Billy Turner – Doomsday
British producer Billy Turner’s recent release Don’t Talk To Me About Style EP on Drumcode has been been flying off the shelves. The jittery, sticky humming baselines reign supreme in this brisk affair. Nonetheless, ‘Doomsday’ shows world class dexterity in assembling state-of-the-art gargantuan of lower BPM Techno. Released this year on fellow Britons Dense & Pika’s Kneaded Pains label, it’s shuddering. The term Doomsday has many different interpretations in various shapes & forms, be it the ‘2012’ movie or DC Comics character. They both retain a similar theme to the title track – a sense of dread.
As described on Beatport, ‘Doomsday’s cascading drums and tripped out metallic refrain kick things off in typically explosive style.’ Whatever image Billy had when engineering the glistened sheened synths, you can imaging a crash and a bang of a Terminator landing could’ve been one. The way they ‘zip up’, add unruliness to the cut. It’s anarchic, similar to that found on Markus Suckut’s irresistible Resist LP. Spektre & Perc are other British producers adapt at this, and Perc has even been vocal about the underlining political tones on his music. Disaster is also felt within the bass, as it marches in one-two, similar to what Mark Reeves likes to display. At times it’s distorted, wanting to crush all that’s beneath it. What sounds like a note of a cello in the distance paints a dull sky to the track. Random extracts of glitches, and scanners echo to add to the disarray of the world on display.
Fabric released a promo mix of unreleased material – it’s a snippet of Billy’s style. As he puts it, ‘For me there’s a sinister and spacey vibe throughout. It’s a dark journey with crescendos, which I feel is a great representation of my style.’ Certainly, those mentoring him such as Skream see this style as emotive and fresh. As long as Billy makes cuts like these, we hope that Doomsday doesn’t come too soon.