Posts Tagged ‘logan’

Introducing…Malic

September 4, 2010

Sorting through my inbox recently I came across a Twitter notification that ‘k1malic’ had started following me. I clicked through to his profile page and although it said he was a Grime producer, I couldn’t for the life of me find any links. I asked if he could send me some links and right away he sent me some showreels; three in all which I nonchalantly downloaded. That was about 15 days ago. I have not stopped listening to them since.

Malic aka Kitt Bevan has only been producing for a matter of months but already he has honed his own sound. Like Z Dot, he utilises strings to great effect – albeit not as sparsely. Malic’s music evokes that Eski Beat sound whilst still sounding relevant and fresh. While many imitators merely sample ‘that’ Wiley snare for an Eski Beat effect, Malic has a much broader approach; layering polished orchestral strings, deadpan brasses and driving basslines on top of current drum patterns and tempos.

As Logan told me in one of many interviews, it’s always better to rework and edit existing Grime formulas than attempt to ‘widen’ the sound by incorporating nuances from other rap-based genres. In most instances, ‘widen’ is just copying what’s in vogue.

Listen to the below and see what I mean. These beats have an Eski texture to them without sounding like imitations. I tip Malic for big things over the next coming months, he has some projects on the way and I hope to hear him collaborate with some other artists, not just MC’s. His instrumentals are beefy enough to stand on their own. Big up Malic.

Malic – Dont Try It by Threefold_Media

Malic – Bally by Threefold_Media

Malic – Negative Actions by Threefold_Media

Kristian

Logan Sama’s June 2010 Round Up

July 6, 2010

“The last month has been all about the releases, and keeping them consistent. I helped J Beatz put out the ‘1 Dutty E.P’ on his own label Crown Jules and Sharky Major’s much-anticipated mixtape ‘Major League’ is coming out later this month. B-Live’s ‘Modern Warfare’ EP is coming after those, then we have two producer E.P.’s from NuKlea and Z-Dot and then Scrufizzer should also have an E.P. ready by then too, something I am particularly looking forward to hearing.

“All these guys have been sending me stuff regularly so it’s only right that their work is put out there for the public to buy. Putting downloads and promos on Twitter or Grime Forum is all well and good but for the casual listener, these are inaccessible. They will go on iTunes or Juno and search for music and so it’s important for artists to put their promos on these sites – it’s free to list as well.

“I’ve got a bag of unconfirmed projects in the pipeline too, one of which is called ‘Year of the Producer’ – a four track E.P. compiled with efforts from some of the bigger producers in the scene. Keep an ear out for that!

“I’m currently sourcing MC’s for the next Chosen Ones, due to air at the end of July or the start of August. Everyone’s schedule is hectic though as it’s summer – which only means one thing – Napa! However, the feedback I get for the shows is great and I really enjoy doing them.

“Already we’ve had some big releases, Skepta’s ‘Rescue Me’ and Jammer’s debut album ‘Jahmanji.’ A song from the album called ‘Back to the 90’s’ will, I think, do really well – the response from the crowd at the launch party was really good. In fact I think he will be performing a lot of songs from this one; it’s a varied album with lots of different styles and approaches.

“Touring with Mumdance and working with Toddla T has inspired Jammer to make a lot of uptempo dance-records – but not of the Euro-trance-pop variety! It’s an album you’d expect from a producer – with lots of Grime on it. ‘Bad Mind People’ featuring the New Gens and Lickle Jay is my personal pick!

Ghetts

“Ghetts’ appearance on my show this week was great and although we only got to play a handful of tracks from ‘Calm Before the Storm’, I’m excited to see how it is received by fans. Believe me when I say there are a LOT of good Grime tracks on there! Fans will be pleased.

“Talking of NASTY crew members, Hyper made a welcome return to Grime last week with his ‘Woooo Riddim’ version. Although I retired this beat a while back, it was good to hear him back. I know he’s got more in the pipeline too. People expressed their surprise at how sharp he sounded – what do you expect from a guy that’s done it as long as him!

