Review: There is little doubt that Detroit Swindle have positively owned modern high-end house music since ripping onto the scene back in 2012, kicking Dirt Crew, Murmur, Tsuba and more into touch with their red-blooded productions that pack pounding drums, punchy bass and swooning chords into crafty grooves of the most commanding kind. They're at it once again for Freerange after last year's Creep, kicking off with the joyous explosion of the title track with its righteous diva vocals, tasty Rhodes lines and hooky beat. "Under The Spell" keeps the same garage shuffle but homes in more on the bittersweet chord tones as a source of their soul, but there's still room for a marginally more restrained roller in the shape of "Woman". Crue twists things up with a murky remix of "Unfinished Business" that ditches the melodics in favour of pure rhythmic thrust.
Review: Dutch duo Detroit Swindle are set to release their hotly-anticipated debut album, Boxed Out, on Dirt Crew this March. This EP gives a taste of what's to come, offering three album tracks and a booming Laszlo Dancehall rework of the title track (think '90s Sound Factory-era NYC tribal stomp). There's naturally plenty to enjoy, from the retro-futurist garage keys and bumpin' grooves of "The Fat Rat", and the midtempo Balearic house sweetness of "Monkey Wrench" (think warm keys and swooshing electronics), to the hands-in-the-air, vests-off throb of "Huh, What!", the EP's most rush-inducing moment.
Review: Amsterdam's Detroit Swindle duo pair up and land back on Jimpster's Freerange imprint...and you know that means swinging, dusty house grooves for all! The title track "Figure Of Speech" is a pleasant, beautifully Detroitified house swayer featuring some heavy chord action, and "Victoria's Secret" adds a further layer of beat-swing around cheery melodies for the summer haze. Flip the disc and you got "Live At The Cosmic Carnival", a disco-fuelled house anthem and another floor-filler to fill Swindle's ever-impressive catalogue.
Review: Hirsute producers Lars Dale and Maarten Smeets have enjoyed a great 2012, dropping well thought of singles on Freerange, Dirt Crew and Murmur. Here they round off a productive 12 months with another missive for Dirt Crew. Built around a soaring, emotionally rich bluesy vocal sample, "Guess What" sounds like a more energetic take on jazz-flecked Detroit deep house, with just the right amount of old US garage flavour. "John Doe" takes a similar approach, but moves further towards strobelight-flecked late night groovery - all cut-up vocal hits, relentless organs and swinging drums. A solid package is completed by Leftside Wobble's remake of "Guess What", a deliciously deep and swirling version that demonstrates his continued development as a producer.
Review: There's very little to fault about Detroit Swindle's latest EP, which comes backed with remixes from born-again glitch-house maestro Matthew Herbert. The latter delivers a pair of quirky but typically inspired remixes of lead cut "Circular City". Whereas the Swindlers' original is built around rising and falling synthesizer melodies lines, drowsy bass, restless stabs and wonky bass, Herbert's versions cannily create energy and action via wild electronics and low-slung analogue instrumentations. The instrumental is good, but it's the version he's done featuring vocalist Zilla that really stands out. Elsewhere, "Sugar Sugar" is a smile-inducing chunk of deep house positivity, while "Runningoutof" melds their usual melodious dancefloor funk with a dash of Italo-disco.
Review: After an extended hiatus, Detroit Swindle returns to action for the first time since the autumn of 2016. Predictably, they're in fine form throughout. We're particularly enjoying title track "Can't Hold It", a bumping and energy-packed deep house cut smothered in swinging drum fills and what sound like jazz-funk instrumental samples. The warm, summery action continues on "Just Not Norma", a superior chunk of life-affirming disco-house deepness whose beats are pleasingly jazzy and dexterous. Arguably best of all, though, is the more heavily electronic "Tamarindus Hollandicus", where new age melodies and fizzing electronics weave in and out of a restless synth bassline and Italo-disco style percussion. Willie Burns' remix, a fusion of scattergun-techno attitude, proto house drum delays and swirling synths, is also superb.
