just as big as channel two
AAAAAA I’VE BEEN SEARCHING FOR THIS TUNE FOR 2 YEARS AND I’VE FINALLY FOUND IT TODAY AAAAAAAAAAAAAA
So dark, so wobbly, so 06. Even the most off grid and wobbliest off grid tune of recent times doesn’t come close
Miss the type of tunes that were made between 03-07
yo i didn’t rate this when i first heard the skull disco comp
this is so hard man, fuck
omg what a plate !@#$ was listening to this 7-8 years ago, had a plan to collect them slowly and since then… I got nothing ehh
There’s been a comment on Skull Disco’s discogs page for a year now that has my inner truhed historian raging:
Great experimental dubstep label similar to Hotflush Recordings. Contained in the 3 years and dozen or so of releases constituting the inspiration for what would be briefly termed ‘post dubstep’ soon after the label’s demise with a bevy of sounds breaking free from dubstep’s usual 2-step drum pattern and incorporating tribal rhythms and occasional 4/4 beats.
While not having used either of these things for the first time within dubstep, the output of Shackleton, Appleblim, and friends would go on to popularise a preference for deep and rolling tracks without unnecessary frills such as mid-range bass. Setting the stage for Kryptic Minds and Kaiju to soon after popularise their famous ‘dungeon dub’ sound.
Skull Disco made little noticeable impact until well after their demise, with many of their contemporise such as Scuba, Martyn, 2652, Pinch, and Joy Orbson seeming to take note. And have influenced later artists such as Paleman, Boddika, Mumdance, Ipman, Jack Sparrow, and many others.
Shackleton continues to produce music and preform. As does Appleblim, who has since started their own label with a similar focus on boundary-pushing dubstep, Apple Pips.
speaking of the scubster/hot flush
Fuck ain’t heard wormsign in years. Never heard the scuba one though, biggie
Yeah, big ups Gravious whateva yr doing nowdays.
Wasn’t Widowmaker a regular ninja around 09…made lots of tracks.
so what has you angry about that Junkyard?
Ah, I’m just being pedantic.
This paragraph. I’d argue that the early output of Loefah et al. had a much bigger impact on “dungeon dub” (who called it that?) than Skull Disco; Kryptic Minds were heavily locked into the half step groove and didn’t take many cues from Shackleton’s and Appleblim’s rhythmic explorations. You could make a case for Circling / Over Here featuring a more dub techno vibe that KM picked up on, but again, Pinch’s Tectonic was equally influential in that regard.
Kaiju were superlate to the party and – no disrespect – jumped the waggon; they didn’t help start it off.
Skull Disco crew didn’t “popularise a preference for deep and rolling tracks without unnecessary frills such as mid-range bass”; it was the sound at the time, with the exception of Coki (minus the unnecessary frills bit).
Additionally, the whole piece completely disregards the main achievement of Skull Disco (and Hessle Audio): popularising the sound with the Berlin house and techno DJs like Ricardo Villalobos, Perlon’s Zip and Berghain mainstay Ben Klock, kicking off a short period of very fruitful crosspollination between the scenes: Hard Wax’s Torsten Pröfrock prominently contributed remixes and collaborations to Skull Disco under his T++ guise, Shack went on to release on Perlon, Ben Klock included a full-fledged dubstep tune on his debut LP, “One”… Get mi?
Not dubstep but are played in grime sets though…