mixmag netherlands
That same trust runs through everything surrounding the duo’s music.
Earlier this year, House of House marked the one hundredth re- lease on Heist Recordings, a mi- lestone few independent labels reach while maintaining such a clear artistic identity. Looking back, Maarten doesn’t point towards commercial growth or catalog size as the label’s defi- ning achievement.
“If there’s one thing that we’ve built Heist on, it’s family. We are deeply invested in every artist and every release we do. From demo to finished product to mee- ting the artists in person, once we bring someone on the label, we’re fully committed to doing great things together, whatever the ar- tist or music needs.”
Although the label’s sound has naturally evolved over the years, its values have remained remar- kably consistent.
“The Heist aesthetic, both musi- cally and visually, has also been very consistent over time. Even though the sound has naturally evolved, the ideas behind it have stayed. Musicality is still key. Dis- covering artists still happens the same way, through networks, through searching for new music. The platforms might change, but the idea behind discovery is still the same.”
That sense of continuity also shapes the wider community surrounding Dam Swindle. Whe- ther through House of House events, production workshops, or the work they continue to do with Amsterdam’s RadioRadio, sharing knowledge has become inseparable from making music itself.
“House music by nature is a com- munity-driven experience,” Lars says. “It’s always been a way for like-minded people to connect. There’s nothing more gratifying than seeing young people dis- cover music or dance, discover nightlife, or discover their talent for making music. Being able to pass on a part of that culture is amazing.”
He describes the relationship be- tween generations as something reciprocal rather than instructio- nal.
“At our age, we get inspired by music made by people half our age, but at the same time, we get to share a bit of our musi- cal knowledge with records that were made years and years be- fore these kids were born. Living in a scene like this and focusing on that reciprocity adds cultural significance and meaning be- yond just playing nice music to dancers.”
038
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52
