JB interview

Hello Jack. Thanks for talking to me.

As always, let’s start at the beginning! 

When was your introduction to Dj’ing and how did it come about?

The short answer is A:D made me do it.  Hahahahaha.

Despite being born in London I grew up in the Midlands and was pretty detached from the hardcore and early jungle scene.  In fact I was a proper rocker when the rave scene really kicked off up there and I eschewed entirely. 

Like many others I was part of the 94 bandwagon; the Dreamscape XI tape pack was on constant rotation round a mate’s place where we all used to blaze after school.  The JJ Frost tape really grabbed me – proper space-music – and I was sold. Moved back to London in 95 and went to Richmond Upon Thames college (big ups to all RUTC massive) where I met three likely lads who were all into jungle, one of them being A:D who I’m still very tight with. He had a pair of 1210s and invited us round to learn the ropes.  Still have very fond memories of making horrible clanging noise with two copies of Crackman looking out over the graveyard at the back of his house.  Good times.  

From there it was the usual progression – parties round mates’ houses and that. Think we played someone’s party at Iceni’s once.  Definitely Iceni’s, can’t remember for the life of me whose party it was.  After that we got a lucky break in the shape of a stupendous blag of one of my old mates from Cov.  He blagged a Student Union budget allowance to put on a residency at The Planet (formerly The Edge) in in Coventry.  That was amazing the budget allowed us to book some huge names, Bukem, Scotty, Ed Rush.  That was a mental period, one of the nights ended up in the infamous Bukem documentary.  

Moved down to Chichester for a year after London and pulled some pub gigs, did a couple of things in fields with the warden of the accommodation we were in.  He was an old Saxxon fan with a big rig.  He was loving the DnB sound and really liked just setting up in fields.  

But it wasn’t really until moving to Brighton that I was playing even vaguely often and even then not a huge amount.A few random club nights, some sets at Pressure Point, couple of nights at Mini Melt.  That sort of thing.  We put on some legendary parties at our yard though.  Brightonians of a certain age still go a little misty eyed when they hear ‘Cheltenham Place’.   Oh, and we ran a station out of that gaff for a while.

Brighton was great.  Shouts to Robin, Al, the Electrodisc crew, The Goat, Ed, John, Dan, Mark, Paul, Atto, Jam, Stone, Ruthie – all the crew down there.  Too many to mention. Some of the best times of my life and the best people you’ll ever meet. 

Sounds like some random adventures while playing gigs in the early days , what was your most “unique” gig back then that you played and why? 

That is a teaser.  I think the most unique gig must have been the college accommodation takeover in Chichester.  A whole bunch of us that were at the college doing a foundation year lived in a little close down by Fishersgate on the edge of Chi.  Can’t even remember why we decided to do it – it was probably Shaun’s idea, he was a nutter.  Lord knows how he got a job being a student accommodation warden but he was one of the soundest blokes you’re ever likely to meet and had a more than capable rig.  The houses were in a little self-contained square off the road out of town, right next to a similar square of halfway houses.  Shaun set up the rig and we spread the news through word of mouth and then next thing we knew we were having a random mini-festival on a lawn in Chichester.  A bunch of locals turned up too.  Mental day that was.  Shaun, if you’re out there, drop me a line man.  

Come to think of it, there were probably others but I may have forgotten them, you know how it is. J  Have to mention the Cheltenham Place parties here too.  They were mental.  Ed Solo, Darrison, Jr Red and JFB to mention a few names smashing the living daylights out of a converted photography studio we lived in.  Those parties went on for a while.  Good times. 

I know that you came from the generation where vinyl  was pretty much the only option! (YES WE ATE BOTH OLD, ha ha) How long did it take you to get to grips with mixing vinyl?

