London-based Delusions Of Grandeur is a label that’s all about that raw, deep and underground house sound, often with the essence of disco running through. Founded by DJ/producer Jimpster and label partner Tom Roberts in 2009, Delusions Of Grandeur has seen releases from the likes of: Session Victim, Tornado Wallace, Aroop Roy, Medlar, Dan Shake, thatmanmonkz, Ben Sun, Toby Tobias, Trickski, Uffe and more. Jimpster and Tom Roberts also head up house label Freerange Records.
Review: After 13 months away, Brummie deep house don Mark Evetts returns with something rather special: a warm and woozy, analogue-rich Delusions of Grandeur label debut that arguably sees him in peak form. He first peppers a squelchy bassline and soft-touch drums with sweet melodic motifs and tactile synthesizer chords on 'Swimming Through a Diamond', before tipping a wink to his own hypnotic productions of old on the immersive and warming 'Compact Object'. There's a slightly jazzier and more organic feel to the sun-speckled deepness of 'Heartaches', while 'Leaning Into The Light' is marked out by gorgeous chords, bubbly electric piano lines and languid solos. Finally, 'Mirrored Cube' is a pleasingly saucer-eyed slab of mid-tempo goodness that sounds like it was tailor-made for sofa-bound listening sessions after a heavy night out.
Review: Following his return to long-time home Wolf Music Recordings last year, Medlar pitches up on Delusions of Grandeur for the first time since 2018. He starts strongly with title track 'Interruptor', where pots-and-pans percussion solos and twisted Aisha vocal samples rise above a tough house groove, before joining forces with vocalist Kim Anh on the fluid, sun-kissed, analogue-rich deep house goodness of 'I Wish'. 'Cable Street' sees him join the dots between bouncy, organ-rich early '90s U.S house and the deep space flex of early UK tech-house, while 'Turn Things Around' is an attractive chunk of tactile deep house sunniness tailor-made for sunset sets and mid-afternoon house parties.
Review: Mexican duo Soul of Hex has released some fine EPs over the last few years, with their sporadic outings on Delusion of Grandeur often boasting their most interesting and cosmic-minded cuts. There's plenty to admire on their latest outing for the Freerange Records offshoot, from the warming, peak-time ready haziness of opener 'Mystic'- a fine fusion of effortlessly Balearic guitar solos, warming disco bass, spacey synth motifs and dreamy chords - and the sparkling breeziness of revivalist piano-house/late '80s NYC garage number 'Love is In Control' (where vocalist Steve Lucas delivers a star turn), to the squelchy nu-disco/Italo-house flex of 'Heliocentrico' and the bumpin' electro vibes of 'Sphynx'.
Review: Fresh from the release of his rather good - and decidedly Balearic - debut solo album on Leng, Athenian scene stalwart Lex reunites with regular studio buddy Locke for a more club-ready, deep house-fired EP on Delusions of Grandeur. The pair's hybrid electronic/organic sound comes to the fore on '7 Day Path', where a dubby deep house groove is laden with heavy hand percussion, spacey synths and decidedly intergalactic chords. 'I See No Ball', featuring Locomotives, is a druggy, hypnotic and dubby blend of arpeggio-driven Italo-disco and organ-rich deep house, while 'Catch Up With The Sun' is the kind of relaxed, groovy and summery affair that could have graced Lex's recent album. Also worth checking out is DJ Rocca's remix of '7th Path', which reimagines it as a squelchy chunk of nu-disco/deep house fusion.
Review: Andy Ash is a great example of a producer who is simply getting better with age. For proof, check out any of his previous EPs on Delusions of Grandeur, or get your ears around this outing on the popular Freerange Records offshoot. Opener 'Tiawo' is a simply brilliant - and impeccably observed - chunk of mid-'80s, drum machine driven house mysticism, while 'Strictly Pins' is a warming, off-kilter deep house stomper smothered in Christmas Pudding-rich Rhodes chords, heavy drums and squelchy electronics. He doffs a subtle cap to Norway's Sex Tags crew on the eccentric, dubbed-out and extra-percussive house-not-house madness of 'Burger', before rounding things off via the delicious deep house shuffle of 'Brother'.