“Aside from music, I recently purchased an iPhone. I’m learning it currently and will be able to Ustream etc in the near future. I have also bought a new HD camera, so expect to see more video features from myself soon! Oh and if you can’t wait, look out for me in the ‘Street Fighter Riddim’ video.

Respect. Keep it Grimy!

Logan.”

Logan’s Top 5 – July 2010

Jammer feat. Lickle Jay & Newham Generals – Bad Mind People

Maxsta feat. Various – East London Is Back RMX

Ghetts – Salute Me

D Double E – Street Fighter Riddim –

B-Live feat. Spyda, Newham Generals & Skepta – Modern Warfare 2

J Beatz Shoot – May 2010

May 28, 2010

Big up J Beatz!

Check J Beatz on:

Twitter
Myspace
Facebook

Kristian

Teeza Interview – Riot E.P Release Monday 31st May

May 27, 2010

At Welcome To The Fold, we pride ourselves on supporting and promoting a new generation of Grime acts that we feel are not only making amazing music, but making in their own way and on their own terms. Teeza is one such artist.

Hailing from West London, the producer/MC has been catching our attention for a little while now, with his devastatingly hype (and melodic) instrumentals and punchy spitting. Having appeared on a recent episode of Logan Sama’s Chosen One’s, and with the release of Riot E.P. imminent, we thought there could be no better time to catch up with Teeza for an interview.

Riot E.P – Out Monday 31st May. Available at www.teezamusic.bandcamp.com
Riot Muzik EP Preview by Threefold_Media

Introduce yourself to our readers:

For those that don’t know, my name is Teeza and I’m a producer from the Grime scene and my new release the Riot E.P. is out on Monday 31st May.

Why call yourself Teeza?

It came about in school. It was given to me back in the day because of my DJing style – I used to play tracks and chop them up for a while before letting them drop.

So it’s got nothing to do with you being a bully or anything then?!

Haha! A little bit maybe haha!

You’re MC as well aren’t you?

Yeah I am. It’s not really my main focus, but I do write lyrics from time to time.



Do you find being able to spit compliments your productions, giving a better idea of what MC’s will want in terms of drops or structure?

It does in a way. When I write a beat I sometimes imagine what kind of lyrics, styles or flows will suit it. Sometimes though I just want to make standalone instrumentals for DJ’s and the raves.

You seem to have a wide musical range in your tunes. Both Riot and Secret Level are reminiscent of Dexplicit, however your Air Bubble remix is completely different – all skippy snares and bass. Is it liberating not being tied down to one particular sound?

Yes I think it’s better that way. Since I started producing I always wanted my style to be more rounded. I never wanted to be boxed in or known for one thing as, naturally, that would limit me. I listen to loads of different music, so I guess all those influences come out through me and into what I make.

It is a reflection of me. Music production for me is driven by mood. Most people don’t know I make Hip Hop and R’n’B as well as Grime – you can catch me making styles of music you would never expect.

I remember talking to you on Twitter about UKHH rapper Jehst, an artist I really wouldn’t expect Grime guys to appreciate…

Yeah his rapping is really technical. I’ve always been into that kind of stuff though, the thing is, I’m from West London and so when I started making music it was inspired by the Garage sounds from my area. As the sound changed and got ‘Grimier’ I changed with it. More time I’m listening to Hip Hop though and other music.

Do you play an instrument and if so do you find it helps your production?

I play a few different instruments – I’m not particularly good at any of them if I’m truthful – but it sets me apart from other producers in that I’m making music that isn’t necessarily ‘Grime.’ My music has no blueprint I just make what I like – it might be 140 bpm and have those Grime elements but it will have other elements as well.

I might put different types of melodies on there or mix up some different sounds.

You, Royal T, J Beatz, Nu Klea, Spooky are considered part of a new generation in Grime music, one that is bringing the dance floor element of Grime back to the fore. How do you feel about that?

I guess so. I think Royal-T and I make similar types of music sometimes, we made ‘1up’ and ‘Secret Level’ around the same time in 2008, even though I only released it this year. Yeah I’d say we are the new generation of producers. I’ve noticed that over the past two or so years, the sound has slowed down and gone towards Hip Hop. We are trying to bring the Grime essence back.