In short, ages!  While A:D was showing me the ropes I didn’teven have decks so was just practicing round at his and Tim’s. Bought Tim’s old Soundlabs off him and really started trying to hone the craft after that.  Which was hard on those things.  People talk a lot about how the hardware really makes a difference now but fucking hell, that was a steep curve.  The difference between ‘Labs and Technics was a proper quantum leap. Manage to ‘acquire’ a 1210 from The Planet and had a mixed setup for a while.  Which was fucking horrible.  Switching between belt drive and direct every mix is a proper nightmare. Got a second Technic after a while – something I managed to get arrested for – and that was me. All in all probably a year before I properly felt I could mix, and a couple years until I knew I could, you know. 

And hand in hand with mixing vinyl comes buying vinyl! “Back in the day” where did you used to source for wax? And also what labels and artists were you loving back then?

You know, didn’t really have one go-to vendor and I’ve always been a bit of an ignoramus in that regard.  Didn’t really know what I was shopping for or where to get it. Was living in the Kennington area during that time which was really central so I didn’t really even have to learn.  There were a couple trips to Black Market. Some other random places, Reckless in Soho, some place in Notting Hill I seem to recall, a little place out in west London there was even a place on Walworth Road I went to a couple times.  One of the DiTC crew knows the fella that ran it, can’t for the life of me remember now. But I think section 5 was probably the one I went to most often it was pretty close, had a great vibe and had a big old clothes shop downstairs.  Definitely bought my first batch of tunes there. 

What was I buying?  Wow, that’s a question and a half.  Time for a big list I guess, Metalheadz, GLR//LGR, Photek Productions, Certificate 18 Creative Wax, Creative Source were all buy on sight labels for me back then. Precious Materials, Urban Flavours, all that sort of stuff.  We were mainly going to nights like Speed and Promised Land and listening to Fabs, Groove and Bukem’s sessions on Kiss so that really shaped what I was scoring and playing.  The artists, well, like I say I was a big ignoramus and generally bought stuff I liked the sound of rather than paying attention to the artist – terrible I know.  Had a lot of Source Direct, Big Bud, Intense, Dilli, Hidden Agenda, Photek and artists like those in my crates.  The names I really did know though were those last three.  Still reckon Hidden Agenda are one of the most criminally underrated acts to ever control the buttons.  Their stuff was unreal.  Swing Time/The Wedge and Get Carter/Pressing On are easily two of the best releases from that era. Genuinely experimental future music. Oh yeah, that reminds me, PFM.  Had a fair bit of PFM too. 

Funny you mention hidden agenda! My brother also said that they were also criminally overlooked too back in the day! (I agree they made some amazing music), hit us with a few hidden agenda faves while we are at it!!!

Yeah, Hidden Agenda were masters. RIP Mark, you’re sorely missed.  Sadly, their output was far from prolific but every release was gold.  Pressin On/Get Carter is a big favourite of mine, that single is out of this world.  Spliced bits of old tracks sounding like it was beamed to earth from a spaceship from the future.  The progression in Get Carter is phenomenal, it’s like 3 or 4 tracks in one and never loses cohesion.  Listen to the drop and then listen to the last minute and it’s like how the fuck did it get here but you listen to the whole thing and it just makes sense.  Dispatches also, that one really illustrates the capabilities of the duo, such radically different tracks totally at home together on the same release.  And, again, the break work was out of this world.  Have to mention Channel too, adore that track, just soooo funky.  Essentially, it’s a really boring track but it’s crafted so well.  It never stops moving, never stops exploring its own idea, it’s one of those tracks I could listen to for hours.  In terms of how to keep a track going through sheer subtlety, it’s almost perfect.

I remember our first conversation(at the bunker night at work bar in angel a few years back), you mentioned you had been selling your vinyl and had moved over to digital. 

When exactly was it you made the switch over? 

It was probably about 2010/11. Had to sell my decks – which was a very sad, my better half Sandi still reckons it was the most distraught she’s ever seen me (also, massive shout to Sandi, love you Princess) – due to space and money. Couldn’t afford the space to keep them at the time.  Naturally, the itchto mix never really went away, never really does, does it?

