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: 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: 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: 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: 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: 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: 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: In the canon of EPs that require little in the way of additional prompting from the Juno review staff, the latest release from Delusions of Grandeur must surely rank high. Pairing We Play House duo FCL with VFB, the latest alias from Dani 'MCDE' Plessow proves to be a smart choice, securing Delusions perhaps their finest release to date! Love Prescription is nominally formed around three variations on the title track from Plessow's new VFB moniker (yet another smart ode to his hometown) introducing the yearning soulful tone of Stef Gustaph amidst a nicely stripped down take on house music which is perhaps best utilised on the bubbling Dirt Dub version. FCL appear with the masterful "Matrix Plus" full of bouncing rhythms and high rise chords dipped with Mr Fingers style emotion.
Review: Underground Sugar Caves marks a triumphant third waddle through the deepest recesses of rhythmic programming on Delusions of Grandeur for Tornado Wallace. The Australian is a man whose grasp of The Simpson's trivia is more than matched by his rise in the public's estimations since he debuted with Paddlin'. Lead track "Underground Sugar Caves" sees the erstwhile Wallace leave the sanctity of chugging disco for something altogether more thrilling - warehouse ready raw house music. The ease with which Wallace flips the script from the kick drum heavy compressed sound of the opening moments to the stabs and energising strings that dominate the track in full flow will transcend excellently in a small basement space. "Insect Overlords" is a more familiar mid tempo saunter, though there are enough production nuances to separate it from the chaff, whilst the venerable Idjut Boys turn in an excellently dubby transition of "Underground Sugar Caves" which is indelibly stamped with moodiness. Highly recommended.
Review: For those who like to dig a little deeper, Ben Sun has long been a name to keep a hawkish eye on in deep house circles. Although "Salty Tears" is considered by most to be the London based producer's breakthrough track, his potential was first seen on the ephemeral delights of 2009's "When You Looked". Both of those tracks were released on the Voyeurhythm imprint he runs with Tyson Ballard and Megadon Betamax, and his arrival on Delusions Of Grandeur feels like a significant step towards wider appreciation. The Love Momentum EP sees "You Should Know Better" sprawled across the A Side, and it's hard not to think of KDJ when soaking in the jazzy key samples that form the backbone of the track alongside a deliciously clipped vocal sample, strings, horns and the dustiest of beats. "Yesterlife" on the flip is all about the 909 hats and hanging chords, while "Love Hotel", featuring Wolf + Lamb affiliated producer Slow Hands, features the kind of low slung bassline that has been the hallmark of many a Ben Sun jam.
Review: Since dropping his debut release on Hi-Phen in 2005, Toby Tobias has built up an impressive body of work, with EPs on Rekids, Hector Works, Let's Play House and his own Late Night Audio imprint. This EP for Delusions of Grandeur is another slow-burn winner. Lead cut "Pathfinder" gets just the right balance between heavy drum machine programming - think old skool electro or '80s boogie - and contemporary deep house smoothness. Fabrizio Mammarella's hypnotic remix is pretty tasty, too. "Backbeat" provides a hazy tip into Balearic boogie territory, while "Abergon" - with its lazy jazz guitars and Harvey-ish bump - is impeccable wide-eyed White Isle fodder.
Review: Having already treated us to a trio of samplers, the German deep house duo Session Victim finally deliver their debut full-length for Delusions of Grandeur. Given their impressive credentials, it's no surprise to find that The Haunted House Of House is a bit good. Almost overflowing with ideas, it serves up 11 slabs of deep house that do their best to sidestep the genre's many pitfalls. Sure, there's plenty of comfy, melodic goodness (see "Push Comes To Shove" and "Zoinks"), but also forays into disco-flecked jazz-funk-house ("Alpine Glow"), slick disco-house ("The Haunted House"), groovy slo-mo electronica ("Bilson"), dewy-eyed Balearica ("The Light Scent of Decay") and even Clyde-ish broken hip-hop ("Fine"). Impeccable, and this ultra special Juno edition includes an exclusive bonus track in the shape of "Spellbound"!
Review: Comprising the second half of their hotly anticipated album, this latest slab of wax from the widely celebrated house duo Session Victim showcases just why their groove is so well liked. Far from trying to be cool in their music, instead the kind of funk the German duo conjure up in their sample-heavy sound is pure and addictive, not least on "Push Come To Shove". It's not all party rockers mind you, as well demonstrated in the low slung hip-hop leaning of "Fine". With the summer looming this is a strongly advised addition to your sun-compatible arsenal.
