The enigmatic producer known only as Grant released a head-turner of a deep house album last year entitled "Doris Day" on The Lauren Bacall which I don't recall seeing in any of the myriad year's best album lists. Now he's returned with another full length of supreme quality and whilst I'm certain it would be given fulsome praise by legendary dons of the genre such as Juan Atkins, I fear the likes of Pitchfork and even Resident Advisor will let it pass by with nary a mention. That could be due to the avalanche of extraordinary records that have twisted extant styles, particularly grime and club, into shapes so alien it's almost impossible to deduce their provenance, but house is one if those rare electronic genres that was born fully formed. That's not to say it isn't suited to experimentation; my collection is littered with producers successfully colouring outside the lines, A Made Up Sound and Tolouse Low Trax to name but two, but whereas jungle and dubstep,say, had to adapt to survive, house (and I plead guilty to using a hideous pun m'lud) was built on unshakeable foundations such that its earliest transmissions still sound as relevant (if a little rough around the edges) as they did when they first appeared. All this is a long way of saying that Grant, whoever he or she may be, is not a retroist but someone who knows the parameters within which they work are unshakeable and turned in an album that's as delicious in the aural sense as a full English breakfast is to an epicure. "Cranks" breaks no rules and is all the better for it. Buy now and luxuriate at your leisure.
Favorite track: Contemporate Reality.