Discovered VirtualDJ as a way to muck about with the tunes on my hard drive.  It was crap but it meant I could, sort of, mix.  Tinkered with the app version on my phone, then with Traktor on the iPad all of which were pretty unsatisfactory.  That’s how I stumbled across controllers. Got an entry level one as I got more into it. That was shit and I upgraded to the RX2 after having a mix on A:D’s brand new NX2’s. Still really want some NX2’s though.  If anyone is giving a pair away…  All of this was pretty recent. All since 2011 or so and had the RX2 for a year and a half now and I fucking love it.  It’s as close as you’re going to get to a club set up without getting one (See, Pioneer, a plug.  Ready for my free upgrade now).

Still trying to sell the vinyl too.  Never seem to get round to it, you know? 

And while we are on the topic . . . With the vinyl V digital war still raging. Can you give me your thoughts on this subject? 

Ah, it’s bollocks innit. Vinyl was where it started, digital is where it is. There’s a lot of weird elitism about vinyl. I don’t feel it. The idea that DJ’s have to earn their chops on vinyl feels a little Luddite to me.  So what if the learning curve is ‘easier’ that just means more people can access the art, although even I draw the line at headphone free mixing Hahahahahaha. As long as people are using their ears to mix from their hearts that can only be a good thing.    

But seriously, beat matching is beat matching regardless of the tech.  Not to mention that there’s stuff that’s possible with digital that just isn’t with vinyl.  There are new ways to blend, to make that third tune in the mix, to create that journey – that’s a good thing, right?  Being able to take every track you own to a gig in your pocket is also great, used to HATE lugging vinyl around. My back is very much digital.  Hahah

Don’t get me wrong, I think there are distinct advantages with having learned the hard way and I wouldn’t change my route in for anything but they’re not reasons to look down on another way of doing things. 

It’s kind of similar to the revolution in production in many ways.  The entry barrier of getting an EMU or something and having to learn your way round it no longer exists, you can be up and running in an afternoon these days and that means more people can make music, more fresh ideas and new approaches.  That seems to be largely seen as a positive thing.  In my opinion, the same logic should be applied to DJing. 

So having been digital for sometime now, given opportunity and of course permission from Sandi 😉 , would you ever go back to turntables again? 

See, now you’re trying to draw me into the battle aren’t you? J  If money was no object, and time was no object and space was no object I’d really like to have both.  Can’t deny that playing vinyl is fun and there’s a whole bunch of stuff that’s just not available digitally (which is a big shame).  But it’s not something I hanker after.  If I had a fully kitted out studio room I’d definitely like to have decks in it but I’m not about to sell up my digital stuff to get it.  Can already imagine the flak I’ll get for that, hahahahahahahaha.   And I should imagine if I could afford to do all that, Sandi wouldn’t give a shit what decks I had.  😀 

From the perspective of a Dj which selectors do you admire the most? 

Can be any genre!! 

Hate these questions, I always miss someone. 

DnB first

Used to love Gachet tapes, that fella had a crate of tunes no one else had. Super progressive sounds from really early on. 

DJ Ron sets were always incredible, proper high octane business.  

Doc Scott has always been a master, his sets are incredible.  Not a massive fan of some of his recent selections but he’s still up there for me.  

DJ Lee is a real hero of mine. He’s able to effortlessly tell beautiful stories with music for hours.  A simply superb DJ. 

Loxy has to get a shout here too, his applied sciences are just crucial listening, end of. 

Rustee has been a huge influence on me recently, not only his sets which are superb explorations of the autonomic side of the spectrum, but what he’s been doing for the scene with his Vykhod Sily show.  Can’t rate him highly enough.  Blyat yeah!  

My good friend, an DJ Sensei, A:D is a big favourite of mine.  He’s technically superb and always lays down a varied sound, flowing from liquid loveliness to hard hitters.  It’s criminal he doesn’t play out more to be fair.  Sort it out, A:D.  Get a podcast up mate.  J

Can’t get enough of Djinn. She always delivers and I love her sound.  One of my favourite sets of the last couple of years is her Jungletrain set from November 2017, really illustrates what she brings to the game.  