Review: Comprising the second half of their hotly anticipated album, this latest release from the widely celebrated house duo Session Victim showcases just why their groove is so well liked. Far from trying to be cool in their music, instead the kind of funk the German duo conjure up in their sample-heavy sound is pure and addictive, not least on "Push Come To Shove". It's not all party rockers mind you, as well demonstrated in the low slung hip-hop leaning of "Fine". With the summer looming this is a strongly advised addition to your sun-compatible arsenal.
Review: If you missed out on Session Victim's excellent 2011 debut album The Haunted House of House, this third sampler EP gives a tantalising glimpse of what you've been missing. As with the album itself, there are various flavours on show, from the shuffling, string-laden, eyes-wide-shut loveliness of "Zoinks", to the Hammond-laden jazz shuffle of the irrepressibly groovy "Good Intentions" (check out that brilliant walking bassline). Best of all, though, is "Light Scent of Decay", a majestic builder that morphs from a lazy Balearic shuffler into a touchy-feely deep house gem over 10 majestic minutes. Thrilling stuff.
Review: More discerning discotheque cuts for the cowbell connoisseur from the Delusion of Grandeur imprint, this time calling on Australian playboy Tornado Wallace. The Melbourne resident has impressed with previous pitched down mutant discoid cuts for the Sleazy Beats and Murmur imprints, but the Paddlin' EP sees Tornado Wallace go deep. The title track has a main groove that throbs away underneath fizzling Detroit pads whilst funk grunts fight for your attention with soaring synth washes. "Swimmin" reworks proceedings, switching down the tempo slightly but bringing the groove topside for a splendid sun kissed chugger. Firecracker/Prime Numbers don Linkwood jumps on board to deliver a soaring seven minute remix that brings to mind the Pepe Bradock classic "Deep Burnt".
Review: New on the Delusions of Grandeur label (a sub label of Jimpster's excellent Freerange imprint), Berlin based duo Session Victim have made a gem of an EP that would find a good home in the racks of any nu-disco fans. "The Keyboarder" sounds like something Treasure Fingers would drop, as it's both full of groove and heavy on the silky string stabs. The clean, live sounding drums on "Tomorrow Night" alone are worth getting excited about, underpinning a corking deep rhythm that becomes infectious. Well worth checking out.
Review: Man like Recloose returns to Delusions of Grandeur, having debuted on the label in fine style with last year's Don't Get Me Wrong EP, and it's a welcome one as It's Too Late is the New Zealand dwelling producer's first EP of 2013! Despite this prolonged absence, Recloose has clearly lost none of the energy that drove his DoG debut, with all three tracks here demonstrating a real vibrancy that will immediately provide a lift for any dancefloor experiencing an element of lag. The title cut bounces along with the sort of finesse you'd expect from a producer of Recloose's calibre, whilst the heavy slab of filter disco "You Just Love You" highlights his arrangement skills. Fans of Cardiology era Recloose should head right to "Backtrack" and bask in its brilliance.
Review: The recent reappearance of "Green Marimbas" on a Mister Saturday Night release had us remembering with fondness how great a producer Ali 'Nebraska' Gibbs is - especially that Rush Hour LP Displacement. It's been a while since we last saw some new Nebraska in the trollies at Juno so kudos to Delusions of Grandeur for coaxing some new cuts out of Gibbs for this fine Rye Lane Rhythms slice of nice. From the moment "Aw-rite (Mute version)" slips into action it's like Nebraska has never been away, that attention to percussive and rhythmic detail still dead eyed and the musicality tight as ever. "Warp & Weft" veers off into fuzzy, minimalist beatdown territory that will appeal to fans of obscure Sound Signature tracks whilst "Eighty Eights" is the sort of loop heavy house cut that you can tease dancefloors with.
Review: Delusions of Grandeur present a second selection of tracks from Session Victim's superb sophomore set See You When You Get There, the German duo's acclaimed follow-up to 2012 debut The Haunted House of House. Predictably, there's much to admire, from the jazz keys and skewed deep house swing of opener "Do It Now", to the rubbery disco bass, smoky atmospherics and Moodymann style, jazz-flecked grooves of "Make People Dance". There's also a hip-hop tempo excursion in the form of the heady title track, and - best of all - a deep, bluesy disco-house jam in the shape of the brilliant "Hey Stranger".
