that features a classic Model 500 album and half of Carl Craig's most avant project, it would be easy to accuse Chris Barker and Simon Murray, aka Deep Space Orchestra of wearing their influences on their sleeves. Such criticism is instantly negated by dint of the fact that the duo are releasing on Kirk Degiorgio's relaunched ART label, which has an impeccable back catalogue that numbers Carl Craig among its releases. In any event, "Return to Dodge City" is more New York than Detroit, featuring a rippling, surging funk bassline combined with subtle disco riffs and gorgeous chord melodies. More reflective than "Return to Dodge City", the title track boasts mournfully seductive synths and tight metallic drums. "Streetlights" sees them venture further towards Detroit techno, but again, they avoid sounding like a pastiche. Starting off with an atmospheric soundscape, the driving drums and heavy, thundering claps take a while to kick in, but when they do, it sounds like a thousand hand grenades exploding simultaneously.

Review: Having already impressed with outings on Foto, ARP and their own Use Of Weapons, Deep Space Orchestra add Delusions Of Grandeur to their CV and deliver perhaps their most refined work to date. "Lo Pan" weaves between flourishes of Rhodes and analogue arps with a confidence that fully demonstrates their progression as a production unit. Underpinning all this is the constant groove of 808 kicks and Detroit that provides the all important rawness and momentum. The accompanying remix from Berlin duo Trickski drags "Lo Pan" into the lower reaches of muscular house movements, stripping proceedings back to a dramatic synth lead and neck crunching beat before unfolding into a groove that really gets under your skin - thanks in no small part to the added vocals. Deep Space Orchestra end proceedings on the hazed out "Disarm" which accrues a delightfully ethereal quality as it floats towards its conclusion. Fine work all round!

Review: One of the best things about Mancunian duo Deep Space Orchestra is that you never really quite know what to expect. While their tracks are rooted in a combination of deep house and Detroit techno, they frequently spin off in different directions. Mongolian Nights is a great example of this. Opener "Khan" is simultaneously curiously odd and delightfully melodic - an 107 BPM chugger that somehow combines triple-beat drums, glistening synth melodies and dirty acid tweakery. The jazzier "Noire" is equally as impressive and seemingly looser than a wizard's sleeve. KRL remixes "Khan", turning it into an organ-heavy retro-futurist bumper.