Heist Recordings was founded by Dam Swindle to gain full control over their own releases and to create a stage for likeminded musicians. From the first release on, Dam Swindle’s “Break up to make up” EP in summer 2013, Heist has been a go to label for proper underground house and electronic music. Now, going into its 10th year, Heist has brought forward artists like Crackazat, Byron the Aquarius, Marina Trench, Kassian, Fouk, Makez, Kassian & Scan7.
Heist has been a home to many remixers and collaborators such as Blue Note artist Tom Misch, Nightmares on Wax, Ash Lauryn, Emma-Jean Thackray, DJ Bone, Matthew Herbert, Seven Davis Jr, Pépé Bradock, Ge-ology, Kai Alcé, Session Victim, and Jitwam. An annual label highlight is the ‘Round up’; a remix ep where all artists from that year remix each other; A unique concept that is another clear sign of the family approach the duo have with the label.
Now coming into its 10-year anniversary, there is no sign of slowing down and with the music they’ve got ready for future releases, Heist will continue its path to build bridges, support talent and showcase legends.
Review: Dutch duo Fouk, comprised of Daniel Leseman and Hans Peeman, unveil their latest offering in the vibrant Mirage EP for Dam Swindle's Heist Recordings! Picking up from their Blue Steel EP of 2021, these four originals take in a blend of funk and disco influences while presenting a dynamic exploration of the pair's musical palette, leaning towards a club-centric vibe. The EP not only highlights Fouk's distinctive sound but also features a powerful remix of the lead track by the talented Hardgroove artist Elisa Bee, adding an extra layer of energy to the record!
Review: The Dutch production duo Makez returns to their soulful house roots with a new four-track EP on Heist Recordings called "Midnight Time." This release showcases the versatility of Makez, seamlessly blending introspective grooves, infectious club anthems, and atmospheric soundscapes. The EP opens with "Closer," a laidback, jazzy collaboration with vocalist AVA LAVÁ featuring lush textures and rich instrumentation that sets a mellow, moody vibe. Next is "Running From The Noise," reuniting Makez with vocalist Life On Planets after their previous hit "Downstream." Life On Planets' emotive vocals mesh perfectly with Makez's trademark deep house rhythms, creating another potential dancefloor gem. It then gets into higher gear with the acid-tinged, 90s-inspired techno groove of "The Answer." Powered by a male vocal hook, acid basslines and classic 909 drum programming, it's a high-energy cut primed for peak-time club plays. Closing out the EP is "Gratitude," which ventures into deeper, more introspective territory with haunting strings, glitchy vocal samples and distorted synth textures layered into an immersive sonic landscape.
Review: Heist Recordings' 'The Round Up' - an annual mini-album in which label artists remix each other - reaches its tenth volume. As usual, there's plenty to set the pulse racing throughout. Dam Swindle channel the spirit of Victor Simonelli's early '90s NYC house productions on a fine version of Cinthie's 'Won't You Take Me', Krewcial opts for a bouncy, piano-rich 'classic house' revision of Orlando Voorn's 'High', and DJ Sneak re-imagines Dam Swindle's 'Soul's Lament' as a rolling, string-stab laden slice of rolling Chicago chunkiness. Further highlights include Crackazat's loose-limbed, sun-soaked and synth solo-heavy revision of Krewcial's 'Owo', Cinthie turns DJ Sneak's 'Full Cycle' into an acid-and-filter heavy peak-time loop jam, and Orlando Voorn and Marina Trench join forces on a deep, drowsy and woozy rework of UC Beatz's 'Make Me Feel'.
Review: The DJ Sneak revival continues, with the U.S house legend pitching up on Dam Swindle's Heist Recordings imprint following fine recent outings on Hard Times, Frappe and Digital Tape Recordings. It may be 30 years since the Chicago house stalwart released his first EP, but his talent for delivering impeccable club cuts has not dimmed - as is proved by the punchy drums, wide-eyed vocal snippets and sumptuous string loops of 'Love Can Make It Happen', and the breathlessly brilliant 'bompty beats' and sleazy acid bass of EP highlight 'Going Back To It'. His ability to work short loops into a frenzy of heads-down and hands-aloft dancing comes to the fore on 'Full Cycle', while 'Pockets' is a veritable breeze of brilliantly programmed, loose-limbed house beats, vocal stabs and wonderfully deep chords.
