An instrumental album inspired by the foundations of early dubstep (2006–2010), shaped by deep sub-bass, half-step rhythms, and heavy, slow-moving basslines. Sparse drums, dub textures, and shadowy atmospheres create a dark, nocturnal sound designed for sound systems, long blends, and late-night listening. Raw, restrained, and rooted in the original spirit of the genre.
I used Suno Ai to produce this album by uploading ten original piano compositions, each providing a harmonic, melodic and rhythmic core, and invited Suno to produce and arrange them using a detailed stylistic brief. The result is not a replacement for human musicianship, but a fast, provocative extension of it: a way of hearing the music I created through a radically different production lens.
The guiding prompt was:
"Create a cohesive instrumental album inspired by early dubstep (2006–2010), drawing influence from pioneers such as Skream, Benga, Burial, Mala, and Loefah. Tracks are centered around 140 BPM with a strong half-step feel, maintaining a dark, sparse, and atmospheric aesthetic. The music is driven by deep sub-bass as the main melodic element, featuring heavy, slow-evolving LFO-driven wobble basslines. Use minimal synths and avoid brightness or excess layers—focus on weight, space, and low-end movement. Drums are restrained and hypnotic, built from half-step kicks, swung snares, ghost hits, and dub-influenced percussion. Atmosphere is essential: incorporate dub reverb, vinyl texture, distant pads, and shadowy melodic fragments. Production should feel raw, analog-leaning, and sound-system focused, with strong mono sub and plenty of negative space. Arrange tracks with DJ-friendly structures, including long intros and outros and gradual, organic changes. The overall mood is deep, nocturnal, and introspective—true to the spirit of early dubstep culture."
What emerges is a conversation across decades: new musical ideas, shaped once slowly by hand, at machine speed, revealing new colours, tensions, and possibilities.
credits
I first picked up the guitar at 15 in the late 60's to learn Led Zeppelin riffs.
In 2008, after 40 years of playing and teaching the guitar, I switched to the piano and have never looked back.
Piano has greatly assisted my composition and improvisation skills and is brilliantly useful in the production process.