Review: By his own prolific standards, 2016 has been a relatively quiet year for Adesse Versions, AKA hyped producer Kevin Gorman. Happily, Push It Along was worth the wait. You'll struggle to find a track with as much pent-up energy as opener "Tout It" - think spiralling, constantly building synthesizer motifs, electronic bleeps and a dense, bass-heavy rhythm track - while "E to E (Original Mix)" joins the dots between filter-heavy disco house and more muscular, warehouse-friendly vibes. Elsewhere, he doffs a cap to Theo Parrish on the jazzy deep house thrust of "Push It Along", before finishing with the deep, dreamy, dubby and beat-free warmth of "Ebony Roses".
Review: German producer Adriyano has appeared previously for the likes of Shall Not Fade and Baka Gaijin but now makes his debut for Detroit Swindle's Heist Recordings. He finds a fitting home on the Dutch imprint - his brand of loopy, dusty and bumping house is packed with disco and soul elements - completely in harmony with their modus operandi. This is absolutely evident on the EP's standout cuts such as "Me & You & Her" and the cheeky "Fashion Country Girl" which will equally appeal to fans of the Robsoul sound. Elsewhere, there's the totally thumping acid trip of "Move It, Move It" which gets a killer remix by Chicago's Jamie 3:26 and takes it even deeper into the late night, in classic Windy City style.
Review: To date, Swiss quartet Alma Negra has carved a successful niche as makers of heavily percussive EP singles that look to the rhythms of Africa for inspiration. This outing for Heist Recordings draws on many similar influences, but shuffles further towards original production than their rework style back catalogue. Opener "Afrorleans" is a jaunty trip into shuffling Afro-house territory in the company of a cabal of Cajun musicians, while "Luanda Dub" is a booming, bass heavy late night trip full of swirling vocal samples and densely layered drum hits. If you are after some party-starting Afro-disco/deep house fusion of standout, then "Endless Summer" and a cracking Soulphiction remix of the same track will pushes a rubbery disco bassline to the fore to devastating effect.
Review: Connecting the dots between labels like Highlife (Huntley & Palmers) to Basic Fingers and Lumberjacks In Hell, Alma Negra bring their undeniable sound back to Heist Recordings. It follows the 2018 Conversations EP which sees the Swiss trio turn in a classic dubbed out synthline and jazzed-up rebirth of cool in "Contra". "Back In Town" throws down some heavy percussion and Afro-Rhythms alongside an insatiable vocal sweep. Winding it back to the top is "Dakar Disco" that's been sent through the orchestral pit of japanese artist and discophile Kuniyuki (tip!) giving some extra flamboyance its original funk premise. From disco to Dakar and beyond!
Review: The Alma Negra collective are based in Basel, Switzerland and are made up of Miajica, Dario Rohrbach and Dersu Figueria. They have appeared on some great labels such as Lumberjacks In Hell, Basic Fingers and of course Heist - this will be their second appearance for Detroit Swindle's imprint since last year's Endless Summer EP. The new Conversation EP features more sweltering grooves by the trio: from the soulful and entrancing title track which is rich on the hypnotic tribal polyrhythms - it also receives a wonderful rework by Amsterdam's Awanto 3 later on too. Not to mention the sultry deep house of "This Is The Place" which takes it cues from the mighty Kenny Dixon Jr or the sexy late-night groove of "From The Heart" which is perfect to enjoy on what is left of these long summer evenings.
Review: By his usually prolific standards, Ben Worrall AKA Crackazat has been rather quiet of late, with 2020 producing just one release of note - a rather good EP on Freerange. Here he strides into 2021 with another label debut, this time for Detroit Swindle's Heist Recordings. The headline attraction is undoubtedly 'Alfa', a chunky-but-breezy slab of jazzy piano house perfection that's later given a more classic-sounding deep house tweak from Detroit scene stalwart Rick Wade. Elsewhere, 'Class One' is a rushing, life-affirming dancefloor treat tailor-made for sun-soaked outdoor dancing, and 'Tiger's Eyes' sees Worrall add mind-altering TB-303 motifs, sustained organ chords, swirling synth-strings and rushing riffs to another energetic, peak-time ready house beat.
Review: Since making his debut on Peetah Music in 2001, Demuir has built up a rock solid catalogue of club-ready deep house jams. Here the Toronto-based producer follows up recent outings on Robsoul, Hot Creations and Desolat with a first appearance on Heist Recordings. He hits the ground running with a muscular deep house loop jam weighty enough for peak-time plays ("Werq Feel Gruv Love"), before layering up spacey synths, heady string samples and rubbery house beats on "The 3nity Returneth (Dub Mix)"."Philippine Sunrise" is arguably the best of a strong bunch: a melodious, warm and intoxicating deep house workout full of intricate musical detail and colourful electronics. That comes back by a tasty revision by Lady Blaktronika that sounds like it was designed for locked-in, late night dancefloors.