Review: 18 months after their first Delusions of Grandeur outing - the rather good Disco Permanente EP - Mexican duo Soul of Hex return to the Freerange Records offshoot with another confident and ear-catching EP. Our pick of a very strong bunch is striding opener 'Say It Again', a weighty, percussion-rich slab of late-night dub disco rich in fluid bass guitar, echoing vocal snippets, layered drums and crisp guitar licks (think Trevor Jackson's Playgroup project and you're close). The fun continues on 'Pharoah Machine', a squelchy and sparkling slab of rolling late-night house, while 'Dreams' is a formidably drowsy, warming and saucer-eyed slab of after-hours deep house brilliance.
Review: On their second EP of 2021, Session Victim is back to doing what they do best: namely combining warming live instrumentation with contemporary dancefloor beats. The best of a strong bunch is arguably opener 'Two Crowns', a dense and energetic broken beat affair in which pots-and-pans percussion hits, mellow Rhodes chords, starry electronic flourishes and late-night deep house stabs cluster around thickset synth-bass and hot-stepping drum machine beats. On 'Guidance' they deliver tactile and dreamy deep house complete with raw analogue bass and breathy flute solos, while 'Village Youth' adds jazzy broken beats to an extremely immersive blend of tactile synth-bass, enveloping electronic chords and lilting, late-night melodies. In a word: delicious.
Review: Bari-based Nico Lahs has proved to be something of a musical chameleon over the last 10 years, subtly shifting between various strains of house and techno whilst striving to develop his own trademark style. Got Me Coming Back, his Delusions of Grandeur debut, is equally as diverse, with the producer utilising the EP format to showcase the breadth and depth of his club-ready cuts. He begins with the warming chords, thickset grooves, spacey electronics and fluid jazz-funk bass of 'Got Me Coming Back', before adding sweet melodic flourishes to a bustling, cymbal-heavy house beat on 'Deep Down in My Soul'. Shirts-off peak-time pump is provided by via the retro-futurist deep house throb of 'Your Sweet Lovin', while 'How's Life' is a jazzier and sunnier slab of sample-house goodness.
Review: Westcoast Goddess's previous two releases this year, both of which were released on Let's Play House, showcased a deliciously colourful, retro-futurist take on house that including nods to some very psychedelic electronic music from the 1990s. Here she transfers to Freerange offshoot Delusions of Grandeur and offers up a trio of tracks that make much greater use of squelchy synths, rush-inducing chords and the kind of positive melodies and instrumental choices that were all the rage in the disco and boogie era. Check first the chunky, sunrise-ready dancefloor bliss of "Step Inline (The Narcotic Soul)", before admiring the piano-laden sweetness of the genuinely smile-inducing "The Devil In Mr Holmes (The Erotic Soul)" and "I Might Be OK (The Faithful Soul)", which tips a wink to mid-'80s NYC garage-house productions.
Review: During their golden patch between 2015 and 2017, Soul of Hex released well-regarded material on Quintessentials, Defected offshoot DFTD and, most notably, Freerange. It seems fitting then that their first new single in two years should appear on the latter label's on-point Delusions of Grandeur offshoot. It's a typically excitable, all-action affair, with the Mexican twosome variously offering up savagely cut-up, low-slung punk-funk/house fusion ("Disco Permanente"), starry, slap-bass-propelled deep house warmth ("Polygon Alpha Funk" featuring Cornelius SA), madcap, off-the-wall disco-house loop-funk ("Drum Fantasy"), heavily percussive nu-disco/Afro-house fusion ("Punch", featuring More Lotion), and tactile, disco-tinged Balearic deep house goodness ("Psychic").
Review: T-shirt designer turned top-notch producer Tom Mangan has released some fine music over the last few years, mostly on Aus Music and his own Millionhands imprint. "Cityspell" sees him add another label to his discography via a debut outing on Delusions of Grandeur. Mangan's in a suitably boisterous mood too, with the EP-opening title track delivering a hot and sweaty mix of hard-wired, Giorgio Moroder style arpeggio bass, snappy drum machine beats, swirling chords and stabbing lead lines. You'll find more sleazy, low-slung synth-bass on the rave-inspired nu-disco/deep house fusion of "Do U Love Me" - all warehouse-ready riffs, bustling noises and chunky beats - while closing cut "What U Done" wraps colourful, picturesque melodies around suitably chunky beats.