What we make now is much more similar to what was being made back in 2005-6.

You recently appeared as an MC on Logan’s Chosen Ones alongside Scrufizzer, Voltage, Dream McLean and Oh No. How did you find it?

Yeah I’ve always liked it! I started writing in 2003 so I’ve always enjoyed set appearances and what not. Logan’s was fun – I hadn’t been on a set for ages and hadn’t been back to Kiss since 2006. It was good to link with Scruface too.

Are they MC’s you collaborate with?

Well I’ve known Scruface for a good 5-6 years and we’ve done lots of collabs here and there. I’ve just done a track with Voltage with another one in the works and I’ve just finished a tune with Dream called ‘Stop Me’ which I think he might be releasing as a single.

We will be doing quite a bit of work over the next few months so watch.

What did you make of Scruface’s announcement he was going to quit?

Ahh he’s just going through a faze man, he’s not going to quit! We talk a lot – near enough every day – about music. People have those bad days is all. I know when he’s at home he’s non-stop recording and keeping active.

Back to the E.P. then, what can the people expect?

Raw Grime. It is quite hype and the tunes sound strong. I mixed them down so the snares and bass punch through with the mids and los.

Is the E.P. a fair reflection of you?

Yeah it gives you one side of what I can do. I kept it quite tightly packaged with the tunes similar in theme.
Will we hear any MC versions of the tracks?

Initially I wanted to do a mixtape featuring 10-20 MC versions of Riot, but everybody’s busy doing their thing so I thought It’d be best to come through with the instrumental. There are a couple versions out there.

‘Jheez’ has got a nice Calypso feel to it, with that steel drum type of sound in there. If you could get a Yardie MC to spit on it, who would it be?

You know what, I’d say Goodz. He smashes it when he spits in that Yardie style. In fact I think he’s probably one of the best Grime MC’s ever. Maybe even Shizzle…

So, the most important question of all. Riot is out next Monday (31st May), where can the people purchase the E.P.?

You can buy the Riot E.P. for £2.99 exclusively from www.teezamusic.bandcamp.com

Any shoutouts?

Safe, big up everybody supporting, Team Supreme, Once Upon a Grime and Mute for the artwork!

Follow @teezamusic
Teeza’s Myspace

Kristian

Logan Sama’s New Blog Launch on WTTF!

April 5, 2010

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We are very pleased to announce that as from today, Kiss FM host and Grime DJ supremo Logan Sama will be contributing an exclusive monthly blog to Welcome To The Fold. Far from a conventional monthly summary, Logan’s WTTF blog will provide unique insight into the Grime scene as well as detailing his encounters, interests and observations over the past 30-or-so days – Grime related or not!

As a DJ, A&R, writer, commentator, gaming enthusiast AND ardent West Ham supporter, there will always plenty to read about! This month Logan talks Estonia, Chosen Ones, Street Fighter and upcoming releases on Adamantium:

Earlier this month I DJ’ed out in Estonia for an event called ‘UKG’ which was dedicated to the spectrum of Garage sounds old and new. It’s always interesting playing in Europe because each country will take different things from the music. In Estonia, as I played my 90 minute set, I could see some people going off to straight up-and-down Grime, whilst the others started jumping about to more Dubsteppy type stuff.

They didn’t really have a grasp of what the Grime classics are, as I suspect they have just started listening recently. But I can really see instrumental Grime spreading across Europe – more so than vocalled Grime – as inevitably, where English isn’t spoken as a first language, it just becomes a barrier. I had a great time and hopefully I’ll be going out there again sometime soon!

This month saw the release of the Palladium/Vice documentary ‘London Pirate Radio’, which yours truly was featured in. It was a really interesting piece and I liked how it went into the history of pirate radio and where it came from. Looking online, the feedback has been really good, not only for the film but for the accompanying mixtape I put together. Vice are really pleased with how it was all received and tell me it’s been the most popular item they’ve made so far!

