With first birthday celebrations fast approaching, Leeds' monthly club night 'Tropical' has been responsible for bringing some of the most upfront, forward-thinking deejaying talent to the city over the past 12 months. Consistently innovative in terms of bookings and with an intimate, bass-friendly home, Tropical's rise to prominence has culminated in arguably it's biggest lineup to date:
Lineup:
PANGAEA (Hessle Audio/Hotflush)
BODDIKA (Instra:Mental/Swamp81/Naked Lunch)
T. WILLIAMS (Deep Teknologi/PTN/Local Action/Enchufada)
KRYSTAL KLEAR (Hoya:Hoya/Dub Organizer/All City)
DUB BOY (Steak House/Idle Hands/Ruffneck Diskotek)
Jangle / J.Angle - Recently finished a Mistamen remix and has a record collection to rival most record shops. He's selling some too: http://jackjangle.tumblr.com/
Jera - Deejaying across the dub/house/garage spectrum, Jera's 'Another One' has recently been signed to 'Pollen' after being remixed by Mistamen and receiving support from the likes of Blawan and Tom Lea.
Mella Dee - One part of Doncaster-trio 'Mistamen' who recently signed to Greenmoney Recordings. Their debut release 'What You Do To Me' was backed by a heavyweight C.R.S.T remix and earned support from the likes of Tomb Crew, Seb Chew and Martelo.
I actually remember blogging this about 'Tropical' back in 2010:
"Their original take on the scene combined with big line-up after big line-up has seen Tropical establish itself as one of the most on-point nights in the city. It never fails to attract a good crowd but most importantly, also manages to deliver musically whether you're smashed or stone cold sober!"
..and things haven't changed! It remains very much a night for the music lover and is one I hold in high regard for opening my eyes to the likes of Doc Daneeka, Shortstuff and Mosca. Previous guests also include Oneman, Greena, Girl Unite, Blawan, Martin Kemp, Ben UFO, Ramadanman, Marcus Nasty, Heny G, Scratcha DVA, Midland and Jamie Grind.
With his forthcoming project, 'The Art of War', due for release on March 28th via Uncle Albert Records, Sketchman has put together his first video for the title track. Featuring cameos from Shiverz, Z-Dot and some scantily-clad dancers, there's something in it for everyone. The tune itself sees Sketch's typically gritty flow laced together by an excellent Z-Dot beat, with the end result serving as the perfect appetizer to his most eagerly anticipated release to date.
With releases on the 'Well Rounded', 'Pattern' and 'Shifting Peaks' imprints, Leeds-based Hackman is hotly tipped to make serious inroads into the scene over the coming years. With his productions earning support from the likes of Martyn, Brackles and Doc Daneeka, it was 2010 release 'Always' that really propelled him into the spotlight. Now in his final year at Leeds College of Music, I caught up with him on everything from 'GarageBand' to playing in Denmark:
"I've had a few releases in the last year or so on 'Well Rounded', 'Pattern' and 'Shifting Peaks' and a joint thing with Gravious that was put out on 'Davey Jones'. Gigs wise, I've done Manchester, Leeds, Bristol, Nottingham, Brighton - most of the big UK cities really. Ah and I've been abroad too - I played Poland and Denmark last year and I've just got back from a gig in Hamburg! Besides all that, I'm actually still finishing off my last year at Leeds College of Music which is taking up most of my time at the moment. On a more long term scale, I've been putting a lot of thought and work into an 11-track album that I'm hoping to get finished in the not too distant future - I've been working on that for nearly 6 months already! More label work is definitely on the agenda too and more bookings would be nice!"
Beginning solely as a deejay, it wasn't too long before Hackman discovered first 'GarageBand' and subsequently 'Logic':
"I got into deejaying first - I used to love Drum 'N Bass so I was very much into that for almost two years or so I'd say. From there, it was a case of finding 'GarageBand' and some other really basic software on a laptop I had - I started pissing around, not taking things very seriously and just getting to terms with how everything worked but my dad came back with a copy of Logic one day and that was a different story. I managed to get it on my laptop and it just opened me up to producing - everything's a lot freer because it's obviously a better program and it was around that time that I was first hearing Dubstep, so naturally I fell into producing Dubstep. My first release was actually called 'Loophole', a little Dubstep EP that got put out on 'Studio Rockers' back in 2009. I got bored of making it before long though and I started hearing lots of new Funky stuff that I liked and it seemed only right to start making more melodic stuff. I started to buy a few vinyls and just fell into it really and it's all come together in the music I'm writing at the moment."