Review: While his chosen moniker may be mildly amusing, there's nothing silly, cheeky or throwaway about the music of Sydney-based Londoner Norm De Plume. "Squarker", his first EP of any sort for nigh on two years, is full of detailed, mood-enhancing, musically rich deep house treats. Check first deliciously glassy-eyed opener "Squarker", where rising synthesizer lead lines, swirling chords and funk-fuelled synth flourishes rise above a sturdy bed of disco-house beats and rubbery jazz-funk bass, before admiring the bustling beats, sustained chords and breathless hustle of "Love Me So". If that lot's not enough to set your pulse racing, "A Stone Thing" should impress with its crunchy drums and classic deep house warmth.
Review: First unleashed on vinyl this time last year, Flight Mode and Joel Brittain's first collaborative EP has finally made it to digital download. This is undoubtedly a good thing, because "Burn This" is superb. In its' original form, the track is a near perfect fusion of dub disco heaviness - chunky bass guitar, delay-laden horn snuppets, crunchy drums - and the kind of electronic instrumentation and mood-enhancing chords more often found in straight-up deep house cuts. There are two tidy accompanying remixes: a sparkling, synth-heavy Balearic house revision by Medlar and a suitably trippy, spaced out Flight Mode dub that's arguably even more driving and floor-friendly than the original mix.
Review: Since making his debut in 2011, Paxton Fettel has proven adept at delivering jazz-funk-fuelled house and downtempo releases that fuse expert musicianship with a keen knowledge of what makes dancefloors tick. "Night Waves" marks his first appearance on Freerange offshoot Delusions of Grandeur and is every bit as alluring as his previous work. The title track is bold and brassy, with Fettel hammering out life-affirming piano riffs over a throbbing, full-throttle house groove rich in rubbery bass guitar, booming beats and disco-house style filter tricks. It's utterly joyous and something of a serious stomper. "Pacifica 399 To Freedom" is a breezier but no less rush-inducing chunk of Balearic house positivity, while "It's Clear" sees him dip his toe in deeper, more electronic house waters with predictably impressive - and jazzy - results.
Review: Place Of Worship is Ben 'Sun' Davidson's fifth release on Delusions Of Grandeur and, true to form, it's an effortless, sun-kissed affair. It starts with the wonderfully uplifting "See It Come Shining", where Davidson combines raw beats with sensuous, stirring strings and soulful piano lines. "Oceanways T150" is similarly cosmic and upbeat, with the UK producer laying down a cacophony of found sound samples and cosmic bleeps over a gentle drum track. The mood throughout the release is sensuous and unhurried, and nowhere is this more apparent than on the blissed-out "Atlantis Transfer", where Davidson combines a plunging house bass with atmospheric ambient textures.
Review: Four quite varied tracks make up this latest offering from London-based deep house stable Delusions Of Grandeur. 'Dawn' itself, in its Original Mix form, is a mellow cut with a hint of influences from west coast jazz-funk, while 'Taste Of Life' is a more percussive affair with a very 70s-sounding vocoder/talkbox vocal backing a second, spoken male one. 'Hear The Sun' maintains the laidback feel but operates at a more danceable tempo, while completing the EP is Sven Weissman's ReDawn Inbassed Mix of the title track, which is the one to head for if more traditionally styled deep, dubby house is your bag.
Review: Following a fine debut on Pont Neuf earlier in the year, Parisian producer Cosmonection makes his bow on Freerange offshoot Delusions of Grandeur. Like its predecessor, the "Menorca EP" is deliciously deep, spacey and synth-heavy, with the fast-rising producer effortlessly joining the dots between intergalactic electronic soundscapes, glassy-eyed late night house and particularly intergalactic nu-disco. We're particularly enjoying the sustained spacey chords, bubbling melody lines and effortlessly groovy drums of "Menorca", though some may prefer the glitchy, low-slung, garage-influenced swing of "You" and the Balearic-minded, sunrise-ready bliss of "Light". There's also a fine bonus in the shape of Session Victim's hypnotic, floor-focused deep house rub of "You".
