FROM CHOCKABLOCK 2007 TO TRENCH 2017: AN INTERVIEW W/ JOSEPH PATTERSON (TRENCH/COMPLEX UK)

With now 10 years in the game under his belt, JP AKA Joseph Patterson has been a major contributor to youth culture in our rapidly expanding Urban British scene. Hailing from Stockwell – South London – but making his name in his teens as a promoter back in 2007, to not only being a regular on the MOBO Awards committee, but Senior Editor of Complex UK and founder of new editorial platform TRENCH.

I hit JP up to talk the old days, the new days and everything in between. From it making from the Estate to Editor, Influencer and certified Ambassador of British Urban Music.

For those that don’t know, what’s your background? How did you go from doing club nights at EGG, in 2007, to heading up Complex UK and TRENCH today?

I remember you and the BNTL gang used to come to my raves on a regs! Shout out you lot. So I started holding raves, called ChockABlock, in 2007, and then I just started up a blog and when the passion for writing hit, that’s when my journalism journey began. I’d say I wanted a proper career in writing around 2009/2010, and in 2010 I was appointed editor of MTV UK Online’s urban sections. It hasn’t been an easy journey one bit, but I wouldn’t change my story for nothing. I think people like the fact that I’m a young black man—coming from a hood environment—who writes about music for a living and didn’t go down the typical wannabe rapper or top shotter route. I rate all those hustles, though. Get it how you can get it!

Shoutout the BNTL fam, the back of my head and the rest of GANG on the SBTV cameo’s…

Would you agree with the achievements of Link Up and GRM that editorial platforms like ours took steps in the same direction? And assuming you do, what inspired TRENCH?

I love what those platforms have done for British artists over the years, but we definitely do different things; they’re more video-led, while we focus more on strong written editorial. What inspired TRENCH is the lack of representation in mainstream media—or more like the wrong type of representation. Right now, I believe our content levels are up there with some of the biggest publications on road, most of which have been going for decades, and we’ve only been going for about three months. It’s not me being big-headed, it’s just that with mine and [fellow journalist and TRENCH executive editor] Hyperfrank’s experience going on 11 years in this thing, we know how a publication should be ran. So you’ll never see us mistaking people for other people or calling an Afrobeats artist a grime MC. They might be minor things to some, but we pride ourselves in knowing the scene inside out and respecting it to the highest degree. We’re like the Rolling Stone for the UK underground scene… Yeah, I said it! [Laughs] Nah, I’m more humble than this, but when you know you’ve got a good product, there’s nothing wrong with shouting about it from the hills.

With Wavey Garms also launching an independent media platform—with fashion to likely be the core of the brand – Watson Rose focusing on more anti-establishment/youth culture trends and intellectualised music focused content, where do you see TRENCH’s place in this new work? There’s enough bread to eat, and identify our individual brands can only be a good thing, right?

I want everyone to win. I’m excited to see what Wavey Garms come with; their online presence has been strong for a few years now. I see what you’re doing and wishing you all the best with it—again, shout out the BNTL massive! With TRENCH, we just want to show the greatness of today’s young Britain—the best in music, style, and culture—and, so far, so good.

Seeing as independence and empowerment is growing in prevalence in all forms because of social media, and the resources that the internet provides, what else would you like to see happen in the UK scene?

More films and TV shows that depict our culture in an authentic way. I was gassed to hear Top Boy was returning to Netflix, but that’s in 2019 so we’ve got a bit of a wait. The Intent 2 will be out next year, I think, so that’s good too. Things are happening on that side of things; slowly, but it’s happening.

Where do you see TRENCH in three years, and what’s the long-term vision?

I like to take every day as it comes but, from 2018, we’ll be doing a print, zine-style edition of TRENCH four times per year. The first one drops in January with one of the UK music scene’s most respected artists. I’m very excited about that. Events, too! We’re also taking TRENCH live next year.

Seeing as it’s December, and you’re a UK music aficionado, who are your personal top three artists of the year?

What J Hus has achieved this year is incredible, as well as Dave and Jorja Smith. I’m also interested to see what Mabel does next year, and K-Trap, and Fredo, and Harlem Spartans. The British are coming, as they say.