Structure and Mindset also need mentions here.  If you absolutely, positively have to amen every last mother fucker in the room, accept no substitutes.  

Jeez I could go on and on.  Brown-E is a name to watch, relentless energy and one of the few quick draw DJ’s that do it for me.  

Love Ste-J’s Sub Committee mixes and he’s one of the nicest guys you’re likely to meet.  Yes, I keep forgetting to tune in live, Ste.  Yes I am rubbish.  Yes I will buy you drinks to make up for it in Sardinia, boss.  Big love brother.   

Can’t complete this list without Johnny Five.  When he’s in the zone it’s something else.  He kind of epitomises the old school ethos and style.  Not afraid to work through different styles and always tears it out. 

I’ve tried to avoid naming producers, here. That all still feels a bit odd to me. Way back when producers never DJ’d but these days the scene is dominated by them. Very odd. Remember chatting with Ed Solo about this back in, what, 00/01.  He kept getting booked to play out and kept saying it was weird.  He was like ‘but I’m a producer, not a DJ’.  Always used to tear it up though.  

Oh, and Bailey. That man has been smashing up dancefloors for time!  One of those DJ’s who genuinely reads a room and delivers the same high quality in different flavours.  That’s pretty rare these days. 

That’s all just DnB isn’t it?  Hahahahahaha.  I’ve probably gone on enough already.  I’ll shut up now.

You present a regular mix series called.- “30 minutes of”. Can you give the readers some background on this project??

It goes back to re-connecting with DnB.  Much to my shame, I was part of the crew that drifted away from the scene around 03/04.  Wasn’t really feeling what was going on back then, the sound felt like it had stagnated.  Listened to almost exclusively old school when listening to DnB, disappeared right up my arse.  Did a lot of musical drifting, looking for something that was lively and visceral and new again. Listened to a lot of broken beats, Amon Tobin and that sort of thing, Modeselektor all sorts. Dipped into the Dubstep scene and was listening to a LOT of that which actually rekindled my interest in making music again.  Actually made a few dubstep tracks back then, probably around 2007/8. 

With the interest in making music back, I turned my hand to making some DnB again – something I’d always been shit at.  This must have been about 2009.  Made a few mid-nineties sounding pieces and that pushed me to mix again on the PC with VirtualDJ which eventually pulled me back to what was happening currently.

Quickly realised that I’d missed out of a shit tonne of wicked music and did a series of mixes called New Steps.  These were basically me finding my feet again, catching up and getting back in the game.  Picked up a controller about this time and mainly made old school mixes but was listening to newer stuff more and more

This was all after I moved back to London but I was still very much a spectator, listening from the sidelines. Guess I’d convinced I was too old and my time was done, you know. 

There was so much good music out there, though and it was really exciting.  Started swapping tunes with A:D ‘have you heard this, have you heard this’ via phone and links, that sort of thing.  Funnily enough, that whole conversation started as we were both listening to a lot of house at that time too. Anyways, we both got really enthused about the scene.  We were listening to a few poddies, I think AD switched me on to Scotty’s FutureBeats show.  That all switched up something proper when A:D dropped me a line to say he’d scored us tickets for Future at lightbox.  We were both old geezers and he just said carpe diem.  I was proper hyped, J:Kenzo was playing and I had one of his Dummy:04 mix on constant rotation at the time (still one of my favourite mixes of all time).  So we met a local of mine, had a pint, some sausage rolls and wobbled down to lightbox.  Well, that changed everything.  Proper blew my tiny little mind, felt like I was properly home again.  We agreed to go to the next one and that’s where we met Martin Ahern who, essentially, changed my life.  We all got to chatting in the smoking area and he invited us to join Diggin in the Crates.  Have to say, we were both pretty dubious at first.  Facebook group?  Really?  Aren’t we all a bit old for that?  Anyways, the invitation came through, got chatting with peeps and immediately felt at home.  Martin had been raving about Soul in Motion, told us we had to check it out.  So, a few weeks after meeting him and joining the group I laced up my dancing shoes and headed to SiM on my todd.  Bumped into Chris and Ben in there and it was immediate open arms and I haven’t looked back.  

