Review: As part of Heist Recordings' ongoing 10th birthday celebrations, label founders Dam Swindle have decided to showcase some of the 'Hidden Gems' lurking in the imprint's back catalogue. It's a smart move, because there's plenty of high-grade dancefloor heat to be found across the 15 under-celebrated tracks on show. For proof, check the squelchy synth-bass, rushing piano riffs and classic house vibes of Fouk's 'Truffles', the gorgeous sci-fi techno melodiousness of Lord of the Samurai's 'Space Designer', the sun-splashed, jazz-flecked excellence of Crackazat's 'We Know', the low-slung, drum machine driven headiness of Adesse Versions' 'Push It Along' and the drowsy, soul-flecked late-night deepness pf Marina Trench and Sabrina Bellaouel's 'Wake Up'.
Review: By now, we should all know what to expect from Heist Recordings' annual Round Up releases - label artists remixing each other, basically - so we'll crack on and talk about the music on offer. Highlights come thick and fast throughout, with our picks including Alma Negra's deliciously percussive and groovy take on Scan 7's gospel-tinged Motor City gem 'All For Me', Scan 7's breezy, Latin-tinged Detroit house revision of Crackazat's 'Class One', Crackazat's Ethio-jazz-goes-sunshine house rework of Alma Negra's 'Dakar Disco', and Kassian's driving, warehouse-ready remix of Nebraska's 'Dip & Flip', which makes great use of thumping beats, undulating electronics and a seriously dirty analogue bassline. As the old saying goes, this seventh volume in The Round Up series really is "all killer, no filler".
Review: After a near two-year absence, Geurt Kerjes AKA Pitto has finally delivered a follow-up to his 2018 Heist Recordings label debut, "Late Night Studio Moves". It's every bit as alluring as its predecessor, particularly the breezy, summery and celebratory opener "Sammie", where life-affirming piano motifs and glassy-eyed vocal snippets ride an undulating, cowbell-powered organic house groove. He changes tack on the punk-funk/dub-disco-fired weightiness of "Discko" - check the tipsy trumpet solos - before reaching for hard-wired, Italo-disco style arpeggio lines, nu-disco riffs and jacking machine drums on "Bailia". Mr Balearic Nu-Disco himself Pete Herbert provides the EP's obligatory remix, laying down a cheery, sunset-ready revision that sparkles from start to finish.
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: Over the course of his career, Pitto has adeptly managed to strike a balance between his affinity for unconventional, off-kilter techno-pop and his ability to deliver EPs tailored for the dancefloor, heavily influenced by the late-night club scene in Europe. His latest offering, "Late Night Studio Moves," arrives after a two-year hiatus and continues to showcase his penchant for melody and sonic gratification, albeit with a closer alignment to the realms of deep house compared to some of his previous EPs. The EP is rich in highlights, commencing with the mesmerizing "Late Night Studio Moves," which effortlessly blends exotic, Afro-inspired percussion with enchanting piano house elements. It's a captivating opener that sets the tone for what follows. "You Treat Me Like a Fool" delves into hazy depths, offering a contemplative and immersive experience. Meanwhile, "Jazz Kids" channels the warehouse energy of late '80s Chicago, infusing the track with a pulsating rhythm that's bound to get bodies moving.
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