Earlier this week I held a Street Fighter session at London Bridge and invited some Grime mandem down. JME, Shorty, Solo 45, Score Five and Dexplicit amongst others were in attendance, Dex just edging out Jamie in the final bouts for the title. We might hold a proper tournament sometime soon as there are some half-decent SF4 players in the scene.

We all enjoy playing it and it’s a good reason to get together other than music. I have to say now though that I doubt I’d take the title – I just don’t have that winners’ mentality! I can’t wait for the new edition to come out on April 30th – Dudley is gonna be the guy – his ultra animation looks sick!

Check Dudley Murking Here!

The Chosen Ones show was a big deal for me this month – the four sets (featuring Bloodline, OG’z, Newham Gens, Ghetts, Devlin, Dogzilla, Shrimpoz and Griminal) went well and the online listening figures (as well as the downloads) were really high. The KISS producers said it was a strong look and I can’t wait to air the next show on April 9th. We are recording the sets for it now and all I can tell you is that you can expect to see some promising young talent on there! I’m also trying to get a set recorded with all the Yardie MC’s on it as I know people have been itching to hear that!

Release-wise, ‘Shark Attack’ – which came out on my label Adamantium Music – did well, with some good feedback on the Grime Forum. Next up will be B-Live’s ‘Modern Warfare’ and that will be out as soon as we get the remix done. It looks like single releases is the way to go now – mixtape CD releases (and all the time-dalaying niggles inherent in them) aren’t really the one anymore. Saying that, Sharky’s and Badness’ CD’s will be out soon and once they are out, done and dusted, I’m going to be focussing on getting some producer EP’s released. Watch this space…

That’s it for this month. Next month I’ll be looking at putting the back catalogue online and some other stuff. Watch out for the Newham General’s new EP with Skitz Beatz and my Chosen One’s set on April 9th. It’s gonna be another big month!

Until next time, Keep It Grimy!

Logan.

Sharky Major – Shark Attack EP Release!

March 23, 2010

It’s always nice to see your work ‘go live’ – this is no exception. Having been commissioned to photograph and design Sharky major’s new projects sometime last year, we wondered if our work would ever see the light of day! But, here it is – with full digital release.

Sharky Major – Shark Attack EP available from:

Play
Amazon
7Digital
iTunes

Sharky Major, legendary Grime MC and one-time member of the notorious NASTY Crew is back with his banging new single ‘Shark Attack’, available digitally from March.

Produced by Skepta (Bad Boy) ‘Shark Attack’ signals an emphatic return to form for the East London MC, whose complex lyrical style first captured imaginations in the early Noughties and continues to influence Grime MC’s to this day.

A sophisticated string-led stomper, ‘Shark Attack’ showcases Sharky’s lyrical dexterity to the fullest, as he darts between rap and vocal harmonies with ease. Hard, yet dancable, this one is for the clubs and the cars!

With the original having received heavy rotation on Logan Sama’s Kiss radio show, the release also features an exclusive remix featuring Devlin, Ghetts, Dot Rotten and P-Money – arguably the Grime scenes’ fastest rising stars. This is a feat only MC’s of Sharky’s calibre can manage!

Hit up Sharky on Twitter @sharkymajor

Big up Sharky, Logan, James and anybody else involved. Let’s hope Sharky’s mixtape ‘Major League’ follows soon!

Kristian

Chosen Ones know the path to success

March 5, 2010

Logan Sama’s Chosen Ones set on the 26th February was, like stumbling across an oasis in the desert, a welcome and much needed surprise for thirsty Grime Fans. Two months after Kiss FM’s decision to cut all specialist DJ’s slots by an hour (including Logan’s) Grime is still feeling the effect, and despite recent mainstream successes from Wiley, Tinie Tempah and Dizzee, they have done little to ease MC’s, DJ’s and fans concerns that through mainstream neglect, the scene will peter out.