With a whole host of influences, perhaps unsurprisingly, Hackman finds it hard to describe his own sound:
"It's just House really at the moment I guess but it's got its Funk and Dubstep elements too - I guess I could say it's a very melodic, very colourful sound (laughs). I tend to use quite a lot of vocal edits in what I'm making too, which kinda makes it sound a bit like Garage - ah, I'll just stick to colourful!"
With the Internet now playing a key role in identifying up-and-coming talent, it was posting on 'Dubstepforum' that first got Hackman on the scene's radar:
"Most of the label stuff came about through me posting stuff up on the 'House' section on Dubstepforum - that was definitely the case with regards to 'Well Rounded' anyway. The 'Pattern' release was down to a mix and short interview I did for Blackdown last year - people on 'Ramp' got to hear about me off the back of that. I can't forget Myspace either - a lot of early remixes and things came about through messages on there and Soundcloud."
As a deejay, Hackman has played all over the UK but it's the shows abroad that seem to hold the most appeal:
"I like the darker, less crazy-fancy-lights sorta clubs to be honest! I actually prefer playing smaller rooms because you're much more in tune with your audience. All the foreign shows I've done so far have been really good because it's just exciting traveling abroad! Having said that, I've played to a lot of good crowds in the UK - Leeds is a wicked city to deejay in especially. It's all good to be honest - as long as the crowd's feeling what you're playing then you're in for a good night. Unfortunately I'm all CDs now though - I bought the last two 'Doldrums' releases because they were vinyl-only but I never really mix vinyl when I'm deejaying. I'll mess about with a few vinyl bits at home sometimes but it's too expensive to keep an up to date collection."
With a growing reputation, support in all the right places and a healthy back-catalogue, Hackman shows all the signs of exceeding justifiably high expectations over the coming weeks and months:
"I definitely want to be putting more EPS out, hopefully on some big labels - I'm actually in talks with a few at the moment which is good. I'm also doing quite a few collaborations but it'd be nice to hook up with some people on big projects. I love deejaying so maintaining a steady flow of gigs and playing in as many different places as I can is always gonna be a priority - I guess it's just a case of me carrying on what I'm doing! Having said that, I did try and launch my own digital label a while back that never really got going - it'd be fun to try that again one day, although not until I've established myself. I love all the music about at the minute though - guys like Julio Bashmore and XXXY are making some wicked stuff and it reminds me what a good time this is to be releasing."
Nasty FM'S resident Grime guru 'Selecta Fewie' has just put the finishing touches to the third in his series of 'Grime Ain't Dead' mixes, each of which aims to showcase a selection of Grime vocals and instrumentals. The mix is intelligently put together and offers up the perfect riposte to anybody doubting the scene's underground credibility.
With an excellent remix of T.Williams' 'Heartbeats' already doing the rounds for 2011, Mosca's current burgeoning reputation is a testament to a whole host of highly-accomplished releases. His 'Square One EP' was selected to be the first 'Night Slugs' release just over a year ago and in the months following, Mosca went on to remix everything from Foals' 'Spanish Sahara' to CRST's 'Dance', demonstrating the versatility in his sound. As a deejay, his grime-infused, bass-heavy style has earned considerable recognition too and 2011 looks set to be another defining year for one of the scene's up-and-coming stars:
"Most of 2010 was a highlight to be honest, it's been a steep curve though you know! Having said that, I like to look forward instead of reflecting on past stuff too much because it's a dangerous thing to look back - you're only as good as your present material. A lot of heroes have fallen off for me, and while I still respect those guys, it's a shame to see a few people living in the past or creating sub-standard music."
With such variation in his work, its Grime that's played the most significant part in the development of Mosca's sound:
"Yeah, I love Grime or at least the idea of Grime. The problem is the scene's so hit and miss for a relatively small movement, but I guess that makes it all the more sweet and rewarding when you find a new banger or an emcee that you rate. Personally, I would say my style crosses by a few genres but there are a few kinda themes running through - I like to balance my sound in terms of moodiness and light, rhythmic complexity and simplicity and what not..."
With this in mind, it seemed only right to ask whether or not any Grime collaborations were on the horizon:
"Yeah, there's a few projects that I'm really excited about but unfortunately I'm not going to name names right now - hopefully you should be excited about them STILL! I've got a few contacts I'm working with at the moment too but I'm always looking for new people to work with - any emcees or singers out there who would be interested in using my music, give me a shout on twitter or something!"
