Review: Graeme "The Revenge" Clark has come a long way since his first full length, the 2011 re-edits meets original production set Reekin'structions. He's spent the last few years moving away from that style, instead focusing on indulging his passion for making original house productions, most of which have come out on his Roar Groove imprint. Here he continues that process with Love That Will Not Die, an all-action house set that should be classed as his debut album proper. Informed by various strains of classic house - Morales' Red Zone dubs, feel good Italian house, US deep house and more Balearic offerings - it's a typically evocative and intoxicating set, with tactile melodies, vintage sounds and shuffling drum machine rhythms throughout.
Review: Graeme Clark has spent much of 2014 building up his Roar Groove label, dropping excellent 12" singles from some of his Glaswegian pals. Here, he finally returns to the imprint with his first single of the year, featuring three different flavours to enjoy. "Incredible Shellsuit" is one of his most picturesque and expansive productions to date, with decidedly Balearic, rush-inducing synthesizer lines wrapping their way around a loose, analogue-rich '80s house groove. "Loss Angeles Times" is denser and more intense, with foreboding chords and heavy, African-influenced tribal percussion. Finally, "Vorderman" keeps up the African theme, sounding like an unheard Auntie Flo production - all heavy percussion, nagging rave stabs and wild electronics.
Review: By launching his own label, Roar Groove, The Revenge has given himself the opportunity to go off in a multitude of different directions. Here, he grasps that opportunity with both hands, delivering a quicky, offbeat four-tracker that contains his best work to date. "Oot Yer Nut", a raw, uncompromising drum machine jam in the Chicago style, is probably the most startling of the quartet, but the touchy-feely "MDMF" - all yearning harmonies, hissing percussion and intoxicating melodies - is arguably better. The real standout, though, is opener "Close Encounters of the Casual Kind". Slowed down to a walking tempo, its sumptuous, wide-eyed deep house groove is complimented by some lovingly Balearic pianos.
Review: Amazingly, the last original material from Graeme Clark (as the Revenge, at least) dropped back in 2010. Here, he offers up a new label and some new sounds. While there are hints at his loopy, hypnotic, ultra compressed past (most notably on the late night drum track "MWI"), there's far more swing and a broader range of influences than we've come to expect from the popular Glaswegian. Impressive loose opener "Wreck My Love", for example, doffs a cap to Italo-disco and early NYC deep house, while "The Joy" bases the action around Lamont Booker-style, new age house melodies. "Lost Properly", meanwhile, canters off on a woozy, proto-house tip - think deep electrofunk meets early Chicago, via the Paradise Garage.
Review: Graeme Clark is best known for his edits - his reworks of Stevie Wonder and Marvin Gaye (in The Revenge and 6th Borough Project mode respectively) linger long in the memory - and here he serves up the second round of tweaks that featured on his recent Reekin'structions long player for the Z imprint. Those seeking the trademark deft house touch will delight in Clark's slow build take on of Velvet Hammer's "Party Down" whilst there is added incentive in the shape of a previously unreleased dub version of the same track which is just as good, if not even better! Up next, the Glaswegian showcases his cutting skills with a bumping refix of Sargeant & Malone's "Love Message" and a take on The Joneses "Summer Groove" that works its way from the depths of the machine into a frenzy of drums and funked out guitar riffs with expertise.
Leave Your Mind (feat Paul Joseph) - (8:49) 115 BPM
Innaspace - (8:07) 122 BPM
Review: After a great year for Scottish producer Graeme Clark, and his cracking cover of the SOS Band's Just Be Good To Me, comes this new release on Japanese label Mule Musiq. The title track's a must have for any disco or Balearic heads out there, and comes with vocals courtesy of Paul Joseph. The flip side "Innaspace" is just as hot, and features some nice and funky Moog action. Definitely a good start to the year for The Revenge.
Review: Having first appeared on CD earlier in the year, Graeme Clark's first official album of Revenge reworks comes to digital download. If you missed out first time around, it's well worth a listen - not least because there are some killer re-edits and reconstructions present. Interestingly, Reekin'structions by The Revenge partly shies away from Clark's celebrated tracky and hypnotic house sound. While his deft house touch is still present - see the delightful slow-build version of Velvet Hammer's "Party Down", or the low-slung retro-house remix of "Smurf Trek" by original electro-funkers Chapter 3 - some of the best cuts here are little more than traditional re-edits, with Clark offering killer new arrangements of little-known disco, soul and boogie originals.
Review: The Revenge brings his "Roar Groove" sound to Dirt Crew for the fourth time, in the process offering up a quartet of tried-and-tested deep house cuts. As usual, the synthesizer sounds are spacey, the basslines thickset and groovy, and the beats crunchy and on-point. We're particularly enjoying "Prizefighter", where Syclops style electronic motifs and woozy synthesizer lines peek out above a crunchy rhythm track, and the delay-laden intergalactic positivity of fluttering early morning deep house gem "We Have So Much We Can Gain". That said, opener "Like An Ending" is pleasingly deep, dubby and hypnotic, while "Work Out Right" is a glassy-eyed delight that makes merry with ear-pleasing samples from what sounds like a deep synth-pop gem from the 1980s (but don't quote us on that).