Review: Pinpointing the exact style of beat-maker Uffe Christensen has always been a little tricky, as anyone who has listened to his recent debut album Radio Days will happily confirm. This first outing for Delusions of Grandeur continues the trend, delivering a range of dusty, quietly soulful workouts that variously doff a cap to Moodymann style deepness, hissing jazz-house and broken beat. There's much to admire, from the jazzy-but-smooth lushness of "Like You Mean It", to the rolling Afro-house rhythms and lilting melodies of "Solid Satin (We Can Do Something)". Arguably best of all, though, is "Good For You", a sumptuous chunk of organic deep house full of live instrumentation, hazy atmospherics and sensual intent.
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.
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: 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: The enigmatic Thatmanmonkz parachutes back onto Delusions Of Grandeur - one of the most consistent deep house driven labels out there - with three retro joints. "In The Trees" is pure Chicago magic and features the vocal talent of Khalil Anthony in the mix, while "Make It Now" is a jazzy house piece a-la Moody. Last but by no means the least, "Sad N Blue" goes for chunky beats, gorgeous piano keys and a stunning backdrop of seductive R&B vocals. This is for HOUSE music lovers and it's massive.
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: Shadeleaf Music founder Thatmanmonkz is arguably one of Sheffield's unheralded heroes, with a spell in soulful bassheads Small Arms Fiya and a residency at the city's anything-goes Join The Dots night amongst his bulging CV. Here he delivers three chunks of deliciously soulful deep house for Freerange offshoot Delusions of Grandeur. The raw, bass-heavy, woozy and bumpin' "Girl I Know" is probably the standout, though the looser, groovier "Blowin' My Mind" - which comes laden with heady Rhodes keys and a lolloping bassline - pushes it close. Dnae collaboration "Be With Me" - a seductive trip into Moodymann-ish deep and soulful territory - is also pretty darn hot.
Review: If you've not invested in a physical copy of Session Victim's excellent sophomore set, See You When You Get There, you probably should. Alternatively, you could pick and choose between the various digital samplers on offer. There's tons of high quality material on this third EP. Throughout, the German duo expertly tiptoe the fine line between disco and house, variously delivering warm, rolling, Rhodes-heavy deep house (the brilliant "The Most Beautiful Divorce Ever"), loose and organic disco-house ("Under Your Spell"), eyes-closed slow jams (the seductive and becalmed "Eeo's Place") and cut-up Balearic beats (the picturesque "Crystal Maze"). Throughout, the production remains warm, smart and endearingly dusty.
Review: Given his production vintage spanning REKIDS, Burek, Under The Shade and Let's Play House there's a sense of inevitability that Toby Tobias would surface on Delusions Of Grandeur sooner or later; indeed it feels strange that it's taken so long but as Burning Love demonstrates, its been worth the wait. Lead track "It's Burning" is notable for the chiming synth that resonates brightly amidst a multiplicity of gurgling analogue grooves, whilst "I Give You Love" opts for a more rugged warehouse vibe, embellished by the yearning vocal hooks. Down below these two cuts get remixed in requisite fashion; the London Housing Trust collective tackle "I Give You Love" morphing it into a tripped out jacking freestyle number, whilst the always excellent Lauer works his magic on "It's Burning" introducing all manner of vivid colour with his melodies and basslines. This Juno Download exclusive version also features the original demo version of "It's Burning".
Review: Session Victim's 2012 debut full-length The Haunted House of House was arguably one of the best deep house albums of the year, and this EP provides the equally fine follow up. Opener "Yes I Know" features their trademark loose, swinging drums, warm chords and classic deep house sheen, alongside a healthy amount of what sounds like organic instrumentation. With the addition of a delicious disco vocal sample, it makes for wonderful listening. Max Graef remixes, turning in a version that sounds like a deeper take on 6th Borough Project. "Glow In The Dark", meanwhile, is wholeheartedly Balearic - a blindingly sunny slice of semi-live disco-house bagginess that should get maximum rotations in warmer climes this summer.