POSTED: @TIMI.WATSONROSE

CARPENTRY, ART HAPPENINGS, THAI BOXING + ROCKPORTS: AN INTERVIEW W/ GRAHAM SAYLE

Jack of all trades, and determined to be a master of as many as possible; Artist, Carpenter, Teacher and Thai Boxer Graham Sayle AKA Graham Made is a young versatile creator, who, since making his name in the London creative community with his range of rings, sterling coined based jewellery and distinct style of carpentry having found his way surviving young London life comin’ from skirts of the Merseyside via Goldsmiths university.

G: I was born in Birkenhead. And grew up in New Brighton which is like a shitty seaside town. So, it’s Meryside but when you’re down here, it’s much easier just sayin you’re from Liverpool. But as soon as I go back home I’m a Woolyback. I couldn’t say that round there…*laughs*

T: So, your from the Mersey. When would you go Liverpool?

G: I spent all me time in Liverpool; like every evening. It’s like 20minutes on a bus.

T: You still got an L postcode?

G: It when I was born, but then it changed to CH… They changed it to put the prices up. I guess it was just because Cheshire sounds “posher”…

T: It does and I guess… how old were you when that happened?

G:10 or 11… So 95, 96…

T: Yeeah. I suppose you don’t want the Liverpool postcode then coz it’s the hangover from the Football Casuals. I mean you would now, but when you think about it John Major would’ve been in then (I think). You’ve just conquered football Hooliganism… so, a Liverpool postcode is only gunna have those connotations.

G: *laughs*

T: So, whats I’m thinking. But, that’s still good answer. Just staying on the topic of growing up in Mersyside and considering you’re a teacher. What cultural contrasts can you identify from Mersey and London with regards to school kids. I mean, I spent a year in secondary school in Coventry for just under a year coz my dad was living there at the time  and I got culture shock when I saw Rockports for the first time

G: Yeah,that was a standard. Argyle socks and Rockports. But they were fuckin’ expensive.

T: Yeah I never got a pair..

G: Me neither. I had to settle for Kickers and that was it *laughs*

T: I got Kickers too. They were the next best thing. Similar look, and credible brand…

G: Yeah man. But in school. Rockports; that was it!

T: You were a badman if you had Rockports.. if you were the hardest guy in the school you wore Rockports!

G: You were ‘ard yeeah *laughs*

T: What were the pass times back in the day?

G: I rode BMX for years (still do), we had trails and things round the area. Got into graffiti and that as a lot of people did too… one of those things that teaches you a lot (culturally). I’ve always been hyper active so I’ve always wanted to do everything…

T: Jack of all trades, master of none?

G: No I wanna be fuckin’ good at everything! Master of all the things that I do… and if it’s shit I’ll fuck it off! *laughs*

T: *laughs* I respect that. So, when and why did you move to London? Was it a student ting? Or a lifestyle change?

G: Hmmm…. Well, it was both. I moved down and went to Goldsmiths and did Fine Art there. I did 2 years and then good mate of mine up north was murdered. So, I moved a year out of Uni and lived in North Wales and built a house with me Dad – which was nice. And then I moved back down here.

T: I see. So, that incident derailed your focus. So you just had to take some time out; naturally. So, bringing to the work you do today. Would you consider yourself an Artist or a Carpenter?

G: Definitely an Artist. Like I was saying before about being Hyperactive; I wanna do everything and I wanna be good at everything. So, I started doing Carpentry, and I did a lot of work with metal and concrete and I kinda just started to make to furniture to make money to make Art. Making is what I like to do. Making Art and making “happenings”, like what VBLOCC are doing – publishing and stuff-, and I feel like the Art I’ve always made was more action based. Like I used to break into buildings and strip rooms apart…

T: Kinda like The Lurkers; doing an installation for the photo. So instead of painting in an abandoned warehouse, you’d build something in it?

G: Yeah, so that was the work I used to make a lot. A lot of the work I made was based around control and defensive architecture, and how the city we live around is being designed against us, designed against comfort… And I liked to make work that explored that, and see how we can circumvent it, or opening the possibility of it not being that way.  So I’d do that and just leave it their or bring people down. I wanna do more things like that. Like, me and my friend Kingsley Ifill – who’s also doing well for himself Art wise, we’re gunna start doing shows in the back of a Luton Van.  So, we’re just gunna drive up and be doing exhibitions… Just pop the location and make a happening. I mean making art outside a gallery is more inclusive… And it’s not some Utopian ideal of making art for everybody; just doing things a little bit more interestingly. That’s what I wanna pursue. And showing people the possibility of that’s something they can do.