Nevertheless, the Chosen One’s show, featuring Newham Generals, Ghetts, Bloodline and OG’z to name but a few, went someway to remedy that ill feeling. Not only did it give fans four energetic live MC/Crew performances (a fundamental and necessary facet of the Grime scene), but it revitalised hopes in Kiss reverting Logan’s show back to two hours. Whilst official listening figures are unknown at the time of writing, download figures for the four sets currently stands at around 400 and the Grime Forum thread has had over 22,000 views. This is in no way insignificant.

The Chosen Ones premise is solid. Four back-to-back, but separate sets, with Logan tailoring instrumentals to each crews’ respective flavours and flows; a glut of UK style and pattern straight from the capital, raw and uncut. This is what Logan’s vision for a separate and self sufficient music industry should be built on – ideas like this. With Kiss unlikely to reverse their decision for the time being, the Grime scene needs to focus on developing more innovative formats and platforms in order to expose music.

When D Double spat the bars “Trains run on timing/ When there’s a delay it messes up everyone’s timing/” over J-Sweet’s ‘Gutter’, it rang true. The loss of an hour is merely a delay toward Grime’s destination (of wider and dare I say mainstream success), much like a train journey. Services have been diverted. Logan revealed in his interview on this blog that he will embark on new projects this year that he hopes will not only spark interest in cultural elements of Grime (the beefs, the levels, the gossip, the fashion etc) but will herald a new entrepreneurial push – a rebuttal of what Simon Reynolds called Grime’s “false expectations for mega-fame and Puffy/Jay-Z style transmedia empire building”

If this show is anything to go by, Loges is onto a winner. But the future and development of a scene cannot be pinned upon one man. Fresh ideas, executed well, will yield results. And for those that think Grime is in any kind of musical crisis and incapable of garnering attention from major players, listen to the Chosen Ones sets and think again.

Download them here:

Part 1 – Newham Generals

“Click here”

Part 2 – Ghetts, Dogzilla, Griminal, Shrimpoz & Devlin

“Click here”

Part 3 – OG’z & Mega Montana

“Click here”

Part 4 – Bloodline

“Click here”

Kristian

Threefold Media Update – February 2010

February 4, 2010

Already we are two months into a promising 2010. Where does the time go? Is time perception something that changes during puberty because time couldn’t pass quickly enough back then! Now weeks flash past in the blink of an eyelid and I feel like a perpetually startled deer. Oh dear.

Anyway, I would like to apologise on behalf of the team for the lack of updates over the past month. Before we broke up for Christmas, Threefold Media sat down over a few cold ones and thrashed out the action plan for the New Year. Therefore, when we reconvened – fat and full of Quality Street – we diverted most of our energy and attention into kick starting our business plans off.

And I am happy to say, so far so good!

2010, I can safely say, is going to be a big year for us. From humble beginnings as a shared ‘concept’ between three friends to a sharp, professional creative agency, Threefold Media is growing stronger everyday – making contacts and steering projects in the process.

We continue to make moves in the Grime scene, a genre we are all huge fans of, and have a number of new media projects that we hope to start later in the year. Working with Dirtee Stank, Tim & Barry, Logan Sama, Butterz, No Hats No Hoods, MSM Studios and various MC’s, producers and DJ’s, we feel confident that we, and indeed Grime, will achieve new successes this year and that our shared cultural and financial capital will grow stronger.

To achieve this we will be stepping away from traditional Grime representations and stereotypes and promoting something fresh and original, that is still true to Grime’s roots, artists and fans. No more alleyways or paint splatters please! As a genre that’s often at the mercy of advertising companies and brands looking for a cheap way to ‘buy’ sub-cultural cool, we hope to demonstrate that Grime is a forward-thinking, innovative movement that deserves dignity and above all respect.

In fashion, another passion of ours, we have a number of projects and collaborations coming up, working specifically with young, fresh and talented designers and labels from both Southampton and London. In collaboration with Mpdclick Managing Editor Sarah Leigh, we are helping host a trend-setting fashion-themed event in March that will be the first of its kind in Southampton and promises to be a great success, building on the city’s growing reputation as a burgeoning cultural centre. More details on that soon!