Review: If you missed Soul 223's previous exploits - and given that he's released on Delsin and Soul Jazz, you shouldn't have done - this tidy EP for Delusions of Grandeur offers an excellent introduction. His influences - Detroit techno, soul, disco and hip-hop, mainly - can all be heard on "Fear of Shopping", a tight-but- swinging deep house gem built around tropical soul rhythms and Detroit-influenced chords and melodies. It's really quite excellent, as is the deeper, quirkier, Mr Beatnick style "Birdbrook Rain". The shuffling European futurism of the Max Mill Remix of "Fear of Shopping" really impresses, though the spine-tingling breakdowns and rising chords throughout Hoist Covert's mix of "Walberswick" are a Balearic delight.
Review: Warm and chugging disco-tinged house is on offer once again from the imperious Delusions of Grandeur, with the Foolin EP arriving with Germany's Manuel Tur at the wheel. Sticking with his usual synth heavy and sultry style, Tur strikes an immediately gritty tone of funk with tightly plucked guitar riffs, swooning brass and soulful vocals on the title track. Up next, an instrumental version of "Foolin" is accompanied by "The Traveller", which treads percussive realms with a heartbeat drum platform that pushes this otherwise orchestral and ambient track ever forward. Piano keys dance gently as string beds ascend against scatterings of brass and tinny crashes; our pick of the bunch.
Review: New school deep house specialists Delusions Of Grandeur return with another solid three-tracker, this time from Seattle-based studio knob-twiddlers Zepp001. It's the duo's second EP for the label, following 2009's warmly received "Don't Sleep". "The Warm" itself has a touch of Deep Space Orchestra about it - all off-key chords, otherworldly noises and alien melodies. "Dearly Beloved" has a slightly warmer feel thanks to a bubbling low-end groove, sneaky carnival percussion flourishes and some excellent, far-out nu-disco synths. Best of all, though, is DJ Nature's remix of the same track, which re-casts the original as a jazz-flecked spacey deep houser.
Review: One Night In The Borough, the debut full-length from Scottish disco/house fusionists Craig Smith and Graeme "The Revenge" Clark, is arguably the best thing either producer has done yet (and certainly collectively). This first sampler 12" showcases four of the album's many highlights, offering plenty of loopy, floor-friendly grooves for those who like their house with more than a dash of original disco flava. Choose between the slo-mo MDMA soul of "If The Feeling's Wrong" (our pick), the urgent stomp of "Find A Way", the smart retro house vibes of "Changin" and "Iznae", a delightfully stripped-back chunk of late night deep house bliss.
Review: This second sampler for Craig Smith and Graeme Clark's excellent debut album once again sees them in fine form. While three of the four tracks stick to their tried-and-tested formula - rock-solid deep house built on heavy, head-nodding loops, long, lazy builds and cute, killer hooks - there's plenty to get excited about. The distinctly old skool "Back To Me" (check that analogue bassline) and hynotic head-nodder "Deep C" stand out, with "BURT (The Journey)" not far behind. The most revelatory moment, though, is "Settle", a dreamy downtempo concoction crafted from syrupy soul samples, echo-laden beats and sinewy strings that sounds like an updated version of Minnie Ripperton's more sensuous moments.
Review: Scottish duo Graeme Smith and Craig Smith aka 6th Borough Project present the third and final sampler ahead of the release of their debut album, kicking off with two surprisingly house dominated cuts, "B.U.R.T" and "The Fool", whose intro does indeed fool via a standard tech house first half. Abruptly, the music cuts and from nowhere an immense disco accapella cuts in - the beat returns as a disco fuelled funk attack, 6th Borough Project as we know (and love) them!
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: Pattern Select is Milton Jackson's new endeavour with Show B and the results of their first collaborative work together finds a suitable home at Delusions Of Grandeur. Tale Of The Tape is both an auspicious glance at what the duo have up their sleeve and perhaps the finest EP on the DoG imprint to date. Ploughing a decidedly subterranean path through the rawer excesses of house music, what is really a selection of simple elements - vocal hooks, crafty drums, ever rising pads and satisfying crashes - are combined excellently and infiltrated by the wormiest of arpeggiated synth lines. The accompanying dub version does what all good dub versions are supposed to do and there is the bonus of a flipside revision from man like Cottam that completely rewires the track along some next century utopian galactic house tip - you'll love the smudged rhythms that come floating in. Just to switch up the vibe, Pattern Select end on the dusty fingered brilliance of "Matrix" - full on beat down head nod vibes soaked in Detroit atmospherics.