Category Archives: Interviews

Early inspiration, dream remixes and releasing with one of his favourite lables; a quick chat with Wittyboy [Interview]

Wittyboy Press Shot 3

Following on from his releases on Chip Butty Records and Crucast, Wittyboy’s most recent release see’s him pair up with a label close to his heart; DJ Zinc’s imprint, Bingo Bass. The London based artistss latest 2 track EP is a perfect representation of his hybrid production style. We spoke to him about his history in production, the state of the bass scene right now and the EP itself.

As someone who made their name during the first wave of Bassline, what was your initial introduction to dance music?

I was heavily inspired by early speed garage and 2 step garage when growing up. This was the first type of music other than Hip Hop that got my attention. I used to buy the Sun City tape packs from my local off license; can you imagine an off-license selling tape packs now?! Crazy when I think about it.

What was it that made you want to start producing?

I think it was a natural progression from being a DJ and wanting exclusive dubplates to drop that nobody else had. That’s what made you stand out as a DJ and still does in my opinion.

If you weren’t making Bassline or Garage, what kind of music would you produce?

Probably Hip Hop or Grime.

What are the biggest changes in your own music since you started out?

My technical knowledge and quality in structure and sound. I understand music much better now than I did back then and technology has advanced too which helps.

You’re originally from Leeds but now live in London – what are the biggest differences in the bass music scene that you’ve noticed since moving?

There’s a much bigger scene across the country now whereas before it was literally just up north. There were a few people trying to push it down South back then but not many.

You’ve been on remix duties for a list of massive names; if you could do a remix for anyone in the world right now who would it be and why?

I would love to remix for Jorja Smith or Dua Lipa. They are both amazing vocalists.

Your latest release dropped on DJ Zinc’s label, Bingo Bass. Tell us a little bit about your connection to the label and how the release came about?

I started sending Zinc music and he asked if I would be interested in releasing on Bingo – I obviously said yes and here we are! I have a personal connection to the label historically as some of the back catalog heavily influenced my sound and career.

What was your process for writing the release?

The same as any music I suppose. I just go with what feels and sounds right at the time. This release shows both sides of my style I think. ‘Burning’ is more melodic whereas ‘Working With’ is more bass driven.

How healthy do you think the current UK Bass scene is?

I think the scene has lots of diversity in terms of the music and the fans, which is always a great thing. I think if people continue to create original music that is true to themselves then the scene will continue to thrive.

Finally, what’s next for Wittyboy?

Continue to make original music and work with as many talented artists as I can. Hopefully drop an album too at some point!

You can hear Wittyboy – ‘Working With/Burning’ below, and buy the release here.

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The influences of Croydon and Dubstep, finding his sound early and gigging with Jauz; an interview with PVC [Interview]


Purple Velvet Curtains, or PVC as he’s known, has been involved in the UK Underground scene for years, crafting an incredibly unique sound that sets him apart from anyone else and makes his productions instantly recognisable. Ahead of the release of his next EP, due out on Southpoint at the end of this month, we caught up with him to talk about his musical roots, Dubstep, and his favourite moments as a DJ.

We first started hearing your music on Marcus Nasty’s show years back, and it immediately stood out from what everyone else was doing – why do you think your sound design was so different from so early?

I guess at the time there really wasn’t many people pushing that kind of 130 Jackin’ House vibe with Bassline; it was either Jackin’ at 130 or Bassline at 140 so big shouts to Marcus for putting tunes like that and myself on the map. I just don’t think there was enough people experimenting, I was young at the time so I really didn’t  think much of it and I almost thought I was the only one using Reason as well. People used to look at me funny when I told them I was strictly Reason and in a sense that kind of made me think I could use things others couldn’t.

What was it that first made you want to get in to making music?

I always had a big passion for mixing music – I had a set of decks by the time I was 13/14 – and wanted my own music to add into mixes ever since. I actually organised a few ‘raves’ (using that word lightly) when I was about the same age just because there was no way for me to play in a proper club. I started making music for fun; growing up in Croydon I kinda took a lot of Dubstep and Garage influences from people around me (Digital Mystiks, Benga + Skream, Monsters etc.) but being in that younger generation it was a lot of watching and learning whenever I could get a chance or whenever I was lucky enough.