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: 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: 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: 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: "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: This EP marks a welcome return to Heist Recordings from Fouk, the deep house collaboration between Daniel Leseman and Hans Peeman. There's naturally much to admire throughout, from the rubbery disco bass, hustling house beats and intergalactic synths of opener "F3000", to the pleasingly loose beats, clattering percussion hits and hard-worn disco-funk grooves of "See You on the Other Side", via the warm and toasty boogie/house fusion of "With Lazers". Improvisation-loving combo Mount Liberation Unlimited steals the show with a loose, languid and deliciously deep interpretation of "See You on the Other Side" that seamlessly fuses the best of both their and Fouk's respective production styles.
Review: Following a couple of acclaimed outings on Outplay, Fouk returns to Heist Recordings with their first EP of 2019. They begin with the fuzzy dancefloor funk of "Truffles", whose thickset acid bass, rush-inducing piano riffs and late '80s machine drums recall the Halcyon days of house music, before exploring warmer, deeper and woozier pastures on the jazzy house bump of EP standout "I'll Be Down". There's more melodic, all-action sample-house fare to be enjoyed in the shape of "Need My Space" - all twinkling pianos, nu-disco bass and shuffling deep house beats - while Hugo LX's rework of "I'll BE Down" is a bustling, intergalactic house treat.
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: Part of the appeal of Frits Wentink's productions has always been their inherent wonkiness. While his take on deep house has always drawn on classic US house influences, these are often combined with curious synth melodies, off-kilter jazz samples or subtle nods towards UK garage. All of these inspirations can be heard on the Dutch producer's latest outing for Heist Recordings. There's much to admire on the toy-box melodies and bumping beats of "Child Of The Universe", the fluid, late night deepness of "Worldwide Deluxe Edition", and the drunken jazz-house shuffle of closer "Yeah But Maybe Never". Best of all, though, is "Rising Sun, Falling Coconut", a delicious fusion of slipped US garage grooves, heady late night vocal samples and wild, P-funk-on-acid synth lines.
Review: Having previously impressed under the Books alias via quality EPs on Omena and XVI, Hugo Mari pops up on Heist Recordings under his given name. The resultant five-tracl EP is something of a blockbuster, with Mari delivering a perfectly pitched chunk of jazz-funk-fired vocal deep house brilliance ("Get Loose", featuring the sublime vocals of Zodiac), some vintage Todd Edwards-influenced deep house bump (the bluesy warmth of "Change Ur Ways") and a woozier, warmer slab of organic and loose-sounding deep house cheeriness ("Can You Feel Your Senses"). NDTL man Kai Alce does delivers vocal and instrumental revisions of "Get Loose", both of which are slick, soulful, warm and rolling; classic deep house vibes to warm the senses on chilly winter nights
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: Detroit Swindle's Heist imprint now presents Kassian, the brainchild of Joe Danvers-McCabe (Danvers) and Warren Cummings (Warren Xclnce). Both are regulars in the underground and wider reaching London scenes, with Warren being a co-founder of Abouttoblow and a previous studio producer at Worldwide FM, while Joe came through DJing and running nights in the eclectic world of Bristol nightlife before moving to London. The Premise EP features the deep and sulty late night groove of the title track - a perfect match for the Amsterdam based imprint, while "Bad Habit" goes for an energetic disco- acid vibe. Finally "Love 4:2" was decent enough in its original form, but the man DJ Nature works his magic as always by taking the track down even deeper and more emotive territory...
Review: When they first appeared on Heist Recordings in 2018, Kassian were considered raw but promising talents. Since then, the Hackney-based duo has gone on to release a string of fine EPs for the likes of Groovence and Phonica White. There's plenty to set the pulse racing on their return to Detroit Swindle's label too, starting with the 'walking' disco bass, sparkling synth sounds, tactile chords and bustling grooves of lead cut "Apollo" - a track that's later given a classic-sounding deep house makeover by Leo Pol (check the jazzy solos and Afro-tinged beats). Elsewhere, "8th Movement" is a bounding chunk of U.S style deep house that sounds like it could have been recorded sometime in the late '90s, while closing cut "Brass Hammer" is a slightly more muscular chunk of peak-time deep house.
Review: Heist Recordings latest offering is a significant one, not just because it's rather good, but also due to the duo who made it: confident debutants Makez. The pair proves their mettle from the off, enveloping a low-slung disco house groove in rich deep house chords, dreamy pads and Latin style vocal chants on superb opener "Different Planets". Bobby Analog delivers an ear-pleasing, funk-fuelled classic house rework of that cut before the pair returns with the sparkling synth melodies, chunky disco bass and rolling drums of "Random Visits". Arguably best of all, though, is the drifting intergalactic warmth of "Cosmic Symphony", a loose and swinging deep house affair whose sustained chords seem to stretch out into infinity (and beyond).