T: Okay, so it’ll not directly be about the art it’ll be about the experience…

G: Yeah. And I just wanna do stuff when I want. And not have to go down the traditional avenue of doing proposals for shows and all that…

T: What inspired the rings? When was that light bulb moment.

G: My cash cow *laughs*

T: Yeah how did that come about. I remember hearing some scouser selling pound coins as rings; trust a scouser to come up with an idea like that *laughs*. Nah, but that was genius…

G: I just did one day and wore it out. And people just kept sayin “I want wanna them”. So I did it and stuck it on the internet and it just went mad. And then I started making other bit of jewellery with coins just coz I liked it…

T: And that’s kinda your trademark. But carpentry has taken precedent, so your gunna focus on that.

G: Yeah, that stuff comes organically. But atleast I know I can consistently make furniture and people seem to want it..

T: Yeah man you got your own style. But, let’s talk about the Thai boxing. How long have you been doing that for?

G: I got started about 5 or 6 years ago. But I’ve fallen off this year because I’ve been focusing on work, so I can only train about once a week; so it’s kind of annoying…

T: And how confident would you say you are in your abilities; would you take a fight?

G: Yeah yeah yeah. I’ve been fighting for ages…

You can listen back to our full 40+min conversation in more detail from the battle cruiser covering ‘Youth, the future of style tribes, Spiffy, Happy Hardcore, discovering Grime, social boundaries in middle England, love, life and loss, being a teacher, redefining Art, Kappa, and Netto bags’ below:

POSTED BY: @TIMI.WATSONROSE

ARTISTS, LONDON + THE ‘PUBLIC OUTCRY’ PROJECT: AN INTERVIEW W/ OLLIE OLANIPEKUN

From his humble beginnings blogging on BNTL back in the day, to co-owner of one of the most prestigious new creative agency’s Superimpose who now have a client base including Adidas Global and Hermes. I sat down with Ollie to discuss how new project ‘Public Outry‘ to get a clearer idea of what it actually is, what Ollie intends to achieve.

We ended up having a long conversation that would’ve been a silly amount of text. So, instead you can read the core (and in my opionon the most import area) of our discussion; with the option to listen to our full 20min conversation in podcast form – layered with riddims for added vibes – the choice is yours.

T: So, in a nutshell; what is ‘Public Outcry’?

O: It’s an open source social platform that works with contemporary Artists, to use their creativity and their influence to shine a light on issues raise, and faced, by the underrepresented.

T: Okaaay. Tidy answer. You may’ve balls’d up some up my other questions but, nice. *laughs* Anyway, next question:  Considering your Marketing background and relationship with the art’s ; would you agree that the Art’s and Artists are being greatly underutilised in promoting social progression?

O: Yeah completely being underutilised… but I think it starts with the artist. I’ve had great debates on instagram about this, and… if you’re creating work you need to commenting on social issues… what influences your work? You look out your window – shit’s fucked up! But,you go to your studio and you know, (just) paint some pictures or just draw flower; d’you know what I mean? It doesn’t really make sense to me. So, as I said, I think it does start with the artist, and artists really need to use their platform… It doesn’t need to dominate your work, but damn, you can do both? Just comment, have an opinion. But people right now just wanna get paid! I wanna get paid too; but you can do both.

T: So, artists are being underutilised, but we can agree it’s their fault because they aren’t creating the work…

O: They’re too worried about paying their mortgage…

T: Do you think that artists that choose to exist in London may exhibit this attitude more commonly, and do you reckon there’s potential for other cities to have artists with a more similar ideology to what you were saying?

O: It’s hard for me to know… we were talking about ‘Culture’ this week, and what does culture even mean? And for me, it’s an opinion, a comment and expression of your surroundings. So, for an artist in London, it’s never been in a worst position. With the housing crisis in particular it’s insane. So, as an artist you should commenting on this… you should voice your concerns.