With originally being from Croydon, how did the emergence of dubstep have an affect on you?

As mentioned before I was really young at the time compared to the guys that were really coming up. Although I spent my fair few weekends down at Big Apple and even after it shut down it was always a case of kinda soaking it all in and the spending hours each night trying to recreate what I heard that day. With everything my sound evolved to the point I was making strictly 2-step and bass house for a while but couldn’t ever stray from that Dubstep influence which I still think I use in my music now.

Now you’re in Brighton, how does the scene compare with that from the Capital?

Very different. Not in a bad way at all but when I first moved down to Brighton it was an underground music hub that put on events with artists that were fully on the come up – just as a quick example I remember seeing Preditah with 5 people in the rave the first year I landed and it blew my mind. Now seeing him sell out tours is incredible and just shows how ahead of its time Brighton was. I honestly am slowly starting to see that happen again but for a few years there was a big transition in what people wanted down here. I feel London has always been quite consistent and it’s a big enough place that you don’t even have to be looking for a decent rave to find one.

The track that really put you on our radar (and a lot of other people’s) was your bootleg of Ten Walls’ ‘Walking With Rhinos’; how do you think you’ve changed and developed as an artist since releasing that?

Life kicked in big time after I released ‘Walking with Rhinos’ and I’ve taken a few breaks in between then and now. Honestly,  I’ve only started to feel in the last year that I’ve developed into a person I feel comfortable with so I guess my sound develops and changes with me. As an artist I feel like I’m improving and developing daily; I’ve had some great opportunities to work with some crazy people in the last year and learning every step of the way has been an eye opener. With so much more to come it’s exciting to think where the music could go!

You’ve played all over the country and internationally but for those who haven’t had the pleasure of witnessing a PVC set, what can ravers normally expect to hear from you?

Energy, energy, energy.  I love a good party so I like to show that throughout my set! I’m playing a lot of unreleased stuff at the moment from myself and plenty of my pals that seems to turn any place upside down, although I love to throw in a few classics too. I tend to go through the whole spectrum of bass music from UK Bass to Garage to Bassline with some random bits chucked in between. All-round a lot of fun and good vibes.

What’s been your favourite set so far and why?

My favourite set so far would have to be Cross Club in Prague. It was a crazy experience and the club was incredible, topped off by having a restaurant inside the rave which is probably my favourite combo ever. Was with some really nice hosts and the city is just a beautiful place. An honourable mention would have to be a hometown show supporting Jauz at XOYO – to meet the man himself was enough but to play to a sold out show with so many old faces in attendance was special.

With your next release coming out on Southpoint, tell us a bit about your relationship with them and how you put the EP together?

Southpoint have always been my bros from since I moved down here and they started up. It’s been a long time coming for me to be jumping on the label for a release but I feel it’s definitely come at the right time! Everyone on the label I have plenty of time for including my hometown pal Duke who jumped on the release for me with some mad vocals and Bushbaby who has done a killer remix of ‘Trash’ as well. It was very fun putting the whole thing together and I hope it shows.

What’s the general process for a PVC studio session?

The general studio session really depends on who I’m with or the mood I’m in. Typically it starts with a cup of tea with Mary, and then follows with something stronger if the mood takes me… I’ve got so many ideas and voices in my head and a lot don’t really suit this project (PVC) so I write a lot of music that constantly gets me working with other people which is so much fun and obviously very beneficial but I tend to bounce off people a bit and go with the flow. I try and take influences from as many different places as possible and cram them into the PVC side of things which makes things new and relevant. A Deliveroo is essential and so is having just enough utensils around me so I don’t have to move.

Finally, what have you got lined up after the release of the ‘Trash’ EP?

There’s a lot going on this year, some crazy collabs and a lot more vocal work for some special people that I’m fully excited about! I have two singles coming out in the summer and a few bass heavy EPs swinging about in between. I’m also hoping to get PVC out a bit more during the summer so expect some last minute bookings and appearances from myself causing a bit of mischief with my pals.

Also, I’d just like to thank you guys for having me on here, the Southpoint boys for helping me out with this EP and to Duke & Bushbaby for their involvement in making this happen, the love is real!