Review: Nachtbraker's latest expansive EP for Heist Recordings - his first release of 2016 - boasts a host of hot, floor-friendly excursions. The EP's first two missives offer two distinctly different takes on disco-house - the throbbing sub-bass, extra percussion hits and early Daft Punk riffs of "Gotta Act To React", versus the smooth, classic disco-sampling loop-jam "Pollo Con Pollo" - before the woozy, drawn out "Intermezzlow" allows the Dutch producer to showcase the groovy, downtempo side to his work. The accompanying "Intermezzo" is a jazzy, percussive deep house variation on the same sun-kissed theme, while "Gotta Act To React (Float Mix)" re-casts the EP's opening tune as a hazy deep house bumper.
Review: Story has it that a bunch of Amsterdam's current scene heroes had studios in the basement of a hotel opposite the former iconic Trouw nightclub (RIP). One morning, local enfant terrible San Proper happened to cross paths with Nachtbraker (early on a Tuesday morning) and that's how this collaboration of sorts came about. More specifically, San Proper "casually grabbed a microphone.. Nachtbraker pressed record, Dr. Proper got his inner Mick Jagger on, and behold: Misses, madame, mademoiselle was born". Hear the cowboy of minimal house croon over Nachtbraker's funky disco loops on "M.m.m" (feat San Proper's Elegy), while Hamburg's finest Session Victim remix the track next: giving it more dancefloor dynamic. Second original offering "Hamdi" is a hammering disco house joint that will really rock the house, while the remix up next by Bli takes it down a couple of notches, plus a slight Afro touch into something deeper to mood light the early evening.
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: Although he delivered two editions of his ongoing, vinyl only "Disco Dubs" re-edit series on Friends & Relations, 2019 was a relatively quiet year for Alistair Gibbs AKA Nebraska. Here he begins 2020 in fine style with his first EP for Heist Recordings in almost three years. Title track "Y'Miss Me Baby" delivers a suitably strong start and see Gibbbs wrap twinkling lead lines, rich electric piano chords, talkbox vocals and P-funk synths around a hazy jazz-funk bassline and unfussy dancefloor drums. Giovanni Damico riffs on the jazz-funk and P-funk influences further on his instrumental boogie style "Jam remix". Elsewhere, "Dip & Flip" is an all-action, filter-heavy disco-house loop jam, while "Xiao Long Bao" is a warm, deep, humid and undeniably jazzy sample-house roller tailor made for sunny afternoons.
Review: Nebraska has been a busy boy of late, delivering killer material on both Mister Saturday Night and Delusions of Grandeur. Here he dons his favourite balaclava and joins Detroit Swindle's Heist. He begins with the groovy, loose and low-slung disco-house bump of "Khan's Bargain", which is also brilliantly remixed by obscure boogie specialist Tom Noble. The tempo increases dramatically on the wide-eyed deep house sprint of "The Blues", before Nebraska enhances his Balearic house credentials thanks to the blissful synthesizer arpeggio lines and swirling chords of "It Won't Be Long". The spacey, string-drenched shuffle of "Varkala" draws a fine EP to a close.
Review: Alistair Gibbs takes time out from churning out dancefloor gold on his Friends & Relations imprint to make a welcome return to Heist Recordings. Predictably, he's in fine fettle throughout. Opener "Affirmation" is an almost overwhelmingly positive chunk of loose and baggy disco house that's similar in feel - if not sound - to Tom Trago classic "Use Me Again". "Agilo E Olio", on the other hand, is a much more driving and low-slung affair, with key wickedly rubbery bass, cowbell-heavy percussion and fuzzy Clavinet lines providing heaps of dancefloor energy. Laurence Guy gives that track a warm, woozy and dreamy deep house makeover, before Nebraska rounds things off via the jaunty dub-house-meets-Maurice Fulton brilliance of EP standout "Big Plate Chicken".
Review: Quite remarkably, Obas Nenor's 2015 debut 12", My Way Home, appeared on Moodyman's Mahogani Music imprint. Since then, he's released hot material on Strictly Rhythm and Sol Power Sound. Here, he pops up on Detroit Swindle's Heist imprint with another strong collection of hazy, low-slung deep house shufflers. He begins with the loose, cheesecake-rich warmth of "The Door", before dipping the tempo a little on the funk-infused groove jam "Glimpse Of Light". There's a pleasingly bluesy feel about the bold and melodious "UV Lights", while "Wakee" offers a nu disco-influenced take on Detroit Beatdown. Mr Tophat's dense, deliciously percussive remix of "The Door" completes an excellent package.