All refreshed and full of beans I was keen wanted a way to at least keep abreast of what was happening.  Didn’t want to drop the ball again, the Thirty minutes series was a way to do that.  I’d spend the month listening to as much as I could and pick my favourite bits together in a thirty minute mix as that was the length of my commute at the time. I guess a tagline for them could be ‘train journeys and re-discoveries’. Commuter DnB.  It’s like the Brompton bike of podcasts.Hahahah

The Facebook group  “diggin in the crates”, can you let us know of your involvement with this group?

Quite simply, we wouldn’t be having this conversation if it weren’t for Diggin in the Crates.  That group quite simply changed my life.  Like I said, got involved through Martin Ahern who I met at Future ad from there it just snowballed rapidly.  The whole group operates on a love first basis, open arms and real family mentality.  It’s all about the music, the crew is always front and centre and having it.  Brought me back into the scene and then some, the enthusiasm and raw love in that group is unparalleled and contagious.  Went from doing nothing for months at a time to being constantly on there, posting tunes, chatting about music and, most importantly, going out with the crew. That is one of the most important aspects of that group, it’s alive and it’s active.  We’re all out and about and all bringing that positive vibe to everything we do.  Early doors I got involved in the whole Top Ten thing.  Wow, that was amazing.  We basically had the idea to compile a top ten of the group’s favourite tunes and it just exploded.  Like people’s heads.  Swear some peeps were close to the edge, it was like watching people pick their favourite kids.  I pulled together the submissions and compiled the spreadsheet (Excel Massive, lemme hear you!) and through that got really involved with the whole crew. It was a crazy fun time that.  Still remember going to Metalheadz on the Beach in Brixton and meeting people that I’d only chatted to in the group about their Top Ten and needing zero introduction or preamble, just straight into the friendship.  Cannot understate how special that group is.  I’m now one of the admins in the group (MASSIVE shout to the admin crew, love you boys) and heavily involved in the monthly podcasts and putting on our nights.  If you’ve never been to a Diggin night you HAVE to get down to one.  The music is always on point as you’d expect from a crew that’s sound focussed on it’s tunes bit the vibes, mate, the vibes.  Everyone who comes down to our nights comes away saying things like ‘I didn’t know parties like this still happened’.  And that is down to the family that has grown around the love of the music.  Huge shout to all DiTC massive. Jesus, I’m sounding like an old rave hippy now, but I mean every word of it. DiTC for life.

Another project you are involved in is .- “Rum and Bass Sessions”.

For anybody who’s not seen any of the live streams I think the best way I could describe it is .- men behaving badly meets b2b craziness, with a splash of rum, well multiple gallons of Rum ha ha.

Personally I think you guys need to be given your own TV show!! 

When did the link come about with your partner in crime aka Johnny 5??

Funnily enough, through the Bunker nights.  So many connections through that night and SiM.  That was an incredible period.  Gutted it seems to be at an end.  Or am I just getting lazy again?  Massive shouts to the Bunker crew. Miss those nights so much. And again, was there as I’d heard of them through the Diggin crew. Went down there one summer evening and got chatting through the Diggin connection and we just clicked.  That was the night we played the Titles Game with Threshold and Scarlet.  Jesus, hadn’t laughed so hard in years.  We ended up going to Romania for the Halloween Rupture gig and that was hilarious.  The two dumbest guys in the room, deep in vampire country laughing all day. That was a great weekend. 

Can’t remember if he invited me round for a mix before or after that – Johnny is definitely the brains of the operation –and it was an offer I didn’t take him up on for ages.  I am a very lazy man. Anyways, when I finally did I headed to his with a bottle of rum and a usb stick.  

Maybe he supplied the rum.  

Can’t remember now.  

There definitely rum involved.  

