Like Messrs Bashmore, Eats Everything and Huxley himself, the Amsterdam-based Swindlers trade in house music that has intricate bass patterns at its core, before twinkling fairy lights are draped over it. That Detroit moniker, however, is something of a red herring. It's Chicago that Dales and Smeets actually look to—both the original tracks are ostensibly tough, electronic, 4/4 soul cuts.
"The Wrap Around" has the briefest of R&B vocals scurrying around its foundations, but it points skywards, built on a vibrating synth bassline and pin-sharp hi-hats. Yet it's rather outshone by the moodier, ocean-deep "Pain Tomorrow." Haunted by a subtle hint of What's Going On-era Marvin Gaye, its overwhelming feature is a fabulous 11-note analogue bassline that winds in and out of gospel organ segments and wandering synth swells.
Milton Jackson and Mathias Schober, under their Pattern Select banner, offer a more aggressive, peak-time take on "Pain Tomorrow." It takes a while to get to where it's going, but then hits its stride after the breakdown by fattening up the bassline to underpin its itchy keyboards.