Review: A Brazilian/British tag team tear-up of peaktime proportions, the pairing of Critycal Dub and Heist is a straight up classic jump up jungle homage. With Yush's sing-along toasting, it boasts and flexes every hallmark a cut needs to be filed under 'timeless D&B banger'. Dig deeper for the chewier "90% Rusk". All gristle and no thistle, the chubby subs ooze toxicity while rampant shakers and percussion do all the big man talk. Classic Heist.
Review: Dominator sadly passed away last year, and to celebrate his legacy Low Down Deep have released a full LP of his music, including collaborations galore. The first tune features Nu Elementz and its satisfyingly solid, with punmching bass stabs and a rock-hard percussive base to go with them. All of the tracks on this release are just big, from the glitched-out width of 'Better Late Than Never' featuring Majistrate, to the subtle yet funk-infused rhythm of 'Atomic Playboy' featuring Ego Tripping. Scene legend Heist makes a couple of appearances on 'Sway' and 'Cowboy' and Sub Zero tears up the place on 'Terror Notts'. This is sick EP that does justice to another D&B figure who was taken too soon. RIP Dominator.
Review: Suffolk's D-Stortion Records are back with an impressive bunch of breakbeat science upstarts that aren't messing around. Take for instance Dominator & Heist with their fierce DJ Krust influenced stepper "Trouble"; that strings section in the middle is just classic! Next up Dominator teams up with Upgrade on "Couldn't Care Less" which rolls and growls away ferociously in a purist techstep tradition. Dominator, again, shows us his skills in conjunction with Invictus; this time on the dark and suspenseful sci-fi beat futurism of "Infected", which brazenly wears its Virus Recording influence on its sleeve and we can dig that!
Review: Heist is showing he can do it all and staying true to his name across five sumptuously deep rollers that will tickle the itch of any liquid head who likes things sophisticated. It's Liquid Lab, after all, and the standards are high. 'Watermelon Girl' is top quality, with gorgeously warm instrumentation that provides a backdrop of instrumentation to the soulful vocal sample and delightfully crisp drum work. It's a subtle track with oodles of character. 'End Game' is light as can be, with a touchin, rolling bassline that morphs into a wobbling sub bass, whilst 'Back To Hers' is more of the ethereal style we've come to expect from Liquid Lab. Gorgeous.
Review: Heist is landing on him and Benny Co-Lab's Liquid Lab Recordings, an offshoot of Co-Lab which seeks to push the lighter side of things. It's a mission they've more than accomplished over the years and Candlelit is next in a long line of releases from the pair. With this release Heist shows off his envious ability to move across subgenres, and all four of these tracks are dripping in soul. The title tune is the standout, as a frivolous piano riff dangles its haunches in sultry fashion, embedding a funkiness into the arrangement that's easier on the ears than a baby's laugh. 'Blue Thoughts' is lovely and deep, whilst 'Bootycall' stretches out into gorgeous synth wave territory. Wicked stuff.
Review: Heist is always chipping away at the background doing his bit, just focusing on what he does best: producing and releasing sick music. His own Co-Lab Recordings is once again the destination for this newest concotion and it's a badboy single track release called Cloak. Heist's usual production wizardry is at place and there's a reason he has such a big reputation for sound design, with suspenseful pads echoing up into groans of low frequency force before being forced back down by its mechanic, snapping drum line. It's a crafty piece of work and one that will please all those who like their music rough and ready.
Review: Jeez! Straight off the back of his album, Heist flexes right back to his earliest jams "Philly Styler". It's every bit as restrained, jazzy and straight up cool as it was 15 years ago but now comes with a few wry updates. Heist himself goes first with beefed up elements in all the right places while retaining that slippery car chase through sleazy cities vibe the original had. Elsewhere US groove professor Random Movement kicks it up into the stars with a deep space funk feel and some expertly placed wobbles and pads. Finally Junior Cartel gives it a 2004 Liquid V sheen. Close your eyes and you could be at Movement. Styles.
Review: For all y'all monsters who need triple helpings; Heist's Iacon EP series has transformed into the album sized beast it's always been in its heart. 12 tracks of Heist's heavier, dancefloor sound, pushing and pulling you in all kinds of playful directions; the rubber ball ricochets and weird grunts of "Misery Guts", the spiky, aggressive hornet's nest bass buzzes of "Intruder", the out-and-out low-swung subbed-out gully of "Limpets", the pure grizzle of "Torn Apart"... The list goes on. What's more, there are a few cheeky treats at the end of the some tracks that transform Iacon into an even more remarkable album shaped beast. One of the strongest D&B albums of the year so far.
Review: Heist welcomes us back to sunny Iacon for the third and final instalment of his debut album. A hearty hoorah to the more jumpier side of his broad canvas, the whole album takes a deep dive into drum & bass music's most mischievous subgenre. Writhing in timeless subs just as much as it is spiky menace, this third piece of the puzzle brings the whole collection together neatly. Highlights include the humming subs and subtle rolls of "Limpets" and the high blood pressured laser stabber "Tidal Wave" but the whole EP - just like the previous two parts of the album - deserves applause.
Review: One of the most trusted, respected and versatile producers in the game, Heist finally delivers his debut album Iacon. The clue is in the title; the selection represents a range of his many creative transformations as he reminds us how he can melt your face with buzzy jumpy hooks one minute ("Fathomos Gob") and have you doing the Bristol jitterbug the next ("Seal The Deal") In between we're shaking and stirred by the belly belches of "Atlas Womp" and electrocuted by high votage riffage on the wryly titled "Misery Guts". Ain't nobody getting miserable after a heavy sesh with the Heist. Bring on part three.