When we got started, Johnny suggested streaming it on FB and the rest is history.  It was never meant to be a thing, you know.  We never said ‘let’s do a rum-based podcast’, it just sort of happened.  That’s what makes it so special, just two clowns having fun.  Got so much love for Johnny, untold love brother.  X

So let’s talk about your modern day Dj set up! What equipment are you working with?

RX2 and I fucking love it. It’s the closest I can get to a club set up that will fit in my flat and bank account. But mainly my bank account. That goes through some Marantz amp and a pair of old Tannoys I’ve owned for years. The whole setup is very deliverately separated from my computer, really wanted to get away from key guides, suggested tunes and all that jazz.  Just the tunes and a pair of turntables.  Not just because of preferences but because it preps you for clubs.  Theoretically, you should just be able to turn up with a stick and play.  Being tied to computer kind of limits that.  Like I said, the dream is to get a proper set up.  Nice shiny pair of NX2’s Maybe that instead of Sun and Bass next year… 

While we are on the subject let’s talk about the mix you have submitted. 

Deep, dark, minimal and murky. . . Exactly why I wanted you to take part in this feature! How long did it take to put together the track list and also the mY-dJ mix!

Couple of weeks, maybe three and most of that was pulling together a pool of tunes to draw from. Had a pretty clear idea of what I wanted to do and there were two or three tracks I knew had to be in there. It was actually a lot of fun getting the pool of tunes together after that. Found a LOT of stuff that I’ve been after for ages. None of which actually made it in the final product! Haha. Really wanted to explore the minimal sound I guess I’m known for.  That’s the stuff that’s really captured me since coming back into the scene.  Still sounds so fresh for me, it’s very exciting music.  Pushing the boundaries structurally and sonically.  Plus, I’ve got a real hard on for huge amounts of sub and melancholy melodics.  Once described my sound as morose drum and bass.  Love it morose, mate.  HAhahaha.  That was the side of things I wanted to really explore with this mix. 

I tend to be quite meticulous with studio mixes, treat them much more as a whole piece. Plus I’m a big obsessive, just ask A:D. The mix itself came together over a few night playing about with sections – it’s in three movements you know – and I wanted to sketch out the flow of the thing. 

Then, after meticulous collecting and careful attention to detail, I went and recorded it drunk after an afternoondrinking in the sun. That didn’t quite pass muster so I did it again with a hangover the following morning before the last Rum and Bass and that’s the version that you’ve got.  

We touched on earlier about artists/ labels from “way back when” you liked and supported but how about modern day??

Wow.  OK.  Um. Shit, where do I even start?  

Labels first. Conspired Within (big ups Ryan), Ronin Ordinance (big ups Ben), Onset Audio, Narratives, Samurai, Critical can’t be forgotten, Flexout, Eternia, Cylon, Chikara, Inception, Vykhod Sily (need more tunes from there, Rosti!), Tesseract, Fuction, Bunit, Cosmic Bridge, Astrophonica, 1985 Headz are still doing it right.  So many labels.  31, Flexout, Cylon (yes, again) Weaponry, Mauoq.  Honestly, the scene is so healthy right now it’s impossible to be complete.  

Producers?  SB81 is a big favourite of mine. Escher has been solid for years now.  Loving Kit Curse right now, he’s on fire.  Genotype.  Darkgray Heart is making some insane tracks.  Margari’s Kid is pushing limits.  Loxy, Resound and the two combined.  Om Unit, Lewis James (Your Love is a Power still make me cry) Shiken Hanzo, Akinsa, Ahmad, Last Life, Bredren, Taelimb, Last Life, Fuj, Ill Truth, Paradox, Mystic State, Amit, dBridge – can’t not mention dBridge, what a pillar, Digital, Fre4knc (or however you spell it) Skeptical, Kid Drama, Maouoq, Vromm – Vromm has made some of the most insane tunes I’ve ever hear.  If you haven’t heard F-Plex already, stop what you’re doing right now and stick it on. Mental music.  Sam Binga, Om Unit, Homemade Weapons, Presha, Torn.