Review: If your fame is built on delivering rock solid dancefloor cuts, should your subsequent albums stick to the same approach or mix it up a little? It's a conundrum that many artists have struggled with over the years. Smartly, Detroit Swindle has decided to hedge their bets with High Life following 2014's Boxed Out. As full length albums go, it's a bit of a peach, and sees the acclaimed Dutch duo flit between sensuous, home-listening fare, jaunty, instrumental-laden workouts (see the cheery, smoky pop-soul of Tom Misch hook-up "Yes, No, Maybe" and Afro-fired bounce of "Call of the Wild" featuring fellow Dutch combo Jungle By Night) and tried-and-tasty club tracks (Seven Davis Jr collaboration "Flavourism", the driving disco-house of "Freeqy Polly" and "Cut U Loose").
Review: Detroit Swindle's debut album, Boxed Out, confirmed Lars Dales and Maarten Smeets' position as one of the most talented deep house duos of recent years. Here, they take a back seat, as tracks from that album are handed over to a quartet of remixers. Perhaps the most ear-catching rub is MRSK's DJ Sneak style loop funk rub of "He's Just The Guy, You Know?", a whirlwind of tough, bumpin' drums and "Red Alert"-esque slap bass. There's plenty to enjoy elsewhere, too, from the warm chords and chunky grooves of Cuthead's take on "Me, Myself & You", to the soulful fluidity of Jimpster's immersive remix of "B.Y.O".
Review: It would be fair to say that Detroit Swindle has been on a great run of form, with last year's The Punch Drunk EP amongst their strongest work to date. This first missive of 2016 is equally as strong, offering four chunks of heavy dancefloor ammunition. "More Everything Please" sees them pepper a chunky house groove with restless disco cowbells and rolling, off-kilter organ riffs, while "Future Imperfect" sounds like their take on humid, tropical-influenced deep house. Elsewhere, there's a comforting warmth and hazy funk about woozy deep house stomper "Howsmusic", and the disco-sampling "In Reverse" sits somewhere between a locked-in disco-house thumper, and the looser, more soulful work of Detroit's Andras.
Review: In the past 18 months, Dutch duo Detroit Swindle has come from nowhere to become one of deep house's go-to names. This three-tracker for Tsuba - their first for Kevin Griffiths' label - is another 'must-check' release. Lead cut "Sometimes" is typical of their output to date; deep, stylish, quietly soulful and blessed with relentless riffs that propel the track forwards at a rate of knots. Arguably better is "That Freak Stuff", a slick chunk of deepness blessed with some rougher drums, an addictive bassline and some atmospheric, whispered vocal samples. Soulphiction remixes, turning the track on its head thanks to shuffling analogue drums, a fuzzy bassline and some glistening pianos.
Review: We're not sure whether Detroit Swindle has previously released anything quite as driving and energetic as "Coffee In The Morning". Although the lead vocal from sometime Tartelet artist Jitwam is worthy of comment, it's the infectious and breathless music that sits beneath - a combination of a low-slung punk-funk bassline, sweaty house beats, addictive electric piano stabs and wild sax lines - that makes the track such a buzzing, caffeine-charged affair. The Dutch duo's accompanying vocal-free "Dub Mix" is rock solid, but it's Prins Thomas's 10-minute "Discomiks" - an ever-growing, pulsating fusion of dub disco sweatiness and jazz-house heaviness, with additional space disco electronics thrown in for good measure - that really sets the pulse racing. In a word: essential.
Review: Given their fine track record and high profile nature, it's perhaps surprising that "Rhythm Girl Swing EP" marks Detroit Swindle's first appearance on Aus Music. Label boss man Will Saul has once again proven his A&R credentials by picking three suitably strong cuts from the experienced Dutch duo. They begin in fine fashion with "Wado Baya", a rubbery chunk of hot-stepping Afro-house where bleeping electronic melodies and glassy-eyed chords rise above a snappy-but-bouncy groove. "Rhythm Girl Swing" sounds like a slipped and slightly skewed take on hypnotic mid-90s house - all trippy riffs and slowly rising filtered motifs - while "Vibrations" sees them join the dots between warm and woozy early '90s deep house and organ-rich New Jersey flavours.
Review: There's plenty to set the pulse racing on this pleasingly varied collection of remixes of tracks from Detroit Swindle's 2018 album "High Life". Check first the Sterac Electronics revision of "Yes, No, Maybe", which brilliant re-casts the track as an authentic chunk of electrofunk-soul laden with jaunty synth bass, analogue synth stabs, swirling chords and the impeccable vocals of Tom Misch. Cinthie hits the spot with a pumping peak-time version of "Call of the Wild" rich in wild organ solos and mid-90s NYC house bass, while Jura Soundsystem's superb rework of "High Life" is a dubbed-out synth-boogie treat with added Balearic warmth. For those looking for deeper dancefloor pleasure, Matt Karmil's smooth and acid-flecked remix of "Ketama Gold" and Gail Romanis's version of "Ex Machine" should hit the spot.