PVC’s next EP, ‘Trash’, is due for release on Southpoint, 27/04/18. You can hear a couple of tracks from it below

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The freedom of Battle Rap, developing his production style and the sheer importance of rhythm; catching up with KXVU [Interview]


After a year and a half since his last outing on Southpoint, KXVU is back with an EP due out on home turf. He’s not been slacking in those 18 months, with a string of remixes and compilation features, gradually mutating his sound and drawing inspiration from the many roles he has within various scenes. We thought we’d mark his return to the label he co-founded with an quick interview.

You’ve been active in a load of different areas within the industry for a while now but when was it you first realised you had a connection with music?

The first time I found any interest at all in music in all honesty was when my friend Ntokozo showed me a JME track called ‘Deadout’. The vocal wasn’t what got me it was the instrumental, which Davinche had produced. There was something about the rawness of the horns and the layout that instantly hit me with inspiration and made me say “I want to do this”. From there I went to Mcing with friends and learning to produce instrumentals on FL and it’s all come as a progression from that really. 

As someone who is active in both the UK Battle Rap community and the dance music side of things, what were your biggest influences early on?

I’d say my early influences that have stayed with me are definitely producers like Wiley, Davinche, PJam, Terror Danjah etc. Essentially the grime producers that knew how to bring original flavour and sound design without compromising rhythmic energy. To this day for me it’s all about energetic rhythm over everything else. Later on, producers such as early Redlight, Toddla T on the funkier, carnival side of things and people like Ben Verse and Kryptic Minds became the influences I followed.  

You DJ for most of the big Battle Rap events these days – how did that come about and is there a crossover with your other work?

I’d been following the UK battle culture for a hot minute before I ever got involved. I found it really interesting how innovative and original people could be in their writing. Eventually I ended up trying out and battling myself for a few years. At an event called Sunburn 2 at Brixton Jamm, one of the DJ’s pulled out last minute and my name got thrown into the conversation by a friend of mine called Callum who was very involved with running the events at this point. From there people seemed to enjoy what I did with it and it’s just kind of stuck. I find the battle events, DJ wise, are the only time I’m able to play everything I want. Obviously radio stations have certain rules on swearing and in the dance it’s got to stay high energy so it’s quite refreshing. 

With so many different interests – Southpoint, producing, DJing, and Battle Rap – what tips can you give for staying organised and maintain a consistent work rate?

Get a calendar and put everything in it as soon as you find out with no exceptions. I’ve always liked to stay busy and I’ve found that having one location where I can see everything I need to do and everything I have done already keeps me motivated. I find being able to look back and say “I did all of that today” genuinely inspires you to want to beat that level of output the next day. 

 Since we were first made aware of your productions when discovering Southpoint back at the end of 2016, you’ve released a fairly varied catalogue of music including Dubstep, Grime, Breaks, UK Funky and even some Trap-ier sounds. When you sit down to make a tune do you have an idea in your head of the direction you want it to take or is it a more natural process?

In 100% honesty, I tend to find that when I sit down to make a tune I have a rough idea of the vibe I’m going for. I never have any clue on melody or musical ideas, but I always have a rough idea of the rhythm I’m going to be working with. I think this is why a lot of my stuff would fall outside a typical genre bracket because I like to experiment and play with sounds. 

How has your production style developed since you first started out?

I think everything has got a lot cleaner overall. I think also that the addition of breaksy drum patterns as either sprinkles or leads into most of my tunes tends to add an extra layer of rhythm. It’s all about rhythm. 

Your next EP, ‘Empire’, is wide open in terms of genre but is really cohesive as a body of work. Could you explain the process a little bit behind writing it?

Whenever I build a project I try to work to an overall theme. As this was my first solo project on Southpoint since my album I felt it was a good idea to express the overall journey of what I’ve been inspired by across multi genre influences. The two things that have mainly been inspiring me recently have been breaks and dubstep, so I think the fusion of those two styles became the spine of the project with everything else trickling off in different tangents. I like to think that Southpoint as a label is very multi directional in regards to the music we release, so it was also a homage to that ideal. 

As co-founder of Southpoint, things must be pretty intense but motivating right now! What’s your role within the label?