Review: Dam Swindle's Heist Recordings celebrate their 10th anniversary this year, and here we have the fourth in a series of EPs marking that milestone. The EP opens with the surging, pulsing 'Alfa' from Crackazat with its insistent, rolling piano line, before Andy Hart injects a little old school funk/soul flava on 'Epsilon Girls'. Makez's 'Different Planets' adds an Afro-style chant to the classic deep house blueprint, Kassian take us into more stripped-back territory with the fluid '8th Movement' and its familiar "music!" vocal sample, before Nachtbraker play us out with 'Hamdi', a slightly more leftfield, bottom-heavy shuffler. The quality standard is high throughout, so here's to another decade!
Review: Having spent much of 2023 marking the 10th birthday of their popular Heist Recordings imprint, Dam Swindle have not had much time to showcase new music. This three track EP of all-new material is therefore a very welcome development. Predictably, they're on the spot from the word go, wrapping filtered string sounds, hazy horn samples and sustained organ chords around a warming disco bassline and layered disco-house beats on 'That's Right'. Title track 'Minor Fools' follows, offering a blend of sweat-soaked deep house beats, rubbery synth-bass and sun-soaked chords, before the popular Dutch duo round off another strong EP via the tactile and huggable, disco-sampling sweeps of 'Soul's Lament'. It's arguably the EP's most impactful moment - and that's saying something.
Review: Having previously released 10th anniversary 'best of' and 'hidden gems' collections, Heist Recordings' founders Dam Swindle complete the trilogy via a well-curated set of remixes from the label's bulging archives. Our picks of a very strong bunch include Cinthie's nostalgic, solo-laden piano house rework of Dam Swindle's 'Call of the Wild' (featuring Jungle By Night), Kush Jones' ultra-deep hybrid house/garage rub of Byron The Aquarius's 'I Love Yo', a deliciously off-kilter and drum-machine driven re-make of Adriyano courtesy of Jamie 3:26, and a typically epic, lusciously loved-up Prins Thomas 'Diskomiks' of Dam Swindle and Jitwam's 'Coffee in the Morning'. Throw in sublime reworks by Kai Alce, Dj Boring, Kassian and Alma Negra, and you have a genuinely must-have compilation.
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: A regular to the imprint Heist Records, Crackazat comes back to Dam Swindles' label with a mesmerizing mini album "Senses". From the soulful downtempo beats of the exceptional opener "I Need To Know", to the infectious and sun-soaked house brilliance of "Do You Think About Me" with its uplifting piano melodies, each track offers a unique and delightful experience. Next is "'Freddie's Groove", a sublime blend of deep house and subtle jazz influences while "Phantom", a collaboration with Potash Twins, fusions broken beat, jazz, house, and soul that will leave you spellbound. To wrap up this auditory adventure, Crackazat delves even deeper with "Endless Life" and "When We Last Met".
Review: Cinthie Cristl knows a thing or two about classic sounding, peak-time-ready house music, as her releases for Aus and fantastic DJ Kicks mix proved. Predictably, her Heist Recordings debut is similarly on point and packed with nostalgic, retro-futurist house treats. The dreamy chords, jazzy synth-bass and rushing piano stabs of turn-of-the-90s Italo-house appear to have been the inspiration for opener 'Won't U Take Me', while the accurately titled 'Piano Heaven' is a warehouse ready, hands-in-the-air treat for all those who crave rushing, loved-up goodness. That track gets a chunkier, weightier and more energetic makeover by St David, while 'Masterplan' is a high-octane tribute to Dance Mania style ghetto-house with a timeless deep house twist.
Review: Here's something of a surprise: an appearance from long-serving French beat-maker, re-editor and bootleg remix king Krewcial on Dam Swindle's house-focused Heist Recordings imprint. Even more surprisingly, the four-track EP explores the veteran producer's love of Afrobeat, Afro-funk, and Afro-disco, combining classic-sounding instrumentation (including Fela-esque horns and guitar licks), with contemporary dancefloor grooves. There's much to set the pulse racing throughout, from the modern Afrobeat bounce of 'Owo' and Africa 70-goes-house flex of 'Kitoko', to the heavy Afro-disco-meets-Afro-funk brilliance of 'Wahala Dey', featuring Nimiwari, and the percussion-rich Afro-disco-goes-Afro-house excellence of 'Ghana Groove'.
Review: Now Dam Swindle's Heist Recordings imprint is a decade old, the Dutch duo is starting to get nostalgic. We can expect a few 'Heist Classics' EPs in the months and years ahead as they raid the label's vaults for inspiration. There's much to savour on volume one, which fittingly begins with one of the pair's best-loved tunes - the now 10-year-old dusty deep house gem that is 'The Breakup'. Elsewhere, there's a chance to savour the peak-time-ready classic house rush of Detroit crew Scan 7's 'The Best Is Yet To Come', a slab of hazy sample-house hedonism from Fouk (the jazz-flecked deep house bounce of 'Kill Frenzy'), a subtly disco-fired workout from Demuir ('Werq. Feel. Gruv. Vogue'), and a lesser-known slab of deep piano-house loveliness from Adriyano ('Me And You And Her').
