As usual, there's much to admire about this latest collection of luscious deep house jams from Deep Space Orchestra's Use of Weapons imprint. The Manchester-based duo leads the way, offering up an almost edible slice of hypnotic, Detroit-influenced goodness in the shape of "Outliers (Clean & Jerk mix)". ASOK - a new project from one-time disco deviant Cosmic Boogie - delivers some heady electronic thrills with the vintage deep house inspired "Amber", while Perseus Traxx leads the tributes to Mr Fingers on the fluid analogue cut "Thinking of a New Love". Other Worlds' "Love Amongst The Ruins" cascades out of the speakers like a classic slice of Detroit futurism, while Ruf Dug's quirky "Tape 13" is almost unfeasibly beautiful.
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".
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.
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