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?