Review: Word of mouth is spreading fast about Scotland's Austin Ato and his unique productions: creating a blend of disco and house with elements of techno. He's up next on Jimpster's Delusions Of Grandeur, following up some great grooves previously on Phonica White, Me Me Me and Futureboogie. "Putting It My Way" is an energetic classic house jam that's in the vein of classic Ron Trent - spiritual house music done proper. "Ella" gets off on the disco tip and is one seriously lo-slung and funked-up jam for the late night.
Review: Although still best known for delivering high grade reworks and re-edits, Adesse Versions has previously released some killer original productions, too. Predictably, the three sample-heavy house jams included on this debut Delusions of Grandeur experience are pretty darn hot. Check, in particular, the Clavinet-heavy Blaxploitation bounce of "Pulp Fusion", where sampled '70s instrumentation rides a bouncy, filter-flaunting house groove. Or, for that matter, the lolloping, undulating, glassy-eyed sweetness of the sun-kissed, extra percussive "Fade Out", which makes use of elements from a particularly Balearic disco record. Flip to the B-side for "Raw (Live Edit), a bustling, big room friendly jack-track that sounds like a long lost David Morales Red Zone Dub.
Review: New York's Son Of Sound returns to Delusions of Grandeur with two floor-friendly originals plus a remix. To say this guy has history is something of an understatement: as far back as the early 90's this guy was a key figure, involved in seminal releases on Strictly Rhythm, Maxi Records and MAW Records. "New York Iz All I Know" is classic soulful house east side style with neon-lit elements while the funkier "Tight Drop" has that dusty MPC style swing all over it. Aroop Roy steps up for a groovy, sexy and seriously lo-slung remix following a run of fine edits and originals on the likes of Freestyle, Basic Fingers and House Of Disco. More recently Son Of Sound has created magic for Jus Ed's Underground Quality, Classic, Razor n Tape and Local Talk as well as establishing his own District30 imprint. Yet more of Henry Maldonado's sleek and thoughtful style on offer here.
Review: Since his last outing on Delusions of Grandeur a couple of years back, Toby Tobias has released some of his strongest material to date, including fine EPs on Cosmic Pint Glass, Resista and ESP Institute. Predictably, this latest single hits the mark, too, with title track "The Rain" offering an energy-packed sprint into freaky, cut-up, muscular house territory. The London producer's stuttering beat edits and use of short, manipulated disco samples is particularly impressive. Nebraska opts for a more traditional, rolling disco-house feel to his bass-heavy, club-ready rework, while "New Way of Feeling" is a jazzy trip into off-kilter, synth-laden deep house territory that could easily be described as "Balearic".
Review: Apologies for banging on about this, But Session Victim's recent Listen To Your Heart album is one of the best Balearic-minded house sets we've heard this year. It goes without saying, then, that this third sampler EP is packed full of playable goodness. While they've naturally included an obligatory slow jam (wonderfully dreamy Balearic beats cut "Castle For Sale") and a rush inducing, gradually building Balearic soundscape (EP highlight "Thermal Explorer"), the other two tracks jostle for position in the "best for peak-time plays" stakes. Choose between the tactile nu-disco/deep house fusion of "Head Over Heels" - all sweeping strings, bubbly synth bass and twinkling piano flourishes - and "Almost Midnight", a wonderful trip into disco deep house territory that's as rich and musically expansive as they come.
Review: Session Victim's recent album, Listen to Your Heart, may well be the acclaimed German duo's strongest to date - and that's saying something. This second sampler EP boasts a quartet of cuts that perfectly encapsulate the album's sun-kissed warmth and heady Balearic ethos. Those seeking club-ready thrills should first head for "Shadows", a rolling fusion of rolling house grooves, disco strings and dusty samples, before checking the jazz-fuelled deep house hustle of "Up To Rise (LP Mix)". While naturally impeccable, there's an argument to say that the EP's downtempo moments are arguably even better. "Unchained", a sublime fusion of head-nodding beats, drowsy instrumentation and head-in-the-clouds electronics, is particularly alluring.