It’s super motivating, pretty much all of the producers we work with inspire me musically every time we are working on a release. My roles within the label vary but primarily I’m the content manager and lead A&R. This essentially means I tend to organise the release process, working closely with the producers with both feedback and as a mastering engineer to get the best product possible. I also tend to handle the promotional material such as written content and promotional video animations. Myself and Josh tend to find ourselves crossing over a fair bit especially on the promotional campaigns as we tend to work best when bouncing ideas around. 

What do you think it is about Brighton at the moment that has caused this huge, exciting scene to explode there?

I think a lot of clubs and venues have wised up to the fact that there was an entire scene that wasn’t being tapped into. Brighton is a super student heavy city so we rely on staying ahead of the curve. I also think the musical community has reforged over the last 2/3 years which makes so much difference to how the scene is perceived. 

Finally, what’s next for yourself and for Southpoint? Any big news you’re able to lift the lid on?

I can give you a little exclusive right here. From March, the Southpoint: Introducing series will also be available to stream exclusively via Spotify as well as SoundCloud free downloads! We’re very much looking forward to having the material available to as many people as possible! 

You can pre-order KXVU’s forthcoming EP, ‘Empire’, here; it drops on Southpoint on 2/3/18. Also be sure to listen to the very first mix in our brand new ‘In The Mix’ series, mixed by KXVU, below:

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Daze Prism on his versatile production style, avoiding writers block and his forthcoming Southpoint EP [Interview]


After a monumental 2017 that saw Daze Prism hone his sound across a series of high quality EPs on a handful of the scene’s biggest labels, we caught up with him ahead of his first release of the year.

First of all, in research for this interview we had a quick look on Juno Download and saw in 2017 you featured on 1 compilation and put out 8 EPs AND your debut album – talk about work rate! Is writer’s block something you find easy to avoid?

Yeah 2017 was a busy one for me! Through the summer I was producing tracks everyday, and luckily didn’t have any issues with writers block. I was writing my dissertation at the time for my MSc and having the music as an outlet really helped with creativity. My advice for writers block would be to have a little jam with a keyboard/guitar – you never know what ideas might come from it…

Something we’re noticing more of at the moment is artists sticking to a small group of labels again rather than the phase of releasing everywhere and anywhere – you’ve consistently released on PAR and Southpoint, who we know try and encourage label loyalty. What are the advantages in having that kind of relationship with labels?

The great thing about sticking to a label is that you can be more selective with tracks you put out. If there’s sound you’re really feeling, the freedom to release that type of music only comes with a familiar label in most cases. When you’re trying to land a release with a new label you have less control over which tracks will end up on an EP – and sometimes you find yourself producing for a label rather than for yourself. 

You’ve got a really versatile sound and no 2 of your releases really sound similar. What are your influences?

At the moment there is a lot of sick music to take inspiration from, you don’t have to search for long to find a track which makes you want to go and start a new production!

In terms of my ‘base ingredient’ influences, I’d have to say Vangelis (the composer of the original Blade Runner sountrack) is a key inspiration for the melodic and more musical side to my tracks. For the more dark and modern parts of my productions I draw a lot of influences from early My Nu Leng, Taiki Nulight and Sly One tracks. Aside from that I try to take influences from any music I listen to, even some mainstream tracks in the charts might have a cool snippet of production in them that can be applied to a track.

Up until ‘Lose Control’ your music has been consistently dark and gritty – is that a choice on your part?

Most of the time the tracks develop into something dark – I don’t usually make a conscious effort to make them dark.

What was the defining moment/track when you realised you had your own original sound?

My favourite production to date is “React”, I think once I got the master back for that I knew I’d found my sound.

Talk us through the Daze Prism approach for putting together an EP?

I don’t really have an approach as such; I’m making tracks all the time and if one ends up sounding right I’ll try produce a few more in the style/mood to fit.

You’ve worked with Sabrina Gunston and Danny Jaqq on your forthcoming release – how did those collaborations come together?

Jay from Southpoint contacted me about getting an EP together for the label. I’d made a few WIP tracks and we decided to get some original vocals in on them. Having the vocals really transformed the tracks – it’s the first time I’d worked with original vocals so it was really cool!

SaidWho and Freddie Martin are also on the EP, supplying the remixes. If you could add anyone else to the remix credits who would it be?

Taiki Nulight!

If there was one track in the world you could remix, what would it be?