Being responsible for Night Slugs' first release back at the beginning of 2010, Mosca has played his part in the label recently being recognised as Resident Advisor's 'Label of the Year':
"It's a familiarity/alien concept with Night Slugs - you've got all the sounds you're familiar with, the synths of Timbaland and high-end Hip-Hop, the rawness of early Grime, the appeal of funky and all that - in a way it's nothing you haven't heard before but it's always twisted into something that sounds alien and new. I think alot of the Night Slugs sound needs some time before you can really start to appreciate it - it's so sharp you might cut yourself! I know personally a couple of their releases haven't done much for me at first but once I've heard them in out in a club, it all clicks."
On the topic of Night Slugs and the fusion of different sounds, I wondered whether or not Mosca thought variation was key to the future of bass music:
"Not necessarily I don't think. I respect those people that will aggressively stick to their style and work it into an art form, especially in genres like Dancehall, Grime and House. We need those guys and girls to carry the scene and to keep the levels up and to bring genuine passion to the music. As long as that's maintained, then I guess we have the luxury of being able mix and blend the different scenes and cultures."
As a deejay, Mosca has played all over the world but as with many artists I've spoken to, home is most certainly where the heart is. It's reassuring to know he still likes vinyl too:
"London's music scene is the best in the world for what I do so I'm happy to call home my favourite city to deejay in. In terms of clubs, Sven Vath's 'Coccoon' was incredible to play at - the main room has a half a million pound sound system, unbelievable! As for a favourite night, I can't really choose - it's whichever one I'm playing at to be honest! As a deejay, I'll stick mostly to MP3 these days because I don't buy much new vinyl anymore, just old Grime and Garage bits that I might have missed over the years. That's not to say I don't love vinyl though, it's just hard to incorporate as your collection gets bigger and bigger - it's hard to store it all too, especially when you compare it to how easy it is to look after all your digital files."
With Grime still very much at the forefront of his thinking though, it must still be nice to see labels like 'Butterz' putting out good quality vinyl:
"People seem to respond really well to that sound now and I think that's maybe because Grime has some history and some authenticity to it. The Butterz guys are dons in my eyes and take note, I need a sweatshirt as well as my T-shirt! Biggup to them though, they're kind of a shining example of what I was talking about earlier - they're appreciative of all types of music but aggressively Grimey at heart and are giving the scene a good name again. Having said that, I still rate Grime riddims as well as opposed to instrumental Grime - that 8-bar energy is just unbeatable."
After a good start to the year, continuity looks to be key for Mosca in 2011:
"I'm not looking to do anything out of the ordinary really. I guess I'm happy just having the chance to put out the music I make, playing lots of raves all over the country and working with artists that I feel can bring things to my sound. On the whole, I feel like I'm making music at a good time too which is nice - people seem to be showing me love from all angles!"
Thanks to Moxie, I was fortunate enough to be able to attend the 'Standard Place' takeover of the 'Boiler Room' last night with latest 502 Recordings protege 'Teeth' alongside the legendary Zed Bias and the one they call Oneman. Kicking off at 8 and going on until roughly 11, the Boiler Room series essentially provides a platform for some of the biggest names in electronic music to showcase new material to an audience of thousands watching via UStream.
After excitably ringing my dad on route to tell him where I was going as if he knew and/or gave a shit, I made it up to Corsica Studios for about 9. I met Moxie outside, and anxiously made my way into Room Two to find Helsinki's 'Teeth' midway through his first ever Boiler Room set. The room was predictably dark and the bass was reassuringly punchy and you know it's always gonna be a good night when everybody around you is clutching a can of Red Stripe. Within about 10 minutes I was bopping my head uncontrollably, a bit like how I'd imagine the Churchill Insurance dog would do had he just done a shed load of acid. As his set wore on, the room started to fill up in anticipation of Zed Bias gracing the decks but it was Teeth who really impressed me with a jump up style not too dissimilar from that of PTN's Breach.
Teeth
IN ZED WE TRUST. Within 30 seconds of taking to the decks, I was gone. Without even feeling the need to get a drink, Zed had me jumping around like a bellend and there was nothing I could do about it. There came a point when I clocked a guy standing beside me and we both shrugged our shoulders and agreed, 'This is just murder innit' - and that's exactly what it was.
