7K
Where are you currently based and what is the music scene like there?
I was born and raised in London and am currently still based here. Its a city that has given birth to so many cultural movements as well as adopting many others and making it our own. The jazz scene in the UK has exploded in the last few years, often crossing into hip hop, grime and rock and I feel that has definitely influenced my sound.
How did you first start playing music,producing rapping?
I started playing piano when I was at primary school but I would say I got really into it when I was in my teens after hearing the likes of Bill Evans and Chick Corea and that seemed to spark something. I’d dabbled in a bit of production but it wasn’t until I was chilling with lots of producers when I went to study music in Leeds that I got more and more into it. I’d also been writing bars from around 15 or 16 but never really took it seriously until me and Lausse were freestyling at a house party and he insisted that I come over to his home studio and record a tune and thats kind of where it all began..
You’ve just released – self produced ‘Life’s A Bitch, I Just Need An Early Night’ through College Music Records and it has been gaining some traction, receiving just under half a million streams on Spotify alone since the release, what influenced the sound and songwriting?
I’d gone through a lot of self-discovery and personal change over the few years leading up to that project so I think conceptually a lot of it focuses on self-development and growth. I didn’t really have a pre-planned or set way I wanted the project to play out, but the themes and ideas seemed to just develop as I found threads through the stuff I was writing. I think in terms of the actual sound I’ll always be deep routed in jazz especially the more emotive styles of Bill Evans or Dexter Gordon etc.. and I’ve always been into all the hip hop greats as well I think if you want to be doing this thing you have to know your history and study the greats/people that came before you. The same goes for when you’re learning the tradition of jazz i guess! I was always hugely into the UK hip hop scene as a young teenager like Klashnekoff, Jehst and Taskforce and I think elements of that sound finds its way into the music often. But I’m trying to aim for music that has depth of narrative and musical complexity, whilst still fully saying true to who I am and where I come from.
How did you go about writing the music?
The writing process is kinda different for each song – some I had a really clear idea of how I wanted the whole thing to sound from the get go and some I had the beat and then just saw what came out lyrically, often chopping and changing stuff all the time.
How did you approach the production/recording?
I recorded the entire project between about 3 or 4 different bedrooms across the UK..haha! Some of it I recorded it at my mums house in London, some of it was recorded in my old house in Leeds, some of it at friends houses in Leeds. Had all kinds of makeshift stuff going on including taping a duvet around some opened cupboard doors to get rid of some the room sound when recording vocals..I feel like theres something quite charming about the DIY thing and I’m probably going to record the next project in a similar way. I also find working in my own comfortable space is a bit more creatively freeing than in a more clinical studio.
What programs/instruments did you use?
The recording process was really fun – I recorded most of it in Leeds with people I went to music college with so was a very collaborative project on the musical front. I wanted to do more than just having samples and the same drum loop the whole way through. In terms of live instruments on the project I recorded keys + piano, drums, guitar, bass, trumpet, tenor and alto sax and violin and I try and include as much of that in the live show as I can. I wanted to cross over more traditional programmed drums layered with real drums as well as having some of the other live instruments layered with more electronic synths etc.
How did you come to release with College Music Records and how has the experience been working with College Music Records?
I met Jonny from College Music at a gig when I was supporting Joe Armon-Jones in Leeds once, but we only had a brief chat. After that I heard about what he had been up to with CM and I was keen to get involved in some way. I had the project nearly finished and wanted to approach him to ask if he’d want to put any of the tracks on the CM spotify playlists. We went for a pint and he was keen to put the project out under their label which they were beginning to expand. Its been cool cos it feels like we’re both at an early stage of what we’re trying to do so even though they’re a label, it feels grassroots and DIY.
Please tell us about the video that you have accompanying ‘Life’s A Bitch, I Just Need An Early Night’ where did you film? Who with? How the concept came about?
