” Dubstep .” Grit, dub and bass come to mind when one imagines the underground movement that has changed bass music entirely. However, dubstep is frequently generalized to a sound that is sometimes referred to as a wobble. It is a drop, a dirty, nasty, raunchy bassline . But dubstep is far from a sound – it’s a scene that evolves every day thanks to groundbreakers and innovators of music. And now, one of dubstep’s legendary innovators, Burial, is back in the light with his newest release, Kindred.
William Bevan , the man behind the Burial moniker, is an inhabitant of South London. He is a low-key dubstep producer who shies from the public eye and keeps his mind tuned to future sounds. His music is often thought of as dark, solemn and soft, and he has collaborated with producers such as Thom Yorke (of Radiohead), Four Tet and Massive Attack.
Burial is currently signed to Hyperdub Records, a label fundamental to the dubstep scene (headed by Kode9 , another dubstep producer), and has released five EPs , two LPs , and five singles since 2005. Kindred is his latest release since his collaboration with Massive Attack (Four Walls / Paradise Circus) back in October, and the new EP shows Burial getting back to basics.
Kindred opens with the title track, releasing haunting melodic vocals, a soothing synth pad and Burial’s signature vinyl crackle and hiss. The tune continues with rolling drums and a bassline to accent the chords that the beat maker continuously knits into an unorganized but fitting thread of melodies. Burial’s vocal arrangement and technique has always seemed to be a callback to UK Garage, and it’s never tired. R&B sample seems to have become a trademark in Burial’s work, and it effectively stitches songs together in Kindred for a never dull track.
The second track, “Loner,” starts with ominous tones and a swelling synth . This slowly dies, and a rave beat develops into an arpeggiated dance tune with 808 claps, snares, and vocals from what seem to be a 90s pop singer (perhaps pulled from Everything But The Girl). The chorus of sampled vocals continue to overlap into the atmosphere of an empty cathedral. The track gradually slows to a coda of slow pads, stabbing vocals from R&B singers, and the ever growing hiss and crackle that swallows most of Burial’s tracks.
The closing track, “Ashtray Wasp,” brings the nostalgia of soft listening to the dance of house music; the bass is almost underwater — present, but only so audible in the mix. R&B vocals stretch throughout, and another arpeggio of haunting melodies is spun into the woozy, sleepy tone of the tune. The track suddenly parts and reforms into a new melody, with a classic 2-step drum structure. A small bell refrain is introduced, and the chords form together with chopped vocals. The song plateaus into a slow, heavy-eyed dream.
Ultimately, Kindred leaves the ears satisfied and at peace — and that’s okay. You can call it dubstep .