Review: Although they've delivered plenty of fine singles over the years, it's invariably Session Victim's albums that get us hot under the collar. This is primarily because it gives them a chance to showcase a wider range of grooves, tempos and instrumentations amongst the ear-pleasing dancefloor workouts. Their sunny disposition, noted sample-spotting ability and varied inspirations are all in evidence on the German duo's third full-length excursion. It's a deliciously evocative, enjoyable and mood enhancing affair that smilingly meanders between dreamy jazz-house bliss, Bossa-Balearic fusion, disco-sampling cheeriness, glistening slow jams, Afro-tinged deep house warmth and humid dub riddims (the impeccable "Castle For Sale"). In other words, it's another hugely enjoyable romp packed full of winning moments.
Review: At the beginning of June 2017, Session Victim will release their third album, Listen To Your Heart. This taster EP - the first of a series of digital releases containing cuts from the set - offers a tantalizing glimpse of what's to come. Predictably, there's plenty to set the pulse racing, from the cowbells and timbales-laden deep house blues of opener "Bring It Back" to the drowsy, pitched-down dreaminess of closer "The Hatch", a colourful and atmospheric chunk of Balearic electronica. Sandwiched in between you'll find the EP's standout moment, the Afro-house meets synth-disco gem "If We Can Make It Here", and the dusty, head-in-the-clouds deep house shuffler "Moons & Flowers".
Review: Nottingham based Ron Basejam is the anagrammed alter-ego of Crazy P co-founder James Baron who creates music with feelings on labels such as Futureboogie and Wolf Music and now for Freerange sister label Delusions Of Grandeur. On the fittingly titled The Sound Of A Feeling EP he serves up the charmingly titled "Shit Wizard" a soulful, nu-disco boogie-down jam. "We Walk To War" in its original form is the kind of lo-slung/slo-mo disco that really floats our boat, but the remix up next by Tee Mango really injects it with some Stevie Wonder style soul-funk that'll help get your shine on. The title track is the deepest and most emotive offering here, with its sublime and hypnotic qualities being pushed along by a tight groove.
Review: U-Dee is a fresh alias from Uffe Christensen, whose two fine albums for Denmark's Tartelet Recordings portrayed him as a man who doesn't like to settle on one groove or stylistic idea for too long. The deep house material showcased on this Delusions of Grandeur outing is notably warmer, richer, and looser than we've come to expect, with an in-built jazziness and quiet soulfulness that's rarely less than impressive. Of course, there are tougher moments - see the fizzing, sweat-soaked drum machine workout "MTV Cars", and the delay-heavy madness of "Sleep" - but for the most part Christensen keeps things rich, organic and lo-fi. Highlights include the breezy, Afro-tinged warmth of "Wa I O", and the jazzy, pared-down soulfulness of "Love Is Gone".
Review: Matthias Reiling and Hauke Freer return with the Matching Half EP. The Berlin-Hamburg connection present two cuts of feelgood deep house with a loose and live feel, no doubt inspired by their energetic live performances. The title track features some funky disco style drumming beneath some emotive strings, jazzy Rhodes keys and xylophones; all working in perfect harmony. There's also a killer remix of said track by Detroit's finest: Byron The Aquarius, who has appeared recently on Wild Oats and S3A. His version gets well funkier and injects a truckload of soul into it, naturally! Second original offering "Up To Rise" is the deepest journey on offer and has a definite summertime vibe about it.
Review: Ben Sun made his debut back in 2013, delivering a chunk of life-affirming deep house for Quintessentials' Thanks You Freaks compilation. Three years on, Delusions of Grandeur has handed him the opportunity to showcase his talents over a three-track E.P. His style, which blends elements of electronic disco, deep house and glassy-eyed Balearica, is perfectly suited to the Freerange offshoot. Particularly enjoyable is "Star Ritual", where trippy, delay-laden boogie vocal samples ride a reverb-heavy, African-influenced drum rhythm and undulating, analogue bassline. Elsewhere, shirts may be removed for the bleep-heavy nu-disco/deep house fusion of "Full Moon", while the overwhelmingly tactile "Glass Waves" is little less than a piano-heavy chunk of early Italian deep house revivalism.
