Dubstep as a genre of music really is a strange subject. On one side you have battalions of ex fans proclaiming the genre is dead and buried, then on the other side seems to have developed a split between the two areas of the genre still living healthily. You have the “Jump Up” sound, which is being engineered towards more of a dance floor environment by DJs such as Shiverz and the rest of the Monsters group. Then we come onto the area in which Brighton based producer Turner is rapidly becoming one of the most prolific ambassadors. ‘Cella Sounds Volume One’ explores the darker more ambient side of the genre in a truly sublime fashion.
The elements that fueled the public rise of the genre five or so years ago were hard hitting drum samples, the freedom that comes from the use of space within a track and most importantly, a deep pulsating bass melody, designed to shake the rib cages of whoever was listening. In ‘March of the Beelzebub’ is where we first see all these original elements combined. The unusual bass sound which continuously drones through out every beat drives the other elements throughout the track. You can see their have been some obvious influences for every track on the EP, for instance this track sounds like it has its influential roots in early Fused Forces material.
‘Battlefield’ on the other hand sounds a lot softer on the ears, some might say a lot more musical in fact. I feel there has been a definite influence from the production styles of Phaelah on this track, which is a real compliment to its beauty. The high end has been magnificently EQ’d allowing only subtle releases of energy from the lower end. The opposite happens when we turn the tables again around to ‘Sea of Dimensions’. A track driven by the subtle low end movements of the bass line. The synth sounds floating around the high end bring to mind images of crows circulating waiting to be fed.
The imagery that music can conjure when its produced to this standard is incredible. As well as this, their is the combination of stylistic elements which Turner seems to be able to smelt together effortlessly. In ‘I Don’t Care’ for instance, Turner fuses the complex drum patterns of Breakbeat with the monotone bass drones of Trap music seamlessly to create an unusual yet interesting arrangement. To be complete honest the whole EP represents the health of the Dubstep scene, now that the “Fan Boys” have passed on, the genre can grow naturally again.
Be sure to download the EP from Turner’s Bandcamp page below!
Words by Jay McDougall (@SleepYGee1)