CHOICE CUT- The Revenge ‘Reekin’ Structions’

Choice Cut

The Revenge / ‘Reekin’ Structions’


Z Records / Released April 25th 2011

Seasons are a funny thing, particularly in the Northern Hemisphere, or more specifically the top end of Europe. Give us sun-kissed rhythms while we’ve got less than eight hours of daylight and it could be taken the wrong way, but delivering them as the trees come into bloom and plans are being made for a summer spent outdoors will lead to different results.

It could simply be good timing by Z Records, or the deft production work evident in each of the ten re-edits offered on this remix compilation, either way it’s not left the CD drive for some time now. Disco for the lactose intolerant, house for darkroom phobics, Reekin’ is the perfect soundtrack to a heat stroke risking afternoon’s debauchery. And, most importantly, it works by choosing not to stick with up-tempo choruses, instrumental electronica, or straight dancefloor fodder, opting instead to flit between all three.

So Scottish upstart Graeme Clark, AKA The Revenge, opens his debut LP with a reworking of Ease Out from Mid-Air, a track that explodes into lunging low ends and stepping beats. It’s pure electro sleaze that’s really a well-tweaked and cunningly modernised version of the 1983 original. Just as the slap bass, guitars and violins that drive a new interpretation of The Joneses’ Summer Groove retain everything about that classic cut, nodding to glitterballs and 8-tracks. In between the two we call by the looped pianos and drummy, funky house rhythms of Party Down, a number first penned by Velvet Hammer, showcased with vocals intact, but crosshairs aimed at some Balearic beach bar.

Which means we’re suitably impressed before the best thing here drops, moving away from more traditional structures, and forcing us to recommend this release. I Can’t Get Along Without You, committed to vinyl in 1980 by Vance and Suzanne, is turned into a filthy, analogue groover filled with cut and layered vocals, funk-hook, and filtered melody, creating pure staccato joy. The Revenge’s keen ear is clear for all to hear throughout Reekin’, as he creates fresh sounds while paying homage, without obscuring the source material. That’s not easy, and suggests great things to come from the producer.