There was a brief, 5 minute interval during Zed's set for Terri Walker to perform a live PA of Mosca's remix of T.Williams' 'Heartbeats' too, which only added to the hype. Flawlessly performed, the bass kick prompted me to throw a few stray gun fingers to the sky (cringe) and the track got wheeled 3 times before Terri had everyone shouting for the roof to burn down.
As Zed wound up his set and made space for Oneman to finish off proceedings as only he can, I was already getting worried that waking up with mild whiplash was going to be an inevitability. True to form, Oneman had the crowd fully gassed within minutes and over the course of his set somehow managed to mix everything from Ginuwine and 50 Cent to Jamie XX and Redlight, as well as old school garage tracks like K.P and Envyi's 'Shorty Swing My Way' and even Tweet's 'Oops'. For me though, it was the dropping of SX's 'Woo Riddim' that completed the 'Boiler Room' experience. I actually found myself generally speaking and reciting D Double's 'Bad to the Bone' bars for all of 30 seconds before realising i looked like a prick.
Oneman
As people started to make their way out to the tune of Bobby McFerrin's 'Don't Worry Be Happy', the talk was this had been the best 'Boiler Room' yet. I think I'd be stupid to disagree.
Big thanks once again to Moxie for getting me in and props to Oneman, Zed Bias and Teeth who are each responsible for today's considerable lack of movement.
With a growing reputation, infectious enthusiasm and a steely determination to succeed, Moxie is a name that should be on everybody's lips. Not only was she the first female ever to play the legendary 'DMZ', she is also the brains behind one of London's biggest nights, 'Deviation', alongside Radio 1's Benji B and her good friend Zainab. Her seamless mixing skills and enviable record collection, only add weight to the fact that she's fast becoming one of the most cutting edge selectors on the circuit. I caught up with her a on everything from a first case of shaky hands to playing with ATG and Swamp 81 in New York and LA over a few hot drinks and a pint at a cafe in Old Street:
"In the last 12 months or so I've really started to make progress as a deejay. I graduated from University last year so up until then it was a case of juggling all my work with my music - I was doing Surface Design at the London College of Communication. My main goal was to just get playing abroad and I managed to do that a few times - I played in Rotterdam and Iceland and then at Outlook Festival in Croatia which was amazing. I managed to play Glastonbury too! From there, I somehow managed to travel out and play with the ATG / Swamp81 crew in New York and LA which was just incredible.
It all started when I did a mix for Kiss as part of an up-and-coming deejay thing slot they were running. I'd actually done a 30 minute mix for them about a year and a half before but this mix really showed off what I was about and what I was capable of. Off the back of that, Loefah got in touch saying he loved the mix and wanted to hear more and it all just snowballed! It wasn't until we were at Outlook that I had an idea that I might be playing DMZ though, and even then I couldn't believe it! I remember actually getting back to the UK and being at FWD and some guy coming up to me and asking 'You playing DMZ tomorrow?' and I was like 'What are you talking about?' -Turns out Loefah had told the guy I was on the line-up! I got up and called him the next day on the way home from Brighton and he was like, 'Yeah, I want you to play!" - I got home and literally had 4 hours to prepare for the biggest set of my career on no sleep after a terrible night at this shitty hotel I'd been at, it was madness! I had an idea of how I wanted it to sound and just went with it and it went really well - that set got me so much recognition! People now talk about me as a deejay as opposed to just 'Alice from Deviation' which is wicked!"
With 'Deviation' now in it's 3rd year and firmly on it's way to earning legendary status, the latest night saw arguably it's best ever line-up at Cable and one that Moxie was particularly proud of:
"I actually got involved with running it alongside Benji about two years ago, but it's been running for three now. I heard his assistant promoter was leaving so I wrote him a message via Myspace saying that I'd love to get involved and he replied, basically saying yeah! We met up about two months later and had a coffee and it turned out we lived down the road from each other and it all just made sense. The first night I was involved in was with Kode9 - Benji asked who I thought we should bring down and we were both nodding in agreement! It started off initially as a bit of work experience really but now it's run jointly by myself, Benji and a girl called Zainab - we've done parties in Madrid and we've got lots lined up for this year too! It's very much a homegrown thing though, just concerned with bringing really good music together you know? Our latest party on Saturday was the best one yet for me - the line-up was untouchable - nothing could have beaten that line-up because we worked so hard for it! What could be better than seeing a thousand people raving to what we think is great music? There was everything from Hip-Hop to Soul to Dubstep to House - it just made us think, 'Yeah, this is worth it'! We don't necessarily make a lot of money from it or anything like that - it's all about watching it grow and seeing people's reactions really. Hopefully one day it'll cement the same legendary status as nights like DMZ and FWD, that'd be sick!"