T: Could you make the argument that the artists are able to exist; A – come from a background that can support the lifestyle financially and B – even have the attitude we just mentioned? Considering the presumed financial privilege of these artists may inform a less concerned view of their community.

O: Good question…

T: Once upon a time you had your squatters and that culture allowed to be completely broke and make uncompromising Art; but I think we’re living  in a economic landscape where that  isn’t possible…

O: Completely! And that’s a massive question firstly and secondly to try and answer that. Unfortunately in London to survive as young creative you’re gunna need some support. That bar job that you could’ve had 10 years ago that could pay your rent and allow you to save some P, and go out and drink – that don’t exist man. You need a few jobs! No we’re in a position where the creative space is dominated by  those who’ve came through with – I don’t wanna use the term ‘silver spoon’ but financial support. A lot of what we do here at Superimpose is influenced by lived experience. These guys who’ve been wrapped in cotton wool their whole lives; what can they show in their art? And, that’s the big question? That’s a massive-massive-massive question and a problem London’s facing right now, but that’s not what I’m trying to solve with ‘Public Outcry’.

T: Nah, but it’s something needs to be addressed and acknowledged…

O: Yeah, Sadiq Khan’s doing his thing for the night life scene which informs a lot of art, so that’s a good start.

We went on to discuss more topics regarding the Superimpose agency and ollies many labours of love which you can listen to below:

Biggup Monsieur Dangereux and the Superimpose crew. More interviews to come so keep it locked.

POSTED BY: @TIMI.WATSONROSE

POSH GIRLS, K FIENDS AND MEMES: AN INTERVIEW W/ POUNDLAND BANDIT

If you aren’t already following PoundLand Bandit on Instagram, then you’ve probably already seen his cutting and hilarious memes on various accounts like Wavey Garms, Sick Chirpse and many others who’ve all been spreading his now infamous ‘starter packs’ based around those typical London cunts that everyone seems to know but no one seems to like. From Hypebeast heads to K fiends, your part-time “fezzy season shotters” to their MDMA loving Posh Girl customer base; no one’s safe from Poundland Bandit’s witheringly accurate take downs.

I caught up with the graffiti artist named 40ounce who is behind the account to see where he gets his inspiration from and what his favourite memes are at the moment.

So what made you start the IG and doing memes in general?

I just started it to post photos of nights out and mates and the occasional bit of graff, but then I started following all them meme pages and I clocked no one makes any (decent or funny) ones about graffiti and London life and the people you’d see day to day so I thought I’d make some for a laugh and it kind of blew up a little bit.

How did it blow up you reckon?

I don’t even know, I think because some of the stuff I made was indirect pisstakes to a lot of people who followed me and they found it made them crease enough to laugh at themselves and tag their mates in it and whatever, also shout out to Wavey Garms for calling me the king of memes, think that got me like 2000 followers in the last couple days which is jokes cos 90% of them are the exact people I make memes about.

Lol yeah I clocked that! Do you know Andres?

Yeah known him like maybe 2-3 years I think? Just from seeing him about at events and that, we got bare mutual mates, that and I’ve sold him a few bits and bobs down at the WG shop, top G.

Yeah he’s a good lad. So where do you get your inspiration for these memes from?

Just from going out on the piss in either south or east, seeing the way people try too hard with the way they act or dress, or sometimes I’ll see something happen on a night out like a geez outside XOYO getting battered for trying to tick K off someone, sounds deep but I find the funny side of it and so a meme is born.

They are good memes to be honest mate. So specific but so cutting. Where do you see yourself in relation to those kinds of people? Like do you hang about with some people like that or are your mates a lot different?

At first I thought everyone would get that all of the memes were an exaggerated version of people I’d seen on a night out or social media but it turns out people exactly like that down to a T actually exist it’s so jokes. The lot I hang about with, well… any memes about shoplifting alcoholic graffiti writers didn’t just pop up out of thin air, you get me…

Haha yeah! Do you know The Lurkers and the ATG lads?

Nah, I know of them obviously, but can’t say I’ve ever formally met any except a quick hello or something at an event or party or whatever, rate the tee’s they bring out though fully.

Yeah, same. So do you think these memes have become easier to make because of the fetishization of London culture by posh kids?