Review: Scott Moncrief's quietly confident debut album Columbising has been one of the sleeper hits of 2016, with the Sheffield-based East Midlander serving up an effortlessly soulful set that joins the dots between hip-hop, broken beat, boogie, and U.S deep house. This follow-up EP showcases one of the album's highlights, Dave Aju collaboration "Turn It Out." Aju takes the deliciously loose and live-sounding original - all jumpy clavinet lines, swinging deep house drums and urgent vocals - and turns it into a stripped-back, heavily electronic broken house gem. Elsewhere, Lawrence Guy delivers a wonderfully warm, rich and soulful deep house interpretation of Erik Rico hook-up "Boogie Down", before Moncrief enlists the honeyed-tonsils and impeccable piano playing skills of regular collaborator Pete Simpson, on the jazzy gospel-house deepness of "For Bae".
Review: Delusions of Grandeur are doing a great job marking their 50th release. This second celebratory EP features four more previously unreleased gems from label artists past and present. New York veteran Son of Sound kicks things off with the driving, '90s New Jersey garage influenced pump of "Under The Son", before Sebastien Vorhaus and Ponty Mython join forces on the Theo Parrish influenced, deep jazz-house wiggle of "I'm The Slime". Dave Pezzner dons the Zepp001 guise for the first time in five years and serves up a jazzy nu-disco/deep house fusion (the deliciously tactile "Enemy"), before Norm De Plume closes proceedings with the warm-and-loose, jazz-funk influenced deep house cut "Building Bridges".
Review: To celebrate hitting half a century of releases, Delusions of Grandeur has decided to release a couple of split EPs, featuring contributions from label regulars and invited guests. This first part starts in strong fashion, with recent signing Nebraska delivering a loose, evocative chunk of saucer-eyed, late night deep house full of fuzzy analogue bass, sparse drum machine rhythms and spine-tingling synthesizer arpeggios. Ugly Drums supply some jazzier deep house fare in the shape of "Like Its OK", before Session Victim finish things off in fine style with "Came To Be Alive". While slightly chunkier and denser than its' predecessors, the track bristles with sun-kissed warmth thanks to lazy electric pianos, killer vocal samples and subtle, beachside sound effects.
Review: Thatman Monkz is Scott Moncrieff to be precise, a Sheffield based producer who's been making house music since around 1997 but more recently on Kolour LTD and of course Delusions Of Grandeur: where he's recognised as a label mainstay. His new album Colombusing is a mighty effort; 14 tracks to be precise and there's a wide variety of moods and grooves, not to mention collaborations! Some of those very hook-ups are the highlights on here, we must say. There's a couple of tracks with San Francisco minimalist/human beatbox Dave Aju; "Turn It Out" is a deep and sleazy funk jam with Cameo-ish vocals, while "Boogie Down" features the sweet lungs of Erik Rico whose Curtis Mayfield impressions suit this feel-good soul jam just perfectly. "Baked" features the deep poetry of NYC's Malik Ameer on this on this dope jam full of urban flavour. There's music to dance to too, rest assured: "Take U 2 My House" featuring Khalil Anthony is surefire deep house aimed squarely at the dancefloor.
Review: Delusions Of Grandeur, easily one of the most consistent deep house labels to come out of the post-minimal era, returns with that guy we all love, Thatmanmonkz. Himself and Chicago's Khalil Anthony are remixed by the equally consistent Jimpster, who delivers the goods by laying down some utter tech house quality on "Take U 2 My House", while Detroit's Ge-ology takes on "Jus Anutha Wunna Deez", and comes out the other end with a murky, beat-heavy house monster that bumps so perfectly along. The originals are sexier, chunkier in the mix, and backed by some killer vocals, particularly "Take U 2 My House" - what a beaut! Recommended and tipped!
