Sound
Releases on the Skull Disco label were typically double A-sides, featuring a track apiece from Shackleton and Appleblim; however two compilations (Soundboy Punishments and Soundboy's Gravestone Gets Desecrated by Vandals) were also released.
Skull Disco releases often tended to use unusual sounds, atypical of the dubstep genre; they often eschew the familiar drum tropes of dubstep for African percussion and samples of ethnic vocals, combined with massive, wobbling sub-bass, and sometimes elements of four to the floor, Basic Channel-style dub techno. Some tracks (particularly later Shackleton releases) carry a strong Muslimgauze influence. Minimal techno producer Ricardo Villalobos is a fan; he produced a nearly twenty-minute remix of Shackleton's Blood on my Hands after expressing an interest and being handed the core samples of the song at a DJ set. Shackleton has returned the favour by remixing Minimoonstar from Villalobos' Vasco EP Part 1.
According to journalist Derek Walmsley,
| “ | With their DIY-style covers, punk rock track titles and free party ethos, Skull Disco approach dubstep from an oblique angle. ... These elastic, pliable reformations of dubstep suggest that the genre has finally evolved beyond rigid formulas, reaching towards a new, organic maturity. | ” |
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Famous quotes containing the word sound:
“Like many of the Upper Class He liked the Sound of Broken Glass.”
—Hilaire Belloc (1870–1953)
“There was a sound of revelry by night,
And Belgium’s capital had gathered then
Her beauty and her chivalry, and bright
The lamps shone o’er fair women and brave men;
A thousand hearts beat happily; and when
Music arose with its voluptuous swell,
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And all went merry as a marriage-bell;
But hush! hark! a deep sound strikes like a rising knell!”
—George Gordon Noel Byron (1788–1824)
“Is there no hope for me? Is there no way
That I may sight and check that speeding bark
Which out of sight and sound is passing, passing?”
—Paul Laurence Dunbar (1872–1906)