The video that I am releasing is for ‘See U In The Morning’ which is the lead single off Life’s A Bitch. It’s quite an introspective song – like a lot of the album – and I definitely wanted to convey that through the video. I wanted to portray a scene where you’ve been partying all night to run away from the darkest recesses of your mind but once it gets to about 5/6am you can’t run anymore and it all hits you at once. I teamed up with an old friend of mine Simon Aukes Stolland who recently D.O.P’d ‘Blue Story’ which released in late 2019, and was one of the highest grossing films in its genre. Aside from his work being top quality he’s a really solid guy to work with, very on the ball and open to trying things out and generally really helpful and sound. I also had Alex aka Verbz The Gaffer who did an amazing job in bringing the vision to life. Big ups to PK who’s always there helping with the ideas and general vibes for these things too.
The headline release show for ‘Life’s A Bitch, I Just Need An Early Night’ at Notting Hill Arts club was a sell-out show in which you were accompanied by a full 9-piece band and included support from Enny, Eerf Evil and Joe beard. How did the band come together and how was this experience?
The release show was a huge success and managed to sell out completely, which was a bit of a surprise for me. The album had only been out for about 3 weeks and I’ve never put an event on in my life so was a bit nervous about numbers etc. But with a small team we managed to spread the word and it got far and wide so big love to everyone who was involved with that. The live band are a mixture of musicians I’ve been playing with for the last 3 or 4 years or so who are all currently based in Leeds. I wanted to stay true to the sound of the record whilst also bringing a completely new dimension to the live show to make it engaging in its own way and I think we just about managed to do that! The live setup consists of only live instruments including drums, bass, guitar, 2 keyboards (sometimes I rap + play keys at the same time, others just rap, others just play keys), trumpet, violin and BVs. Joe Beard, Enny and Eerf Evil absolutely killed it and helped warm up the crowd and I’m truly grateful to know and be working with them.
I hear your main collaborator is fellow rapper and producer Lausse The Cat and we that you often collaborate with B-ahwe who is a singer/songwriter. You work under a collective name of Velvet Blues, how did this all come about?
We all met in Leeds while studying music and spent a lot of time working together on Lausse’s first project entitled ‘The Girl, The Cat and The Tree’. Around that time me and B-ahwe started writing our own music and it kind of grew from there. Velvet Blues is still quite a young concept but I guess its a collective-type thing and we’ll see where it goes! I believe you’re much stronger as a unit of individuals all backing each other in this game.
You’re heavily involved with Root 73 which is a community grass roots studio space in Hackney in London. I hear that you’re are in the final stages of finishing off a collaborative album with about 30 artists and producers, how has the recording process taken place and what have you found most rewarding and challenging through out the process?
Yeah man the guys at Root are all amazing people. I met them when I moved back to London from Leeds and because I hadn’t been back for a few years I wasn’t really sure where to find a group of people doing similar things to what I was doing. But they were really welcoming and encouraging and I’m humbled to be a part of whats going on there. We have a collaborative album coming out this year called the silhouettes project – the idea was to pair different producers and artists, most of which had never worked together before and to see what they came up with. The result is a community focused, ultra diverse album showcasing individual artists and producers within the Root 73 community. I’ve really enjoyed being inspired by what the people around me have been making and all the different characters I’ve met throughout the process and there will be much more to come in the future.
Do you have any singles coming out soon?
I’m currently working on my next project, as well as some standalone singles to follow up Life’s A Bitch but ill be able to give a bit more info on that as time goes on.
Who are you listening to at the moment?
Listening wise I’ve found myself returning to the same things, especially Good Kid, M.a.a.d City and To Pimp A Butterfly by Kendrick Lamar – I always find there is always something new I discover every listen both lyrically and musically. I’ve also been listening to a lot of Steve Lacy and some King Krule as well as some 60s/70s Brazilian music like João Donato and João Gilberto which I think will find its way into my next project.
Favourite food and place to hangout?
All I need is a good full english brekky any time of day and a cheap pint in Spoons.