Review: Toby Tobias' comeback gathers pace. Here, two tracks from his fine sophomore set Rising Son get a single release, backed with a pair of fine remixes. I:Cube remixes "Love Affair", turning Tobias' deep, woozy and glassy-eyed Italo-disco chugger into a spacey, expansive chunk of Detroit techno-influenced deep house. Full of deep space electronics and chunky, rolling grooves, it feels like a love survivor from the early '90s. Label-mates Session Victim delivers an interpretation of the dreamy Balearic slow jam "Sloflava". Their version is impressively floor-friendly, using Tobias' original elements - plus some carnival-leaning percussion - to deliver a delicious chunk of soul-flecked, ultra-positive deep house.
Review: It's been seven years since Toby Tobias dropped his debut album on Rekids, Space Shuffle. This sophomore set, then, is long overdue. Seemingly more reliant on hardware - and, in particular, analogue synths and drum machines - Rising Son is an altogether more mature, tightly executed album than its' predecessor. The London producer includes nods to many of his familiar influences - think saucer-eyed Balearica, Italo-disco, acid house, Larry Heard style '80s deepness, modern boogie, Detroit techno and Chicago jack, capturing just the right balance between downtempo curiosities, fuzzy mid-tempo grooves and bona fide dancefloor hits. There are also a couple of impeccable forays into the world of early '90s ambience, with the odd "Broken Computer" standing out.
Review: Toby Tobias' Rising EP, released in May 2015, signaled the forthcoming release of his belated second album, Rising Son. With that set now imminent, Delusions of Grandeur has decided to treat listeners to two more album highlights. Both "The Wonder" and "Only Getting Better" are undeniably spacey, with the emotive, melancholic vocals of Atwell adding extra intensity to the London producer's analogue-rich, Detroit and Chicago influenced, retro-futurist grooves. Of the two, it's arguably the bolder "The Wonder" - all squidgy synth bass, acid flashes and swirling Motor City chords - that's the pick. Franc Spangler provides a tasty dancefloor re-work of "Only Getting Better", focusing the action on a killer, low-slung acid house groove, select vocal snippets and rolling deep house chords.
Review: Delusions Of Grandeur have been relatively quiet on the release front this year, but they're back with a bang thanks to this latest collaborative effort from Dan Shake and Medlar. The former has gotten a name thanks to being the first non-Detroiter on Moodymann's Mahogani Music, while the latter has been pushing his disco-friendly take on house music largely via the Wolf Music imprint. They got two cuts on here, the first one being a boogie-leaning, hazy summer club jam in the form of "Walk", and the second one a jazzier affair with plenty of soulful vocals and tribal drums called "I On You". Philpot bossman Soulphiction takes care of transforming "Walk" into a pot of filter-licking madness, where the percussion is stretched and freaked out further out into the ether compared to the original. What a package!
Review: It's now a decade since Toby Tobias made his debut, and two years since he released a pair of acclaimed EPs on Delusions of Grandeur. Here the London-based producer returns to that imprint with a chunk of deliciously warm, hazy and - whisper it quietly - Balearic deep house. "All Rising" combines subtle deep house percussion with swirling disco string samples and goose-bumps-inducing blue-eyed soul vocal snippets. The results are rather magical, all told. The accompanying Dub takes the track in a sweatier, more heavily percussive direction, while the Jitterbug Dub Remix re-casts "All Rising" as a heady chunk of dreamy European deep house.
Review: Well, it's safe to say that Delusions Of Grandeur has become something of a house institution by now. The imprint has put out a vast amount of material since the late noughties, all by an impressive collection of talents including Session Victim, Tornado Wallace, 6th Borough Project, Recloose and many others. Benjamin 'Ben Sun' returns to the label for his third appearance with "Tricks On Wax", an utterly funky and bass-heavy sample-house number reminiscent of the Moodymann school of sound. "Seven Sisters" is more spacey and futuristic in its melodic structure, while "Special 4U" winds things down to near hip-hop levels...chuggy beats, subtle breaks and smoked-out swirls of electronics.