Review: Detroit Swindle is amongst the most reliable artists operating in the overgrown no-man's-land between house, disco and boogie. That much is confirmed by "The Life Behind Things", which marks their first outing on Heist since last year's "High Life" LP. Title track "The Life Behind Things" is positive, ear-pleasing and dancefloor friendly, with the experienced pair peppering bouncy beats and thickset synth bass with joyous organ riffs (reminiscent of those found on Timmy Thomas soul classic "Why Can't We Live Together"), wobbly acid lines, jaunty piano stabs and female vocal snippets. Lorenz Rhode collaboration "Music For Clubs" is arguably even more rush inducing in its retro-futurist piano house intent, while Isoul8's remix of the title track is a swirling, soulful and decidedly tactile chunk of deep house brilliance.
Review: Detroit Swindle have been showing distinct signs of musical development in recent times, filling their debut album Boxed Out with sensual but floor-friendly deep house shot through with classic American influences. 64 Ways, featuring the delicious vocals of Stones Throw-affiliated blue-eyed soul boy Mayer Hawthorne, is a perfect example. Here, the slinky original is joined by a slew of new remixes. The undoubted highlight is Kerri Chandler's vocal take, which ekes even more soul out of Hawthorne's vocal before charging off on a tough, chunky percussive tip. Elsewhere, the Amsterdam duo delivers a tasty piano-heavy late night Dub, before fellow Dutch producers Kraak & Smaak weigh in with a stab-happy retro-futurist late '80s Belgian house take.
Review: "Flavourism", a sparkling chunk of deep house hedonism featuring the vocals and fluid synthesizer playing of Seven Davis Jr, was one of the standout tracks on Detroit Swindle's recently released debut album. Here it gets a deserved single release alongside a trio of new reworks. Two of these come from off-kilter deep house hero Pepe Bradock, whose Bittersweet Mix douses Davis Jr's vocals in trippy dub delay and wraps them round a loose, crunchy and surprisingly chunky beat pattern. The long-serving Parisian also delivers a suitably trippy acappella version (the Spookapella), while Justin Barera and Will Martin join forces for a revision that adds a little garage swing and sun-kissed chords to the Dutch duo's sublime original version.
Review: 10 Years of Kevin Griffiths respected house imprint already? You bet and they're celebrating in style with some staples of their artist roster in the form of Amsterdam's Detroit Swindle with their bleepy and bumpy tech house jam "Not Another Sometimes", UK underground stalwart now based in Berlin Matthew Styles is back too with the soulful, hi-tech melodicism of "Off The Grid" and Adelaide heroes Gavin and Tim Carter are on form as always with the dirty, jackin' and downright funky "Tempting Fate Disco" whose loopy disco goodness will set any dancefloor on fire.
Review: On 2014's The Roundup, Heist Recordings family members remixed leading label releases from the previous 12 months. It was such a success that Detroit Swindle has decided to repeat the exercise, with similarly positive results. Across the five tracks, you'll find a groovy, clavinet-and-Rhodes heavy loop jam (Brame & Hamo's remix of Fouk's "Lefty's Bar"), some boogie-flavoured, soulful deep house haziness (Fouk reworking Brame & Hamo), a dash of broken deep house funk (Detroit Swindle's take on Nachtbraker's "You're Out Of Your Element"), and a wonderful combination of undulating breakbeat-house rhythms and eyes-closed musical touches (Nactbraker re-wiring M Ono's "Delaware State Route"). In other words, it's business as usual from one of deep house's most consistent labels.
Review: As is now traditional, Heist Recordings has kick-started a new year by asking their artists to remix each other. Boss men Detroit Swindle set the tone with a gorgeously positive, synth-heavy remix of Fouk's "Need My Space" before Makez re-imagines Perdu's "Sacramento" as an acid bass-propelled bounce through melodious deep house pastures and Fouk adds a little loose-limbed swing and dirty bass pressure to Demuir's percussive and warming "The 3nity Returneth". Perdu reaches for the psychedelic acid lines and squelchy synth-bass on a Latin-tinged remake of Detroit Swindle's Lorenz Rhode collaboration "Music For Clubs", while Demuir beefs up Makez's breezy and melodious "Random Visits".
