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: 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: 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: 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: 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: 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: 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: 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: Having put their Instruments of Rapture label to sleep, Craig Smith and Graeme Clark return to Delusions of Grandeur. With its shuffling, late night groove, delay-laden atmospherics and sub-bothering, bleep-era bassline, "The Vibes" is arguably their darkest and toughest release to date. It's predictably good, though, sitting somewhere between Morales' darker Red Zone moments and early '90s UK techno. Chicago Damn joins in the fun with a thumping, edit-heavy remix, all fuzzy chords, vintage percussion and old skool vocal stabs. Bluesy bonus track "New Day" - a kind of 6th Borough take on "Deep Burnt" with balls - is pretty tasty, too.
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: 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: 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: 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: 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: 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.
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: 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: 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 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: 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: 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: 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: 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: 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: 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: With just one other record consigned to the project it's not often we witness label boss Jimpster turning his hand to his discofied alias on Delusions Of Grandeur. Any keen followers of the label will be more than satisfied with the vibe on offer, as a slower kind of house groove takes hold for three tracks infused with spiritual sampling, starting with the wistful, soulful tones of "Painted Lady". "Lumpsucker" has a stronger electronic vein running through its core, matching Chicago drums and snaking arpeggios with washes of chords to keep the mood mellow, before "Camberwell Beauty" scrubs out the edges and drifts deep down into a sumptuous pillow of laconic house.
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: 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: 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: 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: Thanks to three previous 12" and digital samplers, most of you will have a fair idea what to expect from this debut full-length from Scottish house-disco fusionists Graeme Clark and Craig Smith. It's still very much worth listening to the album in its entirety, though. Clearly designed as a proper album to be listened to in sequence, it's beautifully programmed and packs a whole skipload of great ideas (not to mention brilliant samples) into a thoroughly entertaining 90-miniute journey. While it only occasionally strays from house - check the downtempo delight "Settle" - there's plenty of variety within that, touching on classic NYC deepness, loopy disco/house heaviness, sensual slo-mo grooves and string-laden tech-house builders.
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 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: 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: 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: 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: 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: 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: 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.