As one of the scene's few established female deejays, Moxie got into mixing purely by chance back at school:
"It all started with this workshop I did when I was 15 or 16 - it was run by a company called 'Bigger Fish' who were organising workshops around schools in North London. They came to the school I was at and were running a DJ slot for the naughty kids but not all the places got taken so my year got asked if anybody would like to go along - me and my friends thought, 'Yeah why not!' and went along. I didn't really take it very seriously but when it came to Christmas that year and my parents asked what I wanted, I went for a pair of turntables - I got a pair of shitty Numark belt-drives (laughs) but they got me started! From there, I got into buying vinyl and I ended up collecting more than I was mixing for a while - I was always at 'Uptown' and 'Blackmarket' digging through records, it really got me into the environment. I was always one of those kids that loved having tunes before my friends too so the vinyl element just added to that!
I went through phases of practicing my mixing a lot and then abandoning it for a while and that went on for a good few years. I was mixing UK Hip-Hop a lot then too, which had a massive scene at the time - I loved guys like Jehst and Taskforce. I actually used to hang around with DJ IQ, who's now Professor Green's deejay, quite a bit too - he was a DMC champion so he used to show me things and through him, I got a taste of what it was really like to be a deejay.
I first played out at a friend's Auntie's 40th birthday (laughs) - I ended up playing a lot of old soul records that I used to collect and even though I wasn't mixing properly, I got really shaky hands a few times! It wasn't until i met my friend Elvee that I started getting really into things though - we discovered Dubstep together! She had come from a Drum 'N Bass background and I'd come from Hip-Hop but we started to dig out some of the earliest Dubstep vinyls and practice together. Before long, we discovered Mary Anne Hobbs and never looked back - we both just wanted to be a part of everything that was going on. I started to practice a lot more and realised I was getting quite good - both me and Elvee ended up meeting the ATG crew, guys like Klose One and RackNRuin, and they asked if we'd like to do a warm up set for them. Initially, we started out deejaying together but over the past few years, we've gone our own different ways but those early sets were brilliant! That's how I got my confidence really - we bounced off each other, we tune-swapped and just grew as deejays together! It did take a while for people to take us seriously though because people assume you're going to be shit as a girl!
For me, it was just a case of doing that work shop but it would be nice to see more female deejays around. That's not to say there aren't any out there though - Ikonika is sick and Mizz Beats, who produces aswell, smashes it every time! Some of her new stuff is insanely good, like honestly Grime/Dubstep ridiculousness! One thing that does annoy me though is when people put swag female deejays on a line up for the sake of having a female deejay, as if it's an original idea!"
Moxie & Elvee ATG at Subway in Rotterdam
With that in mind, I asked whether or not she felt any extra pressure to perform:
"I did have to go that extra mile for a while - when I was first playing out, it was just 'Oh it's only Alice from Deviation' but I always had patience and trusted in my ability. People have to see you play out to appreciate you and when people started to see me more regularly, people clocked that I could actually mix! You've basically got a crowd of people and it's up to you to make them dance and have a good night and it's such a good feeling when you manage that. I remember doing a night only last week and the deejay before had kinda killed the vibe a little bit - I worked really hard for 90 minutes and by the end, everyone was up, hands waving and jumping about! I guess I'm now at the stage where I don't have to try and prove myself anymore but regardless, girl or guy, you've got to work hard to earn that recognition."
Despite deejaying at packed-out raves all over the world, Moxie still hasn't dabbled in production. Well, until now:
"I'm actually hooking up with guys that make beats at the moment! I want to learn as much as I can because my skills are really basic - I know a bit of Logic but I feel like it's definitely time to experiment. I think some deejays fall into producing where as others fall into pushing music in the right avenues via a label like Oneman for example, which is sick so I think I need to branch out and do one or the other! Guys like Ramadanman make me wanna produce if I'm honest - I like how everyone's now straying away from the tear-out Dubstep and making this more techy-house inspired stuff, it's just such a pure sound. These days the only Dub i'll play out is DMZ stuff really but having said that, I still love Dubstep - you just have to look a bit harder for the good stuff nowadays! Production is definitely something I'm looking to explore though."
