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: Almost two years on from his last appearance on the label - a collaborative release alongside German drummer, percussionist and producer Locke - Athenian veteran Lex returns to Delusions of grandeur. This time round it's a nominally a solo mission, though Locke and Dennis Liber do appear as featured collaborators on selected tracks. Our pick of a very strong bunch is 'Without You', a hypnotic and locked-in acid house roller full of mind-mangling TB-303 motifs, jazzy Rhodes licks and spacey chords, though the deep and funky, disco and jazz-funk tinged 'Strip Town' is almost as good. Locke and Guto Fernandez hook-up 'Purity' is a fine vocal number that sits somewhere between percussive Latin house and nu-disco, while Dennis Liber collaboration 'No Time For Formalities' sounds like a long-lost piano house track from 1988.
Review: Jimpster, under his Franc Spangler alias, delivers a delightful return to Delusions with three funky, disco-infused tracks that demand a dancefloor. Kicking things off with "Fight The Feeling" he crafts a rolling groove enriched with dubby percussion, horn solos, and soaring lead synths. "Powerslide" takes us on a retro journey with clav and guitar chops, Hammond slides, and an irresistible bassline, setting the stage for a high-energy club anthem. "Dance The Funk" closes the release with its deep, low-slung bounce and some juicy synth stabs, a heavy Moog bassline, and crunchy house drums.
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: 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: 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: Given the quality of Session Victim's 2012 debut album, Haunted House of House, expectations are naturally high for this follow-up. Like its predecessor, See You When You Get There takes a widescreen approach to deep house, with the German duo drawing on a myriad of influences, from jazz ("Hey Stranger"), soundtracks ("Crystal Maze") and evocative downtempo beats (the impeccable title track), to Atmosfear-ish jazz-funk ("The Most Beautiful Divorce In The World") and, most notably, classic Balearica (see the druggy pop of "Hyuwee" and deliciously slow "EOS Place". Best of all, though, is "Never Forget", a glorious blues-house epic laden with smoky vocal samples and thrilling piano motifs.
Review: Here, Graeme Clark and Craig Smith hand over tracks from their recent sophomore album, Borough 2 Borough, to a trio of fast-rising deep house starlets. The results are predictably fine, with Dutch producer Ben La Desh providing the real standout. His version of "Walk Away", all tactile rhythms, wide-eyed electronics, smooth chords and blissful melodies, is unflinchingly Balearic despite its obvious deep house roots. Wolf Music regular Fantastic Man offers up a more upbeat but similarly fluid and melodic take on "Read My Mind", while Uncanny Valley's Cuthead delves into his box of tricks to deliver a warm, humid, scratchy and cowbell-laden interpretation of "Back 2 Black".
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