Review: Detroit Swindle's Heist imprint is back with another wicked release this time courtesy of Berlin live act Ouer. "The Ascent" is dusty and soulful deep house with the right amount of bounce to work a dancefloor. "Move Over" is dark and emotive and probably more suited to the early hours to set the mood. "Show Off" is the most energetic cut full of swing, shuffle and cut up vocal samples but just wait until those dark strings come in giving the track a real edge. Finally "Mess Around" is sexy and funky and definitely the most uplifting track on this EP. For fans of hardware driven deepness like Borrowed Identity, this guy is one to watch!
Review: Last time we heard from Parker Madicine was back in 2015, when the Italian producer impressed with an EP of Floating Points inspired goodness on Bastard Jazz. He's flipped the script slightly on this Heist Recordings outing, fixing his dusty jazz influences to loose, Detroit inspired deep house grooves and, in the case of fine opener "Heartbreaker", spacey synthesizer motifs. The darting, off-kilter electrofunk riffs and jammed-out drum machine beats return on "Zawinul", while "Placebo" is a fine chunk of woozy, head-in-the-clouds broken beat/deep house fusion. Byron The Aquarius steps up to remix the latter, serving up a jaunty, full-throttle deep house version rich in wide-eyed electronics and layered percussion hits.
Review: Having previously flexed his psychedelic influences and love for bustling breakbeats via a tasty three-tracker on Optimo Music's Digital Danceforce offshoot, former Let's Play House artist Perdu makes his bow on Heist Recordings. Perdu love of lo-fi electronics once again comes to the fore on undulating, carnival-ready opener "Janes World", which is in turn re-imagined as a spiraling chunk of synth-heavy house by man of the moment DJ Boring. He brilliantly joins the dots between tropical melodies, heavy bass and shuffling machine beats on "Sacremento", which comes accompanied by a deeper and chunkier Dub, while "Morbid" is an excitable affair rich in rubbery samba-house drums and woozy, life-affirming synthesizer motifs.
Review: Here's something we didn't expect: a fresh EP on Detroit Swindle's Heist Recordings label from Motor City stalwarts and Underground Resistance associates Scan 7. It's certainly a notable way for the Dutch imprint to notch up a half century of releases. Naturally, the included material is superb, with the masked Detroit veterans confidently striding between gospel-tinged, jazz-flecked, musically rich deep house warmth (the Moodyman style brilliance of 'All For Me'), chunky, organ-driven US garage goodness (the bouncy and heady thrills of 'The Best is Yet To Come') and strutting, sweaty, percussion-rich peak-time heaviness (the sampled vocal yelps, dense drums, sustained synth-strings and raw organ stabs of 'The Funk That Stunk'). A genuinely brilliant EP from the true masters of Motor City future funk.
Review: Gabriel Cyr AKA Teleseen has built his rising reputation on an ability to craft sonically inventive, retro-futurist house tracks that variously incorporate such diverse influences as post-dubstep style UK experimentalism, Batacuda, dub, ambient and new beat. He's at it again on this first outing for Heist Recordings, first combining heavily processed vocal samples and Brazilian percussion with pin-sharp synth riffs and proto-house grooves on 'Exposures', before reaching for more organic drum sounds on the sparkling, sun-baked house positivity of 'Dekalb' and the African juju-goes-electro wonder that it standout 'Transfer'. The latter is dizzyingly good and really rather hard to describe. The EP also boasts a club-ready bonus in the shape of Black Loops' sturdy deep house take on 'Exposures'.
Review: Heist Recordings brings down the curtain on another successful year with their now traditional Roundup release, an expansive EP featuring "family remixes" of material released over the previous 12 months. As usual, there's much to enjoy, from the cheery, disco-tinged goodtime bump of Detroit Swindle's rework of Obas Nenoor's "Wakee", to Frits Wentink's jazzy, lo-fi, swinging deep house remake of Detroit Swindle's "Future Imperfect". Other highlights include a skuzzy, acid-fired interpretation of Nebraska's "It Won't Be Long" by Nachtbraker, and Nebraska's sunny, jammed-out fix-up of Frits Wentink's "Rising Sun, Falling Coconut". Best of all, though, is Ouer's remix of Nachtbraker's "Pollo Con Pollo", which boasts twinkling electric piano solos riding a thrusting analogue bassline and breezy disco guitars.
Review: Thanks to a string of well-received releases on Wolf Music, Dutch deep house producer Frits Wentink is a man in demand. Here he builds on his growing reputation with a typically bass-heavy, floor-friendly four-tracker for Heist Recordings. Wentink's production style - eccentric but danceable, and prone to blending fuzzy, analogue-rich bottom end with all manner of curious musical flourishes - is unique, and all four tracks come blessed with his usual intriguing touches. "Ligament" is the most obvious deep house killer, though we're particularly fond of the rubbery bass, watery vocals and jazz keys of "Sauce" - though the bouncy "Shrewd" has the most cross-over potential. Either way, it's another excellent EP from the Dutchman.