Impossible to list them all really, so much amazing music around right now. I know I’ve forgotten half of who I want to mention.

And where do you buy your digital music?

Used to get all my stuff from Beatport but I’m trying to switch over to Bandcamp. I’m a big beliver in buying the music – if artists don’t eat, they don’t make music innit – so getting away from Beatport is something I’m trying to do more and more as the cut they give to artists is purportedly really low compared to Bandcamp.  Problem is, Bandcamp is just so shit for consumers, nothing is arranged sensibly, updates are all over email, the cart system isn’t unified – it all adds up to a bit of a ballache for consumers to stay abreast and purchase.  Beatport on the other hand have it wired.  Add your favoruites and it compiles them in a big list of their latest stuff in a format you can listen to as you work your way down the list on a single page.  Works really well for me as I tend to buy based on the Thirty Minutes stuff. Once every couple of weeks I work my way down the list and add to a custom cart for that month.  End of the month I bag the lot and roll out the mix.  These days I try to source the actual tracks from Bandcamp where I can.

Away from dj chat . . .  Can you give us some idea of other genres of music you are passionate about? 

That’s an interesting question.  I’m a bit of a magpie with music and have drifted in and out of lots of different stuff.  The other genre that has been a perennial favourite of mine is dub & roots.  Got into that back in Leam growing up, a mate of our Josh used to pull together the best little mix tapes.  Loads of Yellow Man, Eek A Mouse, Michigan and Smiley, Pecos – Two Bad DJ by Clint Eastwood and General Saint is still one of my favourite ever tunes.  Loved all the dubs and versions too although I am pretty much an ignoramus when it comes to all that. Never paid enough attention to keep up with that side of things – I’m terrible with names – and that scene is ALL about the knowledge.  Still have a whole bunch of playlists I return to. Let the computers remember it for me innit.

Recently you let out the news of having one of your own music productions signed by a label and released in the near future, congratulations! Can we expect More music to come from you? 

Thanks, and thank you.  And a massive thinks to Ryan from CWM for picking me up.  Conspired Within Music is, without a doubt, one of my favourite labels.  Consistently pushing the highest quality sounds with a stable of some of my favourite artists, the boss man among them.  It’s such an honour to be a part of that.  If you haven’t heard any of their stuff then stop what you’re doing and get your ears round their catalogue immediately.  

In terms of more music from me the short answer is yes, but don’t hold your breath.  The first release took twenty years to happen.  Hahahahahaha.  Nah, but seriously, I am working on stuff but time is so tight. Between the Thirty Minutes… series, Rum and Bass when we can, the Diggin nights, the DiTC Podcasts, guest mixes, raving the day job and my son (big ups, George.  Love you, kid) it’s challenging to eke out the time to make stuff also.  I do have another track all done.  Ish.  And a few in progress – who doesn’t – and even some collabs lined up but it will all take time. Watch this space, but make sure that’s not the only thing you’re doing. Hahahahahahah

Can you give us some idea of what the rest of 2019 holds for you and anything to look out for?

The next thing on my list is a guest mix for RKVU.  Really happy to be asked to roll out for those guys again – big ups Tobes and no I haven’t forgotten.  J We’ve got the next Diggin night on the 4th October which I’ll also be playing at.  There’s some potentially exciting Rum and Bass stuff to come this year and into next, so keep an eye on that.  And it’d be nice to wrap up a few tunes too.  Oh, and maybe a little Brighton something in August.  Of course, the Thirty Minutes of… series will keep on going.  Wow, listing it all out makes me sound well busy.  Hahahahaha.  It’s all a thin tissue of lies! Oh, and I’ll be wobbling about at Sun and Bass again this year.  Which will be a LOT of fun.

Anything you wanna add before we wrap this thing up? 

Thank you for the opportunity, it’s a real honour to be asked to do this. Big love my man! 
Also big ups to anyone who supports my mixes and checks the Rum and Bass live streams! 

 

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