Review: Heist has developed a reputation for tough, urban-edged sonics over many years of cultivation and curation, over a decade of doing his bit for a scene and over a decade of pumping out very, very good music. He's diverse in his capabilities and Iacon Part 1 sees him returning to his jump up-ier side, something we're definitely very keen on, especially when it's on a label like Low Down Deep. This release is wicked and 'Dissect the Past' is a highlight, with a snapping percussive line forming around its inching, creeping basses and eerie background ambience. Top stuff right here.
Review: VIP alert! Heist's forever-awesome "Termination" from last year gets a VIP-up from the big man himself. Still flexing that powerful early 2000s Clipz/Twisted/G Dub style sense of fun, the VIP hits with a little more bassline toxicity and heaviness. Jaydan joins the party with a similarly foul remix where the focus is shifted onto the rolling pneumatic drums and gritty laser stabs. Absolute stinkers.
Review: Monday, Tuesday "Fappy" days. Wednesday, Thursday "Fappy" days. The weekend comes, our CDJs hum, ready to play this tune. Yeah... That's how good Heist's latest dispatch is for Low Down Deep - we can just murk up Happy Days lyrics. A massive record for Heist and Logan in recent months, you already know how big this is. "No Cure" takes us down dark pastures with more techy textures and just a mild twang of Belgium to the hook and plenty of Heist funk in the weight and swing. These "Fappy" days are yours and mine yo!
Review: What a year it's been for Goldie's partner in crime, Calypso Muzak and Co-Lab label bossman and hugely diverse and open minded producer Heist. Following a whole host of EPs on labels from Headz to Horizons he returns with another blunderbuss collection; "Broken Down" is a spiky bag of angry wasps, "Against The Grain" tips a nod to Clipz circa 2003, "Prosthetic Legs" pays homage to superhumans of the world with the wildest pirate triplet you'll hear this month while "Through The Gate" is all about the sopping wet alien emissions. No one is doing like Heist right now.
Review: Heist's beastmode is still in full effect as he continues to bombard the scene with versatility vibes. "Rejected Love" shows him at his deepest side with a measured halftime arrangement and pads that come straight from his time lurking in the studio with Goldie. "Charybdis" lives up to its mythical monster title with its crunching textures, crushing drums and crucial robo-funk. Finally "Soul Food" sparkles with so much liquid majesty and dream-laced space it could make Bcee or Makoto blush. Each style smashed with skillish charm; blinkered subgenre purists take a leaf out of Heist's book, please.
Review: Following his scene-shaking Metalheadz EP, the unstoppable Heist machine continues it demolition mission, this time on his own label Sumo. "Mancubus" all Doom, no gloom as a funk-coded jump-up arrangement is peppered with animated samples and squiggles. "Grotty Chops" is a much more traditional happy slapper with its sandpaper bassline shredding up and down the spectrum, pummelling drums and clear references to the women in your family. Heist is killing it even more than usual this year.
Review: Longtime Headz affiliate and frequently Goldie's co-pilot in the studio, Heist returns to the label with his largest EP to date and its business from of the off as "Violent Rain" oozes Timeless era synth tones and drums so live and sweaty you can almost see the drummer's sweat coming from your speakers. Dig deeper for Heist's most versatile showcase in years: "In Pursuit" is all stripped back and slinky (think Enei but wider), "Sierra Mist" is a sci-fi stepper that nods towards Riya's soulful style, "Unauthorised Transmissions" is a cheeky underground squelcher, "Grebe" is thoroughbred alien funk with just a sly nod towards his more standard jump-up signature while "Ghost On My Shoulder" closes the show on a beautiful glitchy vibe that's somewhere between Culprate and Squarepusher. Properly unique, creative and immaculately produced, Heist has smashed it on this one.
Review: Few men do it like Heist. In fact no one does... Especially when he's on a stripped back gully flex like "Pillager". It's the tune every jump-up track wants to be when it grows up; fat, simple, hooky but still classy and funky. It's an impossible combination but he's nailed it. "Egg Plant Mans", meanwhile, shows off Heist's jungle wizardry with iced out Headz-style textures weaving in and out of the robust breaks before another guttural bassline thunders your senses. Seven of your five a day.
Review: D Minus presents us with Hoes on Death By Bass recordings. Offended yet? If not; read on. Four nasty nasty darkside techsteppers on offer here. Obviously the affectionately titled title track with its vocoded vocals and tightly programmed beat that slaps you in the face. "West Side Grade" offers more of the same but its bassline is a right grating one! On "Sledgehammer" Traumatik proudly proclaims "I love my Cannabis/if you don't like me/drink a can of piss", right then. Finally "Another Planet" hammers the message home, a true stepper with attitude.
Review: Many folk believe Heist to be a robot: he delivers bombs with such strength and expert precision, it's almost impossible to believe he could be human. Both "Forgive & Forget" and "A Little Energon" are prime examples of his machine-like methodology, deftly laying digital growls, snarls, fills, thrills and spills amid the chest-battering drums. With equal measures of fun and aggression across both tracks, this EP is the real deal - jump up 2.0, baby. They're also a kindly reminder of just why he's recently scored silver for tune of the year in the Drum & Bass Awards. Here's to Heist: the greatest robot in drum and bass.