Review: Prolific producer UC Beatz adds another record label to his CV via a first outing on Dam Swindle's reliable and much-loved Heist Recordings imprint. It's an expansive, five-track affair, with two of the highlights being high-profile collaborations: a deliciously cowbell-rich chunk of vocal deep house pleasure with Mariana Trench (the brilliant 'Make Me Feel'), and the warm, starry, sunny and deliciously percussive 'Free' (with Tour-Maubourg). Elsewhere, opener 'Orchid's Wish' is a bold and attractive chunk of post-disco-house hedonism full of swirling orchestral samples and looped vocal snippets; 'Blu Thang' is a breezy slab of early morning deep house classiness; and 'Purple Corner Fig' is a joyous house roller that sounds like it could have been made in the late 1990s.
Review: The release of the latest volume of 'The Round Up' - an EP in which Heist Recordings contributors remix each other - has become an annual institution. 2023's edition - the ninth in the series to date - is naturally an impressive, all-action affair. Label bosses Dam Swindle kick things off by turning Crackazat's inherently jazzy 'Demucha' into a glossy, funk-fuelled disco-house roller, before Byron The Aquarius adds a gently glassy-eyed, dreamy tinged to that duo's 'Good Woman'. Crazkazat joins the dots between string-laden disco-house and classy US style deep house on his take on Orlando Voorn's 'Be With You', while Voorn delivers a breathless, electro-goes-techno-funk tweak on Makez's 'La Grand Folie'. Elsewhere, Nebraska shuffles his way through an attractive, soul-flecked revision of Nebraska, and Makez delivers a fizzing, hands-aloft techno rework of Nebraska.
The Wrap Around (DJ Bone's Doc Ciroc remix) - (6:16) 128 BPM
Review: Like its two predecessors, this third volume in Dam Swindle's 10th anniversary 'Keep On Swindling' series is packed with classic cuts, new tracks, forgotten gems and killer remixes. The Amsterdam-based twosome first opt for rush-inducing vocal snippets, rising and falling synth melodies, deep bass and shuffling beats on 'You', before opting for a more warehouse-ready, life-affirming peak-time house sound on 'More Love'. Early classic 'Wrap Around' is revisited twice, first by the duo themselves and then the mighty DJ Bone, who brilliantly re-imagines it as a sweat-soaked techno number full of sci-fi synths and driving dancefloor intent. Also well worth a listen is Nightmares on Wax's mix of Mayer Hawthorne hook-up '64 Ways', which the Ibiza-based Yorkshireman turns into a low-slung, cowbell-heavy peak-time romp.
Review: Dam Swindle's Keep On Swindling series, which marks their tenth birthday, offers an enticing mix of remastered back catalogue favourites, obscurities, brand-new cuts and fresh remixes of classic tracks. This expansive second volume in the series is full-to-bursting with club-ready treats. Check first the gospel-influenced, handclap-heavy peak-time house stomp of 'Good Woman', before turning your attention to 'Call of the Wild', an often-overlooked collaboration with LA Afrobeat orchestra Jungle By Night that cannily combines the best of both artists' trademark sounds. Other highlights across the EP include the Dutch duo's percussion-rich tropical house takes on Gaoule Mizik's 'A La Tikni', Arp Frique's Afro-cosmic take on 'Yes, No, Maybe', and Lauryn Ash's tidy deep house flip of Lorenz Rhode hook-up 'High Life'.
Review: If you follow Ben Jacobs AKA Crackazat, you could think producing is an easy job. He could have just relax after delivering the album Evergreen on Freerange, one of the best album of 2022, but no!! He is back on Dam Swindle's Heist Recordings imprint with another cracking EP. Title track 'Demuja' sees him in full-on bumping-but-breezy jazz house mode, peppering a double bass-propelled peak-time groove with breathless sax samples and hands-in-the-air piano riffs. Then 'Sarge' boasts a more mellow approach, US garage-influenced groove, onto which Worrall has added the dreamiest of deep house chords and some twinkling keys solos. The EP closer 'We Know' is a loopy, driving, sun-baked slab of festival-friendly brilliance that's destined to put smiles on the faces of a lot of people this summer.