Review: Roar Groove main man The Revenge returns to Dirt Crew with a third serving of tried-and-tested dancefloor treats. First on the menu is "Times Get Tough", a bouncy, breezy and deliciously positive loop jam (complete with chopped-up vocal samples from an '80s soul classic) that recalls the Scottish producer's fine early work for Instruments of Rapture. There's a choice of main courses - the locked-in peak-time deep house hypnotism of "Subconscious" and the skipping, sub-heavy Red Zone shuffle of "Searchlight", while brilliant retro-futurist closer "Come Down" is as good an early morning palette-cleanser as a sizeable serving of home-made Lemon sorbet.
Review: According to the man himself, Graeme Clark's latest long player as the Revenge - his first since 2016 - is "the sound of a producer reaching maturity". While that makes it sound like Clark is ready to don a pair of slippers and craft needlessly noodly ultra-deep house numbers, When The Thrill Comes is actually full to bursting with high quality, analogue-rich peak-time bumpers. Highlights include the throbbing, delay-laden basement grooves and clandestine atmosphere of "Nasehorn", the dense broken house beats and lo-fi melodies of superb album opener "Top Buzz" and the sweet, saucer-eyed synthesizer motifs and Metro Area drums of "Another Illusion". Check, too, the epic title track, which sounds like slowly building, Innervisions-esque deep house/tech-house fusion after a fistful of happy pills.
Review: The Revenge returns to Hometaping is Killing Music after an eight-year absence. For the occasion, he's collected together a selection of "Lost Grooves", which we can only assume to mean previously unreleased gems from his no-doubt bulging vaults. All four cuts are typically on-point and explore different aspects of house music's long and storied history. So, while "Hold It" sounds like a cross between Inner City and David Morales in Red Zone mode, "Demon Beat" is the kind of sleazy, low-slung throb-job that would once have got Danny Tenaglia hot under the collar. Meanwhile "Long Lost Love" recalls Clark's finest moments on Instruments of Rapture, while "Stuck In Chicago" is a loopy acid jacker that would no doubt thrill Ron Hardy's ghost.
Review: For his second outing on Dirt Crew, Roar Groove boss The Revenge is in full-on peak-time mode. There's no hypnotic slow house chuggers or mid-tempo loop bumpers, just a quartet of tried-and-tested slammers. The veteran Scottish producer gets straight down to it with the loopy disco-house celebration of "Every Night", where judicious chops are used to incite a rapturous response on dancefloors, before cooling things down a little via the retro-futurist, late '90s New York house bump of "Grit". "Never Learn" is a percussive and stripped back outing that pits vintage, Tenaglia style drums and bass against wonky, alien electronics, while "Krokodile" sounds like a Chicago jack-track after a round of shooters with the Emperor Machine.
Review: We all know that Glasgow's Graeme Clark was there from the very beginning of this nu-disco trend, which is now more popular than ever. He is still pumping out some truly wicked jams and this new one entitled "Intimate Connection" on his own Roar Groove imprint is testament to this. For the most part these are pretty functional edits and tools for DJ use, some of them being live edits taken from his Love Will Not Die album tour. Standouts include the dust covered deep house dreaminess of "New Nation" or "Love Will Never Die", the feel-good boogie jam "Isle Of Lucy" and the rusty and vintage b-boy electro jam "Just One Touch".
Review: Dirt Crew Recordings have long been fans of The Revenge's Roar Groove imprint, so asked the Glasgow-based producer if he fancied putting together this collaborative release. He begins in full-on anthem mode, delivering an Italo disco-Chicago house hybrid that pulses, throbs and wobbles in all the right places. "Do The Right Thing" sees The Revenge exploring the loopy middle ground between shuffling deep house, bubbly disco and loved-up Balearica, while "New Attitude" is deep, sparkling and acid-flecked. Dirt Crew regular Nachtbraker provides two remixes; a wild, bass-heavy tweak of "Do The Right Thing", and an impeccable deep house revision of opener "Conkers".
Review: 2019 marks a decade since the Needwant label first sprung into life. Those ten years have been action packed to say the least, as this epic anniversary compilation proves. What's on offer is a mixture of label highlights from Needwant's bulging back catalogue, a handful of previously unheard tracks and the odd exclusive remix. There's much to admire throughout, from the spacey deep house goodness of Kim Ann Foxman's "Return It" and the delay-laden late night retro-futurism of Tuff City Kids' acid-fired rework of VIMES' "Minds", to the throbbing, Italo-influenced brilliance of Res Mo's "Train To Kyoto", Octa Octa's atmospheric early morning tweak of Few Nolder's "Porcelain" and the Revenge's slo-mo, glassy eyed cover of SOS Band classic "Just Be Good To Me".