With the fusion of different sounds now a defining feature of UK Bass music, Moxie feels that people are too quick to try and pigeonhole what's being made:
"Things are going in cycles naturally - Dubstep's a bit lost at the moment, besides the originators like Mala, Loefah, Coki and so on, who have carried on doing the same thing. I kinda feel it's like how Drum 'N Bass was a few years back, trying to find its way - the commercial aspect has definitely impacted on it as a genre. Younger kids are getting into it now too and making their own music which is cool because things have to evolve, but it seems to be losing some of it's original features. People are too quick to pigeonhole generally though - I can't stand people trying to 'define' a sound, just let it be what it is! It's been the same with Grime too in a way - it was an exciting genre a few years ago but sadly, the commercial aspect kinda took over and it lost it's way a bit. Having said that, Grime is becoming 'cool' again thanks to guys like Elijah and Skilliam, Terror Danjah and some of newer guys like Teeza which is good to see. People used to be confused as to what Grime was too - was it aggressive, was it pop? It's just nice to see it now being recognised for its merits."
Taking all of this into account and with production on the horizon, the future looks bright for Moxie:
"I basically want to do more of everything - more travelling, more deejaying and more radio work. I want to explore production properly too and i guess just grow and get better at every aspect of what I do. I'm never satisfied!"
With 2011 still less than two months old, Z-Dot's first offering of the year comes in the shape of the 'Work Rate Vol.2' EP. Buidling on the success of the first 'Work Rate' EP, the second in the series consists of five instrumental tracks including the excellent 'Half a Pound', used by Wiley for the now infamous 'Joombi' vocal. With work continuing on his forthcoming pre-album, 'A New Light', Z-Dot's 'Work Rate' series continue to appease fans' demand for music and serve as a showcase for some of his most accomplished productions.
Tracklist:
1. Facts Not Fiction
2. Grime Kid
3. Half A Pound (Wiley - Joombi)
4. Send On (Doller Da Dustman Feat. Mercston & G Frsh - Slugs)
As one of the most creative and innovative producers of his kind, Swindle has carved out a sound that knows no recognisable boundaries or limitations. Whatever you try to define it as, his funk-driven, jazz-inspired creations have made a sizeable impression on a whole host of scenes - this is undeniably music for the music lover. With one of 2010's biggest instrumentals, 'Airmiles', under his belt, forthcoming releases on the prolific 'Butterz' label and more bookings than ever before, Swindle is at the top of his game. I managed to catch up with him at Cafe Nero over a latte, a hot chocolate and some greaze on toast:
"I started last year with the 'Who Said Funk' EP which was my take on UK Funky at the time and then from there, it was the release of 'Airmiles'. Following on from that, I did the 'Zumpi Hunter' remix with Terror Danjah, the 'Air Bubbles' remix on Butterz and I actually started deejaying properly, joining up with Elastic Artists. Ah and I can't forget getting on 1Xtra either as part of the 'In New DJs We Trust' series - that was big. I did remixes for Estelle, Eric Roberson and Alesha Dixon too and the 'Playground EP' has literally just come out today on 'RWNA' and 'Mood Swings' is next! I guess it's just been a case of generally trying to get out there as much as possible. I'm just on making what I love about music and making it accessible to as many people as I can really. I want to show what I'm really into and what I'm really about - that's pretty much the fight at the moment, the fight for funk!"
With such a unique approach to his sound, it's no surprise that it was nicking his dad's vinyls as a kid that has had such a profound influence on Swindle:
"I just used to experiment really - I used to nick my dad's old vinyls, everything from 'Earth, Wind & Fire' and 'Roy Ayers', proper jazz champions like that. As I got older, I started to sample them and make beat tapes out of the tunes I'd make and eventually try and sell them on the High Street! From there, I started working with people locally, namely 'Take2Win' and it all just blew before long. I'm not actually sure how it came about but I somehow took on board all the old vinyl sounds I used to sample and integrated it into the music I was making, almost subconsciously. Now it's like second nature to make tunes with that sound you know? It's proper difficult to say where it all came together though really."