Review: 2022 marks a decade since the birth of Dam Swindle (or as they were called back then, Detroit Swindle), so to celebrate the Dutch duo has decided to deliver a trilogy of EPs featuring a mix of remastered and remixed productions and previously unheard tracks. There's plenty to set the pulse racing on part one of three, from the pleasingly warming, loose and sun-kissed deep house vibes of brand-new opener 'Body Control', to the pair's own soul and R&B-flecked 2022 house mix of their vintage Mayer Hawthorne collaboration, '64 Ways'. Elsewhere, jazz starlet Emma Jean Thackray delivers an incredible, dancefloor-focused soul-jazz take on early DS single 'The Break Up', while 'All I Want' is a driving, tooled-up, riff-sporting 21st century take on mid-80s NYC proto-house with a 21st century twist.
Review: Dam Swindle may be amongst the most storied Dutch dance producers of their generation, but they know that they owe a lot to trailblazers such as Orlando Voorn, who's near three-decade career has included forays into electro, Detroit style techno futurism, deep house and much more besides. The veteran producer's first EP for the duo's Heist Recordings label is, somewhat predictably, packed with timeless-sounding treats. We're particularly excited by the bumpin', organ-heavy house bounce of 'Tenderness', which sounds like his take on mid-'90s U.S house, but others may prefer the driving, bass-heavy deep house drums, disco string samples and soulful vocal snippets of 'Be With You'. To round off a fine package, Voorn delivers a brilliantly spacey, intergalactic-sounding and subtly dub house-influenced Dub mix of 'Tenderness'.
Review: While there's plenty of subtle variation within the now vast catalogue of Nebraska, by and large you know you're getting good quality deep house. Naturally that's what's on offer on the producer's latest Heist Recordings outlet, which sees him confidently skip between interestingly programmed, pleasingly inventive vocal deep house jazziness ('Chant De Oisseuax', which its twinkling Fender Rhodes flourishes, enveloping chords and French vocals), jaunty dancefloor joyousness (the retro-futurism of 'Skelp Tune'), string-laden disco-house cheeriness ('Cop Show'), and percussively dense but surprisingly breezy brilliance (the hard-to-describe but undeniably fine 'Henri Rousseau').
Lore Of The Samurai - "Justifice" (Fouk remix) - (5:28) 126 BPM
Felipe Gordon - "Highly Corrosive Acid" (Marina Trench remix) - (5:15) 129 BPM
JKriv & Peter Matson - "New Friend" (Felipe Gordon Deep remix) - (6:07) 115 BPM
Makez - "City Of All" (Lore Of The Samurai remix) - (5:54) 125 BPM
Review: By now, we should all know what to expect from Heist Recordings' annual Round-Up EPs, namely label regulars and selected guests remixing each other. JKriv and Peter Matson do a terrific job in turning Fouk's 'Money' into a squelchy, TB-303-fired slab of nu-disco/retro-futurist house fusion, before Makez re-imagines Mariana Trench's 'Wake Up' as a jazz-funk flavoured broken beat number and Fouk re-frames a Lore of the Samurai track as a gorgeous slab of house-not-house sunshine. Elsewhere, Mariana Trench gives Felipe Gordon's 'Highly Corrosive Acid' a driving, riff-heavy deep house spin, Felipe Gordon opts for a drowsy and eccentric mid-tempo house sound on his version of JKriv and Peter Matson's 'New Friend', and Lore of the Samurai's rework of Makez's 'City of All' is a hypnotic, tech-tinged treat.
Review: Here's something of a surprise: a collaborative EP featuring the combined talents of Underground System Afrobeat member Peter Matson and sometime Escort bass player (and Razor N Tape co-founder) Jason Kriveloff AKA J Kriv. Given their respective musical histories, you'd expect a blend of NYC disco, Afrobeat, synth-boogie and deep house, and that's exactly what they've delivered. Their hybrid style is probably best exemplified by the late '80s Todd Terry-meets-Afro-synth brilliance of 'Ewesse Ye', which is subsequently given a deeper and more percussive Afro-house spin by Auntie Flo. The fusion fun continues on the horn-sporting Afro-boogie brilliance of 'New Friend' and 'Bigtime', where righteous Afrobeat horns surge above a tactile deep house groove.