Review: Heist's annual "Round Up" release, in which label artists remix each other, is becoming something of a tradition. This fifth volume is, of course, every bit as essential as its predecessors. All six tracks hit the spot, though we're particularly enjoying the bumpin', bass-heavy and driving take on Hugo Mari's deep and bluesy "Change Ur Ways" by label chiefs Detroit Swindle, not to mention Adriyano's effortlessly celebratory and swinging revision of the Swindlers' own "Cut U Loose". Elsewhere, Hugo Mari brilliantly joins the dots between tribal house and tactile, loved-up grooves on a stellar rework of Alma Negra's "This Is The Place", while the Kassian revision of Pitto's "You Treat Me Like A Fool" sounds like a 21st century update of Todd Edwards' legendary remix of St Germain's "Alabama Blues".
Review: Predictably, the latest volume in Heist's Roundup series, in which label artists remix each other's tracks, is another must-heave collection of club cuts. Check, for example, Fouk's tasty interpretation of Nachtbraker's "Hamdi" - a glorious fusion of rubbery disco, sparkling electrofunk and percussion-laden deep house - the Afro-fired Alma Negra deep house remix of Nebraska's "Big Plate Chicken" and the toasty peak-time warmth of the latter's fine revision of Fouk's "With Lasers". Elsewhere, label bosses Detroit Swindle deliver a lusciously loved-up and melodious, peak-time take on Parker Madicine's "Heartbreaker" and Nachtbraker turns the Swindlers' "Can't Hold It" into a dub-fired chunk of hot-stepping deep house goodness.
Review: Wazi Wazi is usually the label on which we hear Nils Penner's productions, but the dude has also released on Freerange before, and he comes through on the label with a handsomely hand-picked compilation of the label's best from recent months. On the beautifully presented thirteen-tracker you'll find a selection of different forms of house, ranging from the deeper territories to more jacking and pumped up house cuts. The highlights include "My Man" by Lovebirds, Detroit Swindle's "Brother Man", and label head Jimpster with "Distant Light". You also get a continuous mix for good measure. Get in there.
Review: It's been a swift rise for Lars Dales & Maarten Smeets, the Amsterdam-based pair known as Detroit Swindle, since they first appeared together across a clutch of 12"s in 2012. Though Detroit Swindle have graced Tsuba, Heist, Freerange and Murmur over this period, it's Dirt Crew Recordings they are most closely associated with so it makes perfect sense for Dales and Smeets to issue their debut LP on the German label. Boxed Out features some thirteen tracks and features guest spots from Mayer Hawthorne and Sandra Amarie. The horizontal beatdown of "You, Me, Here, Now" and Quantic sampling "Thoughts Of She" are highlights.
Jimpster - "Ceilings" (feat Laura Barrick) - (6:31) 124 BPM
Brian Ring - "Love Taken Over" - (7:21) 123 BPM
Clavis - "Cydalise" - (6:32) 123 BPM
Shur-i-kan - "Beach Life" - (5:59) 122 BPM
Review: Its 20 years of Jamie Odell aka Jimpster's revered deep house imprint and he's celebrating in great style with this 20 track compilation that demonstrates that business is as good as ever and they're testament to how much the label has remained relevant. The label head honcho himself appears of course; first with Luv Jam on the smooth and dubby "We Play Pads" and the sombre and emotive "Ceilings" featuring Laura Barrick. Other highlights include Bulgarian hardware maverick KiNK's "Roads", Detroit Swindle's fiercely bumpin' "Race Against The Machine" and Pittsburgh Track Authority's magnificent high tech soul jam "Oculus Sinister".
Review: You wouldn't think it, but it's almost 10 years that Tsuba has been in the game, and their first release dates back from 2006. The Australian label has put out some of the finest material in recent years, thanks in part to the present remix series that they have started offering more recently. Number 7 in the catalogue contains all the usual quality from the leading house and techno makers of today; our picks are Delano Smith's remix of Hector's "Hide", Soulphiction's raw version of "That Freak Stuff" by Detroit Swindle, Legowelt's gorgeous reinterpretation of Fernando's "Sometimes", and legend Mr Fingers' remix of "Aquamarine" by the always on-point Sebo K. A heavy compilation and up there in this week's staff picks!