A member of the increasingly prolific, forward-thinking ' Butterz' label/collective since last year, Swindle's forthcoming 'Moodswings' EP is due for imminent release on the label. Also referred to as one part of the 'Butterz Trinity' alongside Elijah and Skilliam, Swindle is full of praise for the labels' endeavour:
"Butterz are the winners of grime in my eyes. People say they do things differently but I say they just do things properly - people shouldn't get confused by that. Elijah's a guy who can give me advice all the time - whenever I need to know something I can ring him and ask him 20 questions and he'll have all the answers, the guy's a genius really. As a label, they're getting everything they deserve through putting the work in - before them nobody was pressing vinyl, nobody was putting together nights and you've got to ask why not? They're just doing things professionally and as they should be. People complain like 'Oh it's so hard to make Grime and get it heard' but Butterz have proved that's bullshit - there's always space for good music, always. The thing is, there's not a lot of difference between the sounds guys like Joker and Rusty are pushing in relation to grime either - it's just professionalism that sets it all apart really."
With his first professional release, 'The 140 Mixtape', propelling Swindle into the spotlight, he was one of the most in-demand producers in Grime back in 2007. Despite moving away from the scene and developing his sound independently over the last few years, it's reassuring to know that Grime still plays a part in his thinking:
"The more people treat Grime as they do other electronic genres in terms of promotion and pushing the sound in the right direction, the more it's going to grow. It's when it becomes a bedroom-genre that it loses respect and to be honest, I saw it that way for a while but if you look beyond the surface, there's a lot more to it than that. I've never said, 'Hi, I'm Swindle and I do Grime' and I haven't got an 'I'm a Grime Kid' t-shirt but it's a sound I love and respect and will always be associated with."
Despite a comprehensive back-catalogue of production work, remixes and EPs, it was 2010 release 'Airmiles' that really cast Swindle into the limelight:
"I had no idea what it was gonna do to be honest. I knew it was good and I liked it and thought it could be popular but I didn't think it'd be able to land me a good booking agent - that tune pretty much landed me my thing with Elastic on it's own! A lot of people ask to be represented by them so I'm just so thankful it got so much love. It put me out there in deejay circles too - it got me on the radar of a load of big producers and deejays who I'd be still trying to holla at now had it not been for 'Airmiles'. I guess I can't say anything more than I'm just really thankful for all the support it got."
Now with more of the recognition he deserves, Swindle hopes his next release, 'Moodswings' can replicate the success of 'Airmiles':
"I actually made 'Moodswings' last summer. People were bugging Elijah, asking when my next tune was gonna come out and at the time, I just couldn't get my head around anything. I didn't make a tune for about two weeks and I argued with every single member of my family and everything was just so long, so for me personally, that tune is no joke! It just summed up where my head was at the time really. It'd be sick if it could be as big as 'Airmiles' though, that's the hope!"
As a deejay, Swindle has only really been on the circuit for the last 12 months or so but got the chance to fulfill a childhood ambition by playing the 'Butterz' takeover of Room 3 at Fabric on Saturday alongside Elijah & Skilliam, Logan Sama and Terror Danjah:
"Ah Fabric was wicked man - it was actually my first time playing there! the jokes thing is, the first time i ever heard 'Airmiles' out in a club was at Fabric - Starkey spun it in Room 2 and it got the pull up and everything so that's when I knew that tune was gonna be big. Anyway, as luck would have it I was with my manager at the time and I remember saying, 'I want to be playing here within 12 months' and now it's happened! That was definitely a 'Before I die' thing, one for the tick-list - hopefully it'll be Room 1 business soon!"
With that in mind, it seemed only normal to ask Swindle what makes a good night to deejay at:
"It's the crowd that make a set man, nothing more than that. Two of the best gigs I've played at were in Prague and Bristol and neither of them were particularly big or flash - it was just 100% the crowd! You can always tell by people's reactions to certain tunes you drop whether or not they've come out especially to see you. At those raves, people had come out to see ME and it's just a big thing you know - if you're booking Swindle, it makes sense that you've got to hear Swindle's stuff. When people know my tunes inside out and go nuts for everything I'm spinning, it just goes off - there's no better feeling!"
Taking everything into account and with releases galore on the horizon, 2011 promises to be onwards and upwards for one of the scene's most underrated producers:
"Basically, no gaps! I just want to be fully on everything, making sure i'm consistent and maintaining levels. It's only February and I'm already working on my 3rd release of the year and i've already chosen my next instrumental and vocal releases which I'm hoping to be pushing in the build up to the summer! I've got more bookings than I've ever had before too - I'm playing twice a week in April or something mad like that so that's gonna be big. I'm gonna continue working on an album too and just generally going in - I'm about to go bliiiiiiiiiind!"