Highly Smooth Tone (feat Julio Rigal) - (5:55) 120 BPM
Highly Deep And Conductive - (7:14) 120 BPM
Highly Corrosive Acid - (5:29) 123 BPM
Highly Rhythmic Pace - (6:19) 117 BPM
Review: Felipe Gordon could be the hardest-working producer in deep house right now. We're not complaining though, because over the last 18 months he's delivered a string of formidable, musically rich releases. Predictably, there's plenty to set the pulse racing on his first Heist Recordings outing too, from the vintage St Germain-inspired jazz-house beauty of opener 'Highly Smooth Tone (featuring Julio Rigal and Equilibrium)', to the squelchy, percussive and intoxicating Latin house vibes of closing cut 'Highly Rhythmic Pace'. Sandwiched in between you'll find two more reasons to be cheerful: the Italian dream house-with-added-jazz flex of saucer-eyed treat 'Highly Deep & Conductive', and the jacking, mind-mangling insanity of 'Highly Corrosive Acid'.
Review: More "mystery artist" action, this time from an "already well-established producer" on Dam Swindle's Heist Recordings imprint. We're unsure who Lore of the Samurai is, but he or she has certainly delivered an assured and impressive five-track missive. Check first 'City Loop', where tumbling synth strings and looped organ sounds rise above a chunky breakbeat house groove, before turning your attention to the squelchy tech-jazz brilliance of 'Deeper Into Orbit'. Our publicity-shy hero moves further towards sci-fi techno territory on vibes-laden workout 'Space Designer', before offering up some deep breakbeat boogie flavours on the wonderful and dreamy 'Alpha Base'. Rounding things off is 'Justifice', a drowsy slab of woozy, sub-heavy deep house funk.
Review: Here's something of a rarity: a full-length excursion on Dam Swindle's usually EP-focused Heist Recordings imprint. It comes courtesy of talented twosome Makez, who last featured on the Dutch label two years ago. There's much to enjoy from start to finish, with the pair blending loose-limbed house rhythms, head-nodding hip-hop rhythms, and sumptuous downtempo grooves with subtle disco instrumentation, colourful electrofunk synth sounds, layered percussion, squelchy analogue bass, and occasional vocal snippets. The results are uniformly vibrant, atmospheric and musically rich, without ever becoming overly fussy or self-indulgent. There's plenty of floor-friendly material for DJs to savour and champion, but the album sounds just as good when listened to at home. Stellar stuff all told.
Review: Soon Salsoul will release a series of EP's featuring fresh Dam Swindle remixes of classic disco cuts. Before that, the long-serving Dutch duo have decided to treat us to a new EP of their own. It's a predictably impressive affair, with title track 'The Wrap Around' layering evocative vocal samples, dreamy deep house chords and increasingly sleazy electronic motifs atop sweaty drums and a frankly filthy acid-style, analogue bassline. There's a more classic U.S deep house feel to woozy, bass-heavy and gently soul-flecked bonus cut 'The Pain Tomorrow', which comes accompanied by a terrific late-night rub - all tight and awkward loops, hypnotic beats and dirty analogue squelches - courtesy of Pattern Select.
Review: Having previously impressed via must-check singles on Deeply Rooted and Wolf Music, Marina Trench has now joined Dam Swindle's Heist Recordings family. There's much to set the pulse a-flutter on her first EP for the Dutch imprint, from the tipsy electronic motifs, pots-and-pans deep house percussion and squelchy bass of opener 'Sunrise', to the touchy-feely early morning bliss of similarly inclined (and every bit as attractive) closing cut 'Wake Up'. Sandwiched in between you'll find the organ and trumpet-laden deep house bounce of 'Carry On' and the loved-up classic house vibes of 'Over There'.
Blue Steel (Girls Of The Internet remix) - (5:04) 128 BPM
Money - (6:47) 123 BPM
Review: Heist regulars Fouk (AKA Daniel Leseman and Hans Peeman) had a relative quiet 2020, releasing just one EP and a single-track salvo, 'Need My Space'. Here they're back to their distinctive best, belatedly kick-starting their 2021 release campaign via a rock-solid four-tracker. Rebiere lends a hand on title track 'Blue Steel', a (drum machine) handclap-heavy house stomper marked out by deep, sub-heavy bass, jaunty synth stabs and waves of energy-packed saxophone solos. Girls of the Internet provide the obligatory remix, opting for a long, dreamy, pared-back intro before unleashing the Dutch duo's killer bassline and winding sax motifs. Elsewhere, 'Don't You Want To Boogie' is a high-octane disco-house number full of swirling filter effects, while 'Money' is a squelchy chunk of nu-disco/peak-time house fusion.
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: 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: 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: 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: 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.
Coffee In The Morning (Prins Thomas Diskomiks) - (10:27) 123 BPM
Coffee In The Morning (dub mix) - (6:16) 126 BPM
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: 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.
Y'Miss Me Baby? (Giovanni Damico Jam mix) - (5:18) 118 BPM
Xia Long Bao - (5:36) 120 BPM
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: 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".
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