The popularity of our interview with Logan Sama, as well as the growing demand for the visual medium, has led us to the conclusion that video is the way forward. Therefore we will be investing in video equipment this year – not only will this add further depth to our repertoire, but it will allow us to develop other avenues of creativity.

Having spent the past couple of years photographing and documenting our city, and working with a multitude of local council bodies, event staff and media outlets, I now have enough material to build my own exhibition. Scheduled for the latter half of the year, the exhibition will be called ‘Capturing Southampton’ and will feature Southampton citizens from all walks of life in their magnificent glory! As a passionate photojournalist, this is one project I am especially looking forward to!

As well as all this, we continue to photograph, design, write and publish work for clients looking for a new creative direction. We are releasing a PDF soon, profiling examples of our best work. If you would like a copy or simply talk further about our projects, message me on twitter (@threefoldmedia) or email me at Kristian at threefoldmedia dot co dot uk.

Here’s to a prosperous new year!

Regards,

Kristian on behalf of Threefold Media

Logan Sama Interview

February 3, 2010

Host of the only legal Grime radio show in the world, record label owner AND a regular Jim’ll Fix It to Grime MC’s and producers, Logan Sama is Grime’s go to guy. The last quarter of 2009 unfortunately saw his KISS show cut by an hour, in line with the stations’ desire for more playlist airtime.

But it seems even pluralizing radio bosses can’t hold the Essex selector back, as he embarks on some new, exciting projects he hopes will rejuvenate the scene and provide fans with much needed coverage.

We caught up with him for a chat.

Logan, what was your highlight of 2009?

The best thing about 2009 was people being consistent over a long period of time. In a music sense, people were getting music made and getting it released.

Do you think this increase in work rate reflected the audiences’ renewed interest in music?

Yeah I think MC’s have been meeting the demand.

2009 was a year that heralded great commercial success for a handful of Grime MC’s, yet they achieved this without making Grime music. What does this mean for Grime going forward?

In a positive sense you get more people finding out about these artists, where they have come from and what they have previously done. Then, hopefully, you get a trickle-down effect [into the scene] However, there is the other side of it whereby you have weak-minded artists that think the only path they can take towards success is in making stuff [that’s currently popular] that they weren’t making in the first place.

Do you think this reduces longevity and, in some cases, cheapens the ‘worth’ of the Grime scene?

Yeah I think it’s got low longevity to be honest, especially the stuff out now because it’s not particularly adventurous – artistically or musically.

Whilst major label interest continues to influence what music Grime artists’ record, there is an equal reaction fighting it’s allure. What hope do these acts have in reintroducing and popularising the fundamental principles of Grime; hype, innovation and attitude?

I don’t think that the worlds ready to hear their shit to be honest and that’s not necessarily a bad thing.

What can you envisage happening then?

[Formulation of] a self sufficient industry that’s independent of the mainstream but people can still make a living from. You can make D‘n’B records without sounding like DJ Marky & LK’s ‘I like it’ and go round the world and make a good living. We have equally qualified artists who have taken years to build up their expertise and their craft.

Who do you see as leading the way against the pull of the mainstream?

Jamie because he has absolutely no fucking interest in it whatsoever. He’s not done any of it and he really doesn’t want to. Everyone else is just focusing on their music.

Elijah and Skilliam are championing a new outlook in Grime, focusing on DJ’s and producers rather than MC’s, who often let their ego muddy the music. Do you welcome this move?

Yeah, they show a different side of Grime and put their personal stamp on what they play as DJ’s, which I think is very important. It’s important because it gives a breadth to the appeal of Grime, especially to people that don’t like MC’s, but appreciate the beats and mixing.

To be honest, the more DJ’s we have representing different sounds and working with producers that they like, the better. Terror Danjah and Swindle hadn’t put out a tremendous amount of beats and music in 2009 and audiences weren’t really hearing a lot of their stuff. However, working with Butterz has opened doors for them because as producers, they are getting highlighted whereas in my show for example, they get lost in the mix.

