• News

  • Six hour set from Dusky Posted on 07 October 2014

    A seamless flow of rhythm from the Dusky boys

    Dusky (Alfie Granger-Howell and Nick Harriman) have steadily climbed to the forefront of the dance scene with consistent releases over the past few years. ‘Flo Jam’ and that remix of ‘Don’t Go’ tore up a storm, and in 2014 they started their own record label 17 Steps. They’ve perfected that blend of techno and house, with deep grooves and memorable sampling. All the while not making tracks that sound too similar. The duo hosted a party at East End venue, home to The Hydra on the 4th of October. It was their first six-hour set in London and they curated a killer room 2 line-up with sets from techno legend Juan Atkins and Aus Music boss Will Saul going B2B with Trevino.     

    ‚Äč

    Whilst the North London duo begun their marathon set in the main room, Zed Bias and Paleman started a back to back set in room 2. Since collaborating on ‘Furrball’ last year for Swamp81 they’ve played a load of B2B sets together and it’s always a treat to see how both DJ’s vibe off each other. Zed Bias as expected brought some garage to the night. Early on, energy levels were raised with Disclosure’s remix of Jessie Ware’s ‘Running’, another focal point was ‘Get Get Down’ mixed into Tessela’s ‘Hackney Parrot’. The exciting set concluded with tracks from both producers, ‘Neighbourhood’ and ‘Beezledub’. 

    2am, time for Juan Atkins to seize the decks, the Detroit DJ continues the noise with Olver Helden’s ‘Pushing On’. It was time to proceed through the packed warehouse into room 1 though. Pipes running along the ceiling were dripping with sweat as the Dusky boys selected from their now huge discography. Playing out their own stuff in between techno and deep house cuts, the set would build-up eerily before the throbbing bass line would make a return. Latest release ‘Love Taking Over’ had the crowd moving to heavy kick drums. Also on the EP and first release on their label, ‘Inta’ suited the massive sound system with its prominent cockney voice sample and dark synths.       
       

    They dropped ‘The Calling’ from man of the moment Benton at about 4am, but the focus of their set felt like it was ultimately on their own work. ‘Calling Me’, tore up the dance floor with its creeping bass and powerful vocal line ‘I wanna make your dreams come true’. While the B-side to that release on School Records, ‘Muriel’ has a relentless stabby synth to it.

    They played their set like professionals, taking it in turns, while interacting with the crowd. Having made use of the lengthy playing time, the took ravers through a journey of their sound.

    « Back to news archive