The artist known as FreQ Nasty has over the last few years become known as
the man behind a unique sound, championed by producers and DJ's alike -
the person most likely to pull dance music out of the occasional creative
cul-de-sac it finds itself in once every few seasons.
FreQ. Nasty's debut single was the much championed 'Boomin' Back Atcha'- A
mid- tempo stomper of a track complete with bleeps and voice snippets
straight out of trashy 50's sci-fi movies. It fast became the stand-out
feature of the more daring deck-wrecker's set. It was with the follow-up
'Underglass' however that Darin really started to make some waves. Truly a
filthy fucker of a record it was near pornographic in its pursuit of the
perfect low down and dirty kick. Acid sounds bent out of shape coupled
with super-tight percussion and breaks pinned down by the fierce low-end
responses that subsequently have become the FreQ Nasty trademark.
'Underglass' tweaked the music press enough for them to run articles in
Muzik, NME, Update, and Jockey Slut. The ball was starting to roll...
Just as Darin was starting to be labelled as a leader of Nu-Skool Breaks
he slipped that pigeon-hole with the release of 'FreQ-a- Zoid', a blinding
piece of robotic disco that convinced even the techno purists that FreQ
Nasty was utterly right in his pursuit of machine funk. Part Kraftwerk,
part Daft Punk, with a little piece of Jaques Lu Cont's electro cheek
dropped in for balance, the cut rocked techno, house and hip hop floors
alike. This came as no suprise to anyone that knew that FreQ also released
techno records under various guises.