I have a show which has to cover across the board and my main aim to play the most popular stuff alongside the most appealing stuff. DJ’s on the pirate circuit can focus on one avenue of Grime, which is healthy for the scene.

Some argue that Grime is dead and that the music made during Grime’s ‘golden era’ is not being made now. Is it evolution, or is it economics?

I don’t think the sound has changed, it has just widened. Music as an entity changes based on the questions asked of it by the consumer. If it was still rewarding to make beats and spit over them on radio, not just financially but status-wise, then people would be doing that a lot more. But, the focus has come away from that now.

That is one of the main reasons as to why there aren’t many Grime DJ’s anymore -it’s just not rewarding enough, and people think Grime DJ’s are somehow lesser than other DJ’s who may even be technically inferior.

Is that something you have faced?

I see a lot of guys getting bookings, from other scenes. When I got my KISS show, my vision as a professional DJ was based upon going to raves where you’d have Tim Westwood playing hiphop and Double D or Goldfinger playing dancehall. I would therefore, in the same way, go to those events and play a Grime set. That’s how I imagined it.

Obviously that never really materialised even though this genre of music is still going strong in terms of producing well-known artists and well known tracks. Instead, we’ve seen a rise in budget DJ’s that play everything but stand for nothing and that’s across the board – generic urban nights to trendy Shoreditch nights, where people are the flavour of the fucking month playing uninspired selections.

Going back to the evolution of the Grime sound, you said earlier that the consumer dictates where the sound goes. Therefore, in your opinion, was it ever a conscious decision by producers and MC’s that saw what was going on Stateside, to adapt their sound and tie in with that market?

I think it’s subtle and slow. If you are an MC with a microphone, you will want to say more stuff and work on your technical ability to ensure you’re better than the other MC’s out there. That became quite important in 2005 – 2006 whereby flows and lyricism became prominent and guys spitting for reloads were looked down upon a bit.

At the same time, when the mixtape thing became popular, there was a big lack of live events. Now, live events are restricted to people turning up and doing P.A’s of their singles. So, like I said, the reward for some of the skills people had and practiced, is not there anymore.

The five MC’s that are rated for reloads now are the ones that were doing it back then. D Double E is the reload guy and will always be rated for that. But for new guys coming through, I don’t really see the recognition or reward for having that sort of live element. Now, it’s all based around singles which is a wider-based thing. Guys like Chipmunk for example, who have never been involved with that live element, are taking the culture with them [into the mainstream] and I think it’s good. I really do. In Chipmunk’s case he is a positive young man and works hard.

As a Grime MC, those live skills are not respected by wider audiences, and I don’t know why that is. It might be fault of our own because we’ve not let people understand how important those things are and allowed them to die but, at the end of the day, guys like Spyro who are fantastic technical DJ’s are not getting the rewards for their skill.



Which is crazy when you consider how many parallels there are between Grime and Dancehall. In Jamaica they have festivals with massive crowds…

Yeah, but that is the cultural backbone which has taken many years to develop. You have to remember Grime is only 6-7 years old.

Over those 6-7 years do you feel the press has represented Grime fairly?

I don’t think the press has made enough of it. Elijah and I had an amusing conversation about this the other day concerning Grime DJ’s in the press. Look at any other scene and the press will write about anyone if they are flavour of the month.

When you try and get something about Grime into a publication they’re like ‘What’s the catch? What’s the story?’ and it’s hypocritical. What’s the story about Ibiza this year? Or another DJ that’s playing the same tunes in Shoreditch or Yo-Yo’s that everyone else is playing already?

All they have over us is the right press officer [but] if you are good at what you do, people will want to read about it! That’s how music journalism should work. Your ‘story’ has nothing to do with your talent and it’s up to the journalist to find it.

You’ve said that Grime is a real meritocracy in that there are no proven ‘formulas’ and that experimentation within the scene is always high – in both music and media. You think this is still the case?

If you are hot, people will discover you. People talk about knowing this person or that person, or being in certain circles, but really, if you get into the real world of music, because it’s all so structured and there is a network there, it is all about talent.