1000% mate. All these brehs from Dulwich and Putney rocking Nike TN’s and Stone Island is jokes, they’ll say ‘bruv’ and ‘fam’ and talk the talk but they melt when they meet original rudeboys, same as these clapped posh girls dressing like single mums from Croydon circa 2002. When did it become popular to look like you were waiting in the queue for job centre in Peckham rye?

I feel like people like that get called out all the time but everyone forgets about it after a while, memes are some fuckin weird phenomenon in 2017 so it’s easy to get my hate across to 1000’s of people, maybe it’ll make them change, maybe they’ll just laugh at it.

So do you ever get shit for your memes at all?

Not as far as I know, I think people do honestly know it’s a joke, if they take themselves too seriously or get offended or have a problem with me then they can do what any adult would do and go fuck themselves innit.

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Yeah you’re absolutely right. So what did you make of the whole Hetty Douglas thing then?

Ah, that person. Well I’ll say this, I don’t know her background so can’t call her a rich girl or any of that shit everyone else was doing. But I’ll say this, her art is hyped garbage and anyone who gassed her up is an idiot to the nextest level. What she said was dumb, and ignorant and it seemed like her apology letter was insincere as fuck, but with people like that they’re a walking meme already so my jobs obsolete.

Fair play, ice cold. OK so where do you see that side of London culture in the next five years? How do you see London youth culture evolving ? Not that you’re an expert or nowt but you have a keen eye for cultural trends I think.

It’s a trend for now to look and talk like you’re from a rough area, I still don’t know why though, could be the resurgence of U.K. Grime, could be high end streetwear brands marketing towards rudeboys, who knows, but it won’t last long. The only people who’ll be rocking the Air Max’s and North Faces in five years will be the same bods who’ve been doing it their whole life.

It’s hard to say how it’s gonna evolve, could go in some mad direction and you’ll see bare people dressing like Mods or Teddy Boys, you never really know. But it seems to be every few years the trend is based on what was cool ten years ago so hopefully everyone’s rocking flame shirts and Osiris D3 skate shoes.

Haha yeah I rated that look so I’m hoping so. What are your favourite meme accounts at the moment?

Mostly graffiti related ones, but there’s tonnes of jokes ones who post other weird shit, @Polo_cutty, @Stillbrazy, @wolf_eyes_psychojazz, @evrtythingisterrible666, @tri.coloured.

And what are your favourite memes general right now?

Tough one, but probably all of mine cos they’re sick. But nah this one had me creasing hard:

Deffo my favourite one this month…

Oh man that’s a good ‘un.

Mate I legit cackled when I seen it.

So do you have anything else to add in the way of memes, London culture and general fuckeries?

Like, I just have fun innit, the only people i intend to offend are the people who’ll see my posts and get pissed off’ cos they’re mad that they’re shitty people haha. As for fuckeries, if anyone’s ever sees me bolting out of a shop, do me a favour and trip over the Security guard. I’ll get you a pint.

Cheers 40ounce.

You can follow Poundland Bandit HERE & Follow us HERE

POSTED BY: TOM USHER

REAL, RELEVANT & ON DA REGULAR

DRILLIN’ FROM FRANCE TO CHIRAQ: AN INTERVIEW W/ UK PRODUCER DEGGZY

20 year old UK producer Deggzy – is a young musician who’s passed a few milestones and got a couple of significant notches on his belt, despite being so young and otherwise at the early stages of what is, i’m sure, going to be a fruitful career in music. But, on these shore’s atleast, not much is known about him – it would seem he’s better known on otherwise of the pond as it stands. As I’ll allow him to explain..

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Seeing as this is a bit of an introductory interview for the UK gang who may no little or nothing about you. Let’s get shed some light on your background. So, where are you from? With regards to your ethnic background, and culturual background?

I’m originally from Ghana, but born in Bois Sauvage – France. I lived there until 11 years old then moved to London. I Moved here cos my parent thought I would get a better education and it was more convenient. i didn’t have a problem with it; I was fine because I came to London on holiday before making a decision.

You have a history that most wouldn’t believe. How – at 15 years old – did you find yourself producing for Chief Keef and being transatlantic force in the Chicago Drill Scene?

I didn’t really know if he knew about me or heard about me before, but because Young Chop heard of me from the beats I’m sure that helped with getting Chief Keef on my beat. I contacted him with his private email and we went from there that’s literally it.

