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12"
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ACRE 056EP
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2015 release. Lurka continues his journey into sonic bat country, following his acclaimed Holding EP (ACRE 049EP, 2014) and his highly regarded remix of Clap! Clap!'s "Ashiko" (2014). "Partials" kicks off with Lurka's typical intrigue; pads swell as distant specters of percussion build into a hugely saturated kick alongside an architecture of syncopated hats and bit-crunching snares lock the angles and a shower of haunting bells falls. Dancehall for the witching hour. "Mach" delivers an equally holodeck soundscape. Drums swing in awkward alliance with dry wooden blocks and woozy binary language. Both tracks united in their skewed viewpoint and distinctive awkward funk.
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12"
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WSDM 012EP
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The title track here is quintessential Lurka, sitting somewhere between hip-hop, dancehall and tech-step, and hitting like a dream collab between Timbaland and Dillinja. It's a unique sound that he first aired back in 2013 with the essential Full Clip/BR Greaze 12" on Hotline Recordings (HOTLINE 002EP). On the flip, you find him working with clubbier beat patterns. "Plenty" revolves around a rich, undulating melody, underpinned by thundering kicks and rolling UK funky snares. "Bodied" marries woody snares and dubby UKG chords with a gnarly jump-up bassline and scratch FX.
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12"
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TIMEDANCE 015EP
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Bristol producer Lurka turns the dial up to eleven with two expertly designed carnival stompers. This record combines a knack for groove like no other, alongside sound design from another planet.
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12"
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TIMEDANCE 004EP
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Lurka presents Beater EP. A-side "Beater" brings a meticulous blend of clever sound design and one of the most thunderous kick/snare patterns you'll hear. Seriously tough. "Density" introduces a sea of rippling arps, set to a back drop of deep sub-bass. It is probably Lurka's most melodic and introspective track yet, whilst still keeping his trademark percussion work.
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12"
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ACRE 049EP
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Bristol acetate carver and drum major, Lurka launches his Black Acre debut with three unpredictable drum machine battle drills. It all kicks off with "Holding," a technoid-inflected dancehall pounder with a relentless low-end theory. The anxious heartbeat littered with schizophrenic percussion and alarm bells bursting into an undead army marching anthem. On "Nah So" crushing kick drums perform the body blows under intricate hi-hat programming. "KMT," the most meditative of the three, gives nods to Alan Howarth's bleak synthesizer work while high-fiving Schoolly D's drum machine.
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