Gavin Boyce - "Divine In You" (Fish Go Deep remix) - (6:19) 124 BPM
Jay Tripwire - "Body To Body" (Audio Soul Project remix) - (7:02) 125 BPM
T.O.S. - "Only When I'm Late" - (7:17) 124 BPM
Gavin Froome - "Sunsets" - (8:05) 126 BPM
Review: While most of today's hyped Vancouver producers were still wearing nappies, Luke McKeehan's Nordic Trax label was representing the city's small but committed deep house community. The long-serving imprint has now notched up two decades, and here delivers an anniversary compilation rich in Nordic Trax classics, previously unheard cuts and McKeehan's catalogue favourites. In some ways, it feels like an education and history lesson all rolled into one, neatly representing 20 years of deep house development. Highlights come thick and fast from start to finish, from DJ Harri and the Revenge's 2004 gem "Slackjaw" and a vintage Audio Soul Project remix of Jay Tripwire, to the seductive sounds of label regulars Gavin Froome, Gavin Boyce and JT Donaldson.
Review: Congratulations to Germany's Dirt Crew Recordings, which marks a century of releases with a celebratory volume of the popular Deep Love compilation series. As befits the momentous occasion, the 11 tracks on offer are all exclusive and previously unreleased. Predictably, there's plenty to enjoy, from the dusty, crackly deep house warmth of Felix Leifur's "Feels Like", and classic U.S garage swing of Ponty Mython's "New York, New York", to the sweet, jazz-flecked haziness of Harry Wolfman's "Rainbow Set", and Huerta's dreamy, glassy-eyed Balearic deep house cut, "Blvrd". Throw in fine contributions from big hitters Detroit Swindle, Nachtbraker and The Revenge, and you have an undeniably essential collection.
Review: Last year, the crew behind Brazil's well-loved Mareh festival decided to launch their own label. Like their 2014 debut EP, which boasted cuts from Eric Duncan and Pete Herbert & Dicky Trisco, Mareh Drops is another all-star affair. The Revenge kicks things off with the sparse, string-laden tech-house bump of "Strings of Fife", before Berlin-based Canadian Eddie C delivers the quietly impressive "Take Me Or Leave Me", a delay-laden deep house shuffler with sun-kissed disco influences. Pete Herbert goes solo on the deliciously bright, breezy and sun-drenched Balearic disco groover "El Bigotes", before Max Essa goes deeper into Balearic territory with the sweet synthesizer arpeggios, bubbling beats and dreamy pads of "Night Measure".
Review: Steve Bug has never made a secret of his love of Chicago house, and on his latest label compilation, delivers the eerie synths and doubled-up claps of "Jack Is Back". Like-mind Martin Landsky also focused on Chicago with his bass-heavy "V2U" and Redshape's view of the Windy City is coloured by the slamming acid of "Funny Green Hat". Deeper house influences are also audible - on Deetron's "The Maze" and Ribn's "Pancake", a paean to Carl Craig at his most sensual. However, the contribution that impresses most is KiNK & Neville Watson's "Night Time Raw", which forges LFO-style bleeps to the duo's usual jacking, insistent rhythms. It's a case of one step back and three steps forward.
Review: Glasgow's Shaka Loves You has rightly earned a reputation as disco-centric duo on the rise. Because of this, it's little surprise to see them at the controls on Bomb Strikes' first foray into the disco-focused compilation market. The Scottish pair have naturally pulled out all the stops for the occasion, selecting 20 hot-to-trot cuts that aptly blur the boundaries between disco, funk, nu-disco, electro and boogie. Highlights include, but are in no way limited to, the hazy, sun-kissed soul of Lack of Afro's "Back To The Day", the thickset P-funk revivalism of Kraak & Smaak's "Dynamite" and the rubbery disco-house-meets-UK soul flex of the Reflex's remix of Omar's "Vicky's Tune". Throw in a tasty selection of the pair's productions and you have a suitably strong collection.
The Revenge - "Incredible Shellsuit" - (5:40) 125 BPM
Ole Biege & Ronte Monte Mo - "Marinade" - (7:35) 123 BPM
Kasper Bjorke - "Apart" (feat Sosa Ey - Michael Mayer remix) - (8:36) 124 BPM
HVOB - "Lion" (Stimming remix) - (5:54) 124 BPM
Various - "Songs For Clubs 3" (continuous DJ mix by Zoo Brazil) - (1:01:38) 124 BPM
Review: It's been 16 months since the release of the second installment of John 'Zoo Brazil' Anderson's Songs For Clubs series. This third volume is, then, long overdue. As with its' predecessors, Songs For Clubs 3 lives up to its name, with Anderson picking out (and mixing, on the included bonus DJ mix) an atmospheric blend of tracks from across the deep house, tech-house and minimal-influenced techno spectrum. The tracklist is certainly strong, with contributions from Tiefschwarz, Michael Mayer, The Revenge (the brilliant "Incredible Shellsuit"), Romanthony and Matthew Styles, whose thrilling "Dominion" is probably the collection's standout moment. That said, Copyright's big room deep house banger "Submarine" certainly pushes it close.