At the time I was still in Year 11 and the next day I went school everyone congratulated meliterally  I was still so young it was crazy! And the day before, the song had got released, so I got home and I had a notification from my bro Chapo; he’s another producer from France  (@iChapo). He’d put this link of this song on my Facebook Wall and just titled the post “Well Done Deggzy” so when I clicked on it, man it was a good feeling.

That was my first Major Credit From the Chicago scene and it helped to get way more. That specific credit gave me more exposure and all sort of artists and producers wanted to work with me. But don’t get it twisted; before that I was working with lot’s of other artists in Chiraq Like M.I.C (Mikey Dollaz IL Will Lil Chris) Sasha Go Hard Chella H and more… 

Agter all that I also managed to produce for Tink and Dreezy which was a different experience on the R&B and rap side with female artists. I’ve also been approached by some A&R from Atlantic which was looking for beats for Kevin Gates and one of Wiz Khalifa’s Album’s. I think this was in 2014 or 2013 but then I don’t know didn’t really hear back from him after we spoke and everything.
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Is it also true that – as a result of your work in the US Drill scene – you’re well know in Chiraq. Even more so than in the UK?

Yeah, there was point where i was producing a few of the hits in Chiraq, so I was in the Top 4 Producers alongside Young Chop In Chicago  – even though I was in London. So yeah, I think I did some good work in that scene and people can remember me for being involved in that whole movement; Young Chop liked my stuff you know; shout out to him.

You used to sell beats online – which seems like a sound revenue stream. Why did you decide to stop doing that?

The money was all alright and stuff, but I felt like I was wasting some of the beats because they deserved much more recognition for the stage I was at. Like, I didn’t just want to sell a beat then when the song comes out it has no impact on me. These days I’d rather work with an artist properly in the studio, build a catalog with them and go from there. The page was doing very well though, it had ’bout 100k hits and plays.

What are your musical influences? Clearly your into your US stuff, but does UK music play a role in shaping your sound?

My influences… hmmm, I like Soulja boy he definitely is my top influence because I used to listen to him ever since Crank That and still listen to him up to this day, so whenever he has new stuff out yeah I check it out. He’s got a different sauce that I like, but I also like Chief Keef , Migos , Young Thug, Future, Gucci Mane , Hoodrich Pablo Juan, Nav; basically most of the new school rappers from ATL. As far as UK Music I wouldn’t say it played a big role in shaping my sound because I was always into the American Music but I’d listen to Uk Music here and there –  Giggs for examples…

Whats your relationship with Vibesquad? And could you shed some light on the history behind the significance of crew?

Basically Wizzy from Vibesquad is my brother, so that’s how I knew his friends. We been studio a couple times and done some work, but we never really got to putting it out. At first they were rapping doing hip-hop but then they wanted to make music that people could vibe to – that’s how they came up with the name Vibe Squad. So they got into the Afrobeats scene and it picked up really good for them. They’ve collabed with Bisa Kdei and even Fuse ODG so that’s a bit of light there *laughs*.

What artists in UK – mainstream, underground or completely unknown – would you wanna work with UK?

Hmmm, in the UK I like Yung Fume, The £R movement, Nafe Smallz and D Block Europe, Young adz. I’d wanna work with them as they got the sound that I also like I think we could make some serious bangers for people’s ears. I’ve already done some work with Lancey Fouxx but that also never got its chance to come out, really in truly any one who listens and likes US autotune music or just sauce music then we can work as long as they’re serious and not trying to waste my time.

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What’s the plan for the future? Any projects lined up? And will you be more music with the Chitown Rappers you’ve connected with in the past

For the future I plan on releasing some songs of my own as a lot of people are feeling the new sound I have and with that I got videos done and ready to drop so be on the lookout soon that’s the plan and as far as the beats yes they are still there and still making new ones still looking for more serious artists but I got my new artist who I’m working with. His name is Shapes Vandross who’s big brother is Shocktown. We got a joint mixtape coming and it’s fire in my opinion I’ve got feedback from few people and they saying to drop it but you know it’s not good to rush but also not good to wait too long but we got it all planned. Also got another which consists of a different wave that me and my guy 46 been working on it’s gonna be called 46 and 88 watch out for that too. They will all be released on Apple Music And Spotify. And as far as the chitown rappers I could do music with them at any time but right now I’m more into the Atlanta scene which is bigger but yeah I havn’t really made my march in there but I have a couple connects that can help me so it’s all good.