Try and become a big D‘n’B MC without being brought in by the three main big promoters and five big DJ’s co-signing you. It’s really locked down tight! Whereas if you do Grime music, people gravitate towards you – no one gives a shit where anybody’s from. If you’re doing stuff people like, then you’ll get noticed. I think Grime is THE most open genre at the moment.

How did you take the news when KISS first announced the 1 hour cut to your show?

You can’t do anything about it so I immediately thought about what I could do to make things work, rather than getting pissed off about it. It was a wake-up call for me because I had become a bit complacent – happy to do my radio show and not any other stuff that I could have been doing.

Were you surprised with the amount of support you received?

Yeah man, all the people online got noticed by the management and it was discussed. It was great, but the seeds had already been planted. We’ll see what happens going forwards.

Last year you debated with MistaJam over Twitter, concerning Grime’s lack of coverage and reference on mainstream radio and other media channels. Could you clarify what you said for those that missed it because I think it was an interesting point…

I think there are numerous platforms, not just 1xtra, where people could be made more aware of the fact that these stars are coming from Grime. I felt that 1xtra was one of the places where Grime wasn’t being promoted. It’s subtle and I don’t think it was intentional on their behalf, but they had a jingle on [Mista Jam’s] radio show where it said what music he played and that didn’t include ‘Grime’ – even though the jingles were Tinchy Stryder and Chipmunk.

That’s important because it erases ‘Grime’ from the subconscious of people listening to it. If it’s not there, it’s easy to forget it.

Trim said in an interview a while ago that even the word ‘Grime’ registers negative expectations and it’s hard for artists to rise above them. Do you think there is any truth in that?

I don’t think that’s true because so many people have come from it and have done really well. But like I said, achievements in Grime are looked down upon and not really acknowledged. It’s like ‘ok you’ve done that, now come and do some real stuff.’

What do you think is the cause for that lack of respect?

The music and the image we put out isn’t professional – all that cussin’, bickering, misbehaving and unreliability undermines the huge amounts of creativity and hard work people in this scene put in. We fail on a bunch of superficial principles that the rest of the music industry base themselves on.

Your label Earth 616 has gone rather quiet recently, after releasing three vinyl EP’s last year. What happened and will we see more releases this year?

They didn’t sell a lot of units and cost me a shit load of money – so much so that it took four months for me to recover my costs. Financially it was unstable. I will be putting out more stuff in the next couple of months but it will be based on an entirely different business model. I’m still trying to confirm artists for that, but [in the meantime] I’m doing a couple of digital releases, both of which are vocal cuts.

What projects you are working on at the moment?

At the moment I’m working on getting the Sharky Major and the B-Live & Spyda tunes out because they’re hot tunes and I want to see them out before they disappear off the face of the Earth. Both are likely to be released at the start of March.

I’m also working with some of the lesser known artists who can’t get their stuff out properly and end up giving it away for free. I want to help those people.

The last mix you made available for download was your birthday one, which was very well received by fans. Have you got any more up your sleeve?

I’m going to try and do a bi-monthly mix that people can buy on iTunes, if I can sort out the legalities of it. It won’t be free, but it will be a Logan mixtape available for a couple of quid featuring exclusive freestyles and what’s hot at the moment.

Any plans for another Nike One Away project?

Not at this moment in time. I’d love to do that again but it means going into the studio and holding everyone at gunpoint until they finish their bars!

Break down what that whole recording process was like…

I spent a lot of time – about two weeks in total – sitting in studios with people until they did their tune.

Name a personal highlight from that time?

I wrote Skeptas’ ‘I Spy’ dubplate which was cool! And getting a Newham Generals dub is always fun too…

What was your favourite dub on there?

Erm…Murked again. That was sick. Battle riddim was also…

Listening back to your old mixes you used to drop a fair bit of Dancehall in there, but not so much anymore. Why?

My attention has just drifted away and I’ve not noticed as many big records as I had done. I’m a bit out of touch now.

Last but by no means least do you have any tips for this year?

Producer wise – J Beatz and Nuklea. MC wise I’d like to see Scruface do stuff this year.

Kristian