Durkle Disco is a Bristol-based record label with bass at its very core.
First conceived in 2011 as a place where grime, garage, hip-hop and
dubstep could combine and intertwine - with just as much attention paid
to the MCs as the producers - the label has since evolved to become a
natural home for new strains of bass-driven music coming from the next
unstoppable wave of production & MC talent from Bristol and beyond.
Review: What a thunderous collection we have on our hands here as the Durkle Disco crew emerge with a potent selection of remixes, unleashing a new lease of life to their extremely varied catalogue. The first thing that has to be said is just how many different direction this project is able to go in, from the dissonant synthetic drifts of Dusty Ohms on remix duty for Central Spillz' 'Deep End', to the pulsating tribal drum work of East Man's 'Bushmaster' overhaul from Fonzo & Riko Dan, then back to KOROstyle's potent 'On Sight' original with Emz & Jay0117, which receives a warbling recreation from Hayz & Nothingnice. This is Durkle Disco down to a T, powerful vocals, original sounding instrumentals, with our favourites including KRSLD's dizzying refix of 'Bad' from Logan & Kouslin, Jook's explosive overhaul of 'Bushmaster' and Dutchie's super smooth rethink of Ngaio's 'Green Eyed Queen'. Lovely stuff!
Review: Nu-dubstep spcialist Durkham Audio returns to Durkle Disco with some grimey disco-leaning vibes that blend just about all of the UK's best and more cut-throat sounds. "Masta Blastah" is a dirty, broken arrangement of hefty bass, stripped-back percussion, and bashment vocals, served to you on one fat groove! There's remixes, too, with Caski, Bromley and Mani Festo all dropping their own, bass-heavy, reinterpretations. Killah style!
Review: Durkle Disco, a Bristol based haven where grime, garage, hip-hop and dubstep would no long be placed in separate genre boxes. In 2011 Durkle Disco was created so these musical cousins could mingle and merge and become they're own, uncategorized sound. Paying equal respect to both producers and MCs, the label has become an unstoppable force in the world of bass. 'So Sicka' sounds like a Burial album double dropped, all the eerie atmospherics remain with a cold sense of hollowness, but there's an intense brooding buildup of energy. Emotions are heightened and there's a harsh clarity to the hard clashing drums which forces you the listen intently to each and every word spat. The 'Near' remix is has an itchy, glitchy feel with a lot more sound filling the soundscape, while the 'Mani Festo x Denham' remix has an odd stripped back aggressive house vibe that we haven't experienced before.
Review: Next up on Bristol's Durkle Disco imprint, rising London based producer Nick Marks aka Mani Festo steps up with his debut solo release. Featuring three weighty cuts, it draws on his early hardcore and jungle influences on the title track and "Kreuzberg Riddim", both breakbeat-driven dancefloor smashers. "No Number" channels classic dub and early dubstep stylings, from the hypnotic bass to the pirate radio vocal samples. While the name may be relatively new, Mani has been putting in work for a while: he's released on Swamp 81 whilst also making numerous guest appearances on Rinse FM. Fallout is bound to cement Mani Festo's name as one to watch in 2017.
Review: 18 months have passed since Bristol beatcamp Durkle Disco last compiled a "Definitions" EP. Once again the quality and levels of talent are high as Boycott busses up the best dynamics of trap, grime and dubstep for a lean, mean slaying machine they call "HK '87", Daffy & Gundam's "Bio Schematics" continues the stripped back prangish tones Durkle have made their signature with the equally alarming "Bio Schematics". Deeper into the EP we hit purring 808 soul from Denham Audio before getting the chop from Unkey on the icy stepper "Karate Club". Black belt business.
Review: It hasn't exactly taken Otik a very long time to build up an impressive catalogue of warped bass tunes and, thanks to releases for the likes of Infinite Machine and Tessier-Ashpool, the producer is now a string contender among the very best in the low-frequency game. "Acne Downs" starts off this new EP for Durkle Disco, and it's a mix of the best elements from the broken beat and garage subgenres, leaving Caski's remix to dub the mix down into outer space. "Big Bad Wolf" is a grime stepper in all senses of the phrase, a murky, curbside killer backed by some menacing London-style vocal slayings.
Review: Although its name and type font suggest that its music ought to be showered in '70s disco glitter and flared jeans, Bristol's Durkle Disco actually deals in militant bass sketches by a wide spectrum of young talent from around the globe. As they usually do, Durkle have put together a compilation, except that this latest one represents more of a house flavour compared to some of their recent outings. The opener "Armed" by Body Trouble is actually a seriously fitting piece of stutter house to what unfolds further on in the release; you should check out Unkey's broken garage on "Pho Par", the gorgeous neobass swirls of "Broken" by Jubley, and Lamont's house grime in the string-led "Other Side".
Review: The fresh-faced Daffy & Unkey duo make their debut on Bristol's Durkle Disco for the label's twelfth outing with four raucous neo-dubstep cuts. The first, "Hustlin'" is a true head jerker, all high-speed and revved up to the max for teeth grinding; "Night Terrors" is swamped, squelching on the bottom-end and utterly nasty, while Unkey goes in alone with the broken, clap-heavy beast that is "Come To Bury You". There's also two further rewirings of "Hustlin", one by Glacci and the other by Arcane Soul.
Review: Turbo two-step with minimal muscle. "Saracen" joins the dots between the Bristol beatsmith's dubstep roots and his current penchant for the lighter side of the dance. Dig deeper for "Day Z", a grime-referenced eskibeat slapper with a bass texture that has a life of its own. For added pleasure Durkle Disco have thrown in a remix from fellow west countryman Majora; a much deeper, 4/4 jam that drops into a dark alley bass bubbles mid-way, it's a great transitional tool for house DJs looking to murk the flow for a spell.
Review: Bristol continues to lead the way when it comes to mutant strains of bass music, as this debut EP from newcomer Lamont on the city's Durkle Disco imprint proves. "Far Away" is a strong debut, with sharp synth strings, exotic sitars and subtle chords riding jaunty sub-bass and hard-to-pigeonhole post-dubstep beats (somewhere between 2-step garage and dubstep). The remix package is particularly strong, too, with Zed Bias delivering a warped and heavy two-step interpretation, and Foresaken dropping a sparse but intense, bruk-meets-breakcore rework. Throw in similarly impressive remixes from Hi5Ghost (discordant vocal samples and skittering beats) and Oh91 (grime-meets-two-step), and you've got an excellent EP.
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