POSTED BY: @TIMI.WATSONROSE

AN INTERVIEW W/ BLAIRY HENDRIX: NOT3S’ EARLY CAREER, PRODUCING ‘DEM BOY PAIGON’, THE SNEAKBO SOUND + MORE

A pioneer in his own right – along with his production partner Joshua Beatzz. Blairy Hendrix is one of literally a handful of producers who can stake claim to the wave of Afroswing that’s sweeping the nation. Along with being responsible for blistering breakthrough beat that assisted in rise of J Hus. But also, produced ‘Rich Not Famous’ by MoStack – one of his early releases – as well as working with Stylo G; studio sessions with Not3s in his early career; and from what I heard in the studio last week – shaking up Sneakbo and bringin’ back – what feels like – that original ‘Rudeboy-Brixton-Flavour’ on their latest track together – as he’ll explain…


So, you were born in Austria. Would you say that has had any influence on you culturally, creatively ; or would you just consider yourself – fundamentally – an east end Londoner?

I’d say being born in Austria means that I’m not a typical East Londoner as my early influences where different I was listening to German speaking rappers like Sido However growing up in east London also influenced me because I was also listening to a lot of grime at a young age. 

Dem Boi Paigon is arguably your most notable production. But you I believe you’ve played a role in the conception of a few other notable British Urban Music moments in history – Could you shed some light on some of things you’ve been involved in, or people you’ve work with in their early days?

Me, T Mulla And Not3s had a good musical friendship where we shared ideas worked a lot together and I feel that you know that’s very positive because three teenagers coming together from East London to work together to develop each other’s sound was very positive…

How did your relationship with Not3s develop? I know you mentioned Not3s being a person you link up with before anyone knew the name. But how did it all begin?

I wouldn’t say I linked up with Not3s before everyone knew the name because he was quite known already he had a song called bark off which was already ringing in the streets already in hackney and I just happened to run into him into him in a studio session and we just became friends from there and we just bounced off each other’s ideas, I liked his workrate and the way he worked as well I had never met any artist who worked as quick and efficiently as him. 

So, since J Hus’ meteoric ascent, the ‘Dem Boy Paigon’ track is now licencsed by Sony right? How are eating off that? Is the food good? The songs quite old, so it would be interesting to know if, at this stage, it’s being banged by his new fans, and thus, puttin’ some paper in your pocket…

l don’t even wanna answer this quesrion. Lol; I don’t ever want the public to know my finances…

After coming down to Studio and hearing the new Sneakbo track you’ve got coming – which is cold – and FINALLY is delivering the Sneakbo we came to rate. How did that track come about? When’s it dropping? And how did you get him to take it back to the Old Skool ‘Brixton Bo-Bo’?

I remember hitting him up saying that me & joshuabeatzz should do something for the Brixton mixtape and he was like yeah cool so he just came back from holiday and I think he was even jetlagged he just came down to the studio I was at drama school as well so I caught the train back to London and me him and josh did the session, he just hopped in the booth and patterned it one time. It should be on the Brixton mixtape as that’s what it was for initially but we are yet to discuss the song in more detail.

You and Joshua Beatzz are undoubtebly originators and pioneers in the Afroswing scene, but who else would you put in that category?

A definite originator for me is N2theA he was the first person I heard make a afroswing beat in my lifetime

Who are your top selected producers pumpin’ out the Afroswing bangers?

In terms of my fav afroswing producers in no order .. N2theA, G.A, Jae 5 and Sevaqk.

As a young producer who’s deep in the game and at the forefront of a new scene –what young talent should we be looking out for?

Loool I wouldn’t say I’m on the forefront id say I’m still upcoming but I rate Malv on the track and E double B


What’s your plan going forward? I know you like to step steady and plan your moves, so what’s the next project or next step for Blairy Hendrix??

Me and a joshuabeatzz are gonna. Be pushing our Kindergarten EP until further notice visuals are coming soon and also check out kilo Keemzo no scrub which we just produced too.

POSTED BY: @TIMI.WATSONROSE