The 3D concept is, as it sounds, about three dimensions: the music that a DJ would tend to play in a live setting; examples of his studio work; and selections of chill-out or ‘back to mine’ type music. Tom Middleton is perhaps not a DJ that I would normally listen to, as I would have termed his style as house, rather than progressive. But as this is a Renaissance release, and that’s usually a guarantee for quality music, I thought I’d take a punt and see what it was really like. Easier said than done. So what am I able to tell you? Well, I’ve discovered that Tom Middleton is an even bigger enigma to me now that he was before I actually listened to any of his music.

The first of the three dimensions to be explored here is the Club CD. Things start very promisingly indeed with a fairly stock-standard house sound, with tracks that in all honesty could have originated anytime in the past fifteen years. Regardless of the lack of originality, there are undercurrents of promise and intrigue that give the listener a strong sense that it could turn out to be an exceptional mix. There’s a sense of fun, blended with a touch of class and a sense of quiet urgency, but unfortunately Tom loses himself after the fifth track and the mix flattens out as he searches for some much needed direction.

Whilst I am a fan of house music, the side of the genre that is virtually indistinguishable from that original old school funk and disco sound of the late 70s leaves me absolutely cold: unfortunately for me, this mid section of the first CD is exactly that type of sound. I prefer my music with more verve and energy, and I would rather avoid music which reminds me of the words ‘Diva’, ‘Handbag’, ‘Disco’ or ‘Vogue’. But Tom does finally start to find his direction again just after the half-way mark with Mari Boine’s Voui Voui Mui and Aya’s Sean, but he promptly loses me again with the drab and dreary Our Music. Then, just as I have given up on the first disc altogether, Tom finishes it off by mixing together five tracks of such beauty and brilliance that you can only wonder why on earth he didn’t do this much, much earlier. If the mid section was about paying homage to the seventies, then the last stretch is definitely about looking to the future! James Zabiela’s Human is an absolutely fantastic track, and energy has finally worked its way into the mix in such an infectious way that I’d defy anyone not to move to this. Winding up with the magnificent Clock by Simian Mobile Disco, I’m hoping this rollercoaster ride carries on for some time yet.

As it sounds, the Studio disc refers to tracks that Tom has personally edited or remixed. And it gets off to an absolute flying start with the infectious and Daft Punk-esque Take Me With You by Cosmos, which is the moniker Tom uses when he’s in a progressive house frame of mind. In fact, it’s fitting that this track is used here as it is a natural progression from the first disc; a clever touch and a pleasant surprise. The second Cosmos track Lost Inside offers similar levels of enjoyment, and while the Club is a lesson in waiting for things to happen, the Studio mix barely lets a moment pass without introducing a new highlight. And one of these such highlights is a truly beautiful re-mix of Lamb’s What Sound that never fails to make me grin from ear to ear.

Now call me a cynical old sod, but so far, Tom has played four tracks that he himself has worked on, and every one of them has been utterly subliminal. So, if he has such exemplary taste and can create, or more accurately ‘recreate’ music of such quality, what in the world was he trying to achieve by playing such bland rubbish for half of the first disc? As a consequence, I’m holding my breath waiting for the second disc to collapse in a heap, but it just keeps on delivering quality music in spades.

Before I give a final recommendation, there’s the dreaded Home disc to consider. I say dreaded because I’ve never come across a ‘chillout’ or “what DJ’s think we should listen to at home” disc that hasn’t bored me into unconsciousness. Could this be the CD that breaks my chillout phobia? Tom opens up with an almost jungle-esque breakbeat that threatens to shatter the windows in my car – I’m in no danger of falling asleep here, I can assure you! Although opening with a relentless pace, Tom weaves different moods and tempos into this mix, but it’s never boring. It’s almost impossible to pin down the genre of music that Tom is aiming for here, and maybe that’s his goal. There are breakbeats, jungle, disco, soul, acoustic guitars, house influences, tribal drums, driving bass lines, hip hop, ambient swirls and heaven knows what else, all mixed together and vying for the listener’s attention. Whatever this music is, it most definitely is NOT boring, because you’re always wondering what Tom is going to come up with next.

So, in summary: we have one disc that starts promisingly, loses its way completely before regaining ground and finishing it off in style; a second disc that is pure unadulterated quality of the highest degree; and a third CD that is ugly but very interesting. I should think that’s enough to keep anyone occupied for a decent length of time. Three dimensions of recommended listening!