Hard question haha, I think I’d choose My Nu Leng – ‘Pushed’ Feat. Detour City. The vocals are really cool and I’ve looked up to those guys since day one. I think they should make more chilled/vocal stuff – I really dig their take on more melodic stuff.

Finally, what should we look out for from Daze Prism in 2018?

I’ve got a new single and remix EP out with Articulate Records later this year – there’s some sick remixers on there! I’m looking to get another EP out with PAR as well. Other than that I’ll see where 2018 takes me…

You can listen to the previews of Daze Prism’s forthcoming ‘Lose Control’ EP below, and pre-order it here.

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Blending genres, challenges along the way and a very busy future; we spoke to Tik (from Tik&Borrow) about the duo’s forthcoming album, ‘Neurality’ [Interview]


Tik&Borrow have had a very busy 2017, both on personal levels and as co-founders of label In:flux Audio. Most notably, they’ve released a steady stream of their own music, as well as keeping up with In:flux’s demanding release schedule and celebrating the label’s 4th Birthday. Somehow in amongst all of this, they’ve still found time to sit down and work on their debut LP, ‘Neurality’ – an 8 track release with influences spanning Drum and Bass, Dubstep, UKG and beyond. We caught up with Tik to talk about the album process, collaborations and what to expect next from both themselves as artists and the label.

You guys have been releasing music for a long time, as well as working hard behind the scenes on your label, In:Flux audio. How long has this album been in the works for?

We finished the first couple of tunes for the album in January of this year and we finished the last tune in September, so all in all it has taken 9 months to piece this all together. We’ve had a few other releases along the way this year as well on amazing labels such as Southpoint and Project AllOut Records, which has been really great for us and helped us to expand our horizons a little bit.

Did you sit down and decide to do a full length release or was it more something that ‘just happened’?

We finished the ‘Vision’ EP that went out in February towards the end of 2016, so as there was 9 months until the deadline for our next release on In:flux, we decided we really wanted to give making an album a try. We had a few tracks in the bank, so it really seemed like a logical move forward, especially with the fact our last few EPs on the label had all been really well received.

There’s obviously a huge amount of variety in the sounds on ‘Neurality’ – where did the inspiration come from?

Our sound has always encompassed a lot of different influences, but more so on this release than ever before. The biggest new influence to our sound for the album has been Grime and Dubstep, which was a welcome addition to our composition as the drum structure in those genres really went well with our Neuro-inspired synth design. Our sound has really come full circle now with the Neuro sound from Borrow’s DnB days now combining with my love of Dubstep. It was obviously meant to be!

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Tik&Borrow have put together a Juno playlist of  tracks that acted as influences during the creation of ‘Neurality’. You can check that out here.

What was the most challenging part of the process?

I think the longevity of the process was the most challenging part. Making sure tracks you wrote at the start in January stayed as strong as the most recent tracks written in August is always tricky, and it meant some tracks fell by the wayside along the way. It’s also important to make sure the sound across the album is consistent and tells a story, but we feel in the end we’ve put the best representation of ourselves out there in the 8 tracks.

There’s a big collaboration with Tengu featured, was it a conscious decision to not have more collabs on the release?

We had more collabs lined up but they didn’t quite materialise in time for the album. We are however absolutely chuffed with the one we did piece together for it! The collab we had planned with Pelikann is on it’s way and will now be appearing on his ‘Presents…’ compilation in March and we’ve just lined up another load of collaborations with Sample Junkie, Hamdi, Pharaoh K, Ali McK & IYZ and Aerontonin. Will keep us busy for sure!


What’s your favourite track on ‘Neurality’ ?

I think both of us have different tracks for different reasons. The opening four tracks on the album are all solid for different reasons, but for me it has to be ‘Intake’ and Borrow it’d be ‘Wastelands’. The best part about doing the promo for this release is that everyone has come back with a different track that is their favourite.

After experiencing making an album, is it something you’d do again in the future?

It’s something we will do in the future yeah! It is a process that really helps you to develop massively as an artist and when finished is an amazing representation of yourself, something you can look upon with a good bit of pride because of the effort that goes into it.

What were your favourite studio snacks throughout the process?

For Borrow it was beer and cigarettes and for me it’s all about squash and crisps. We definitely lead very different lifestyles!

Which track took the most amount of time to wrap up and why?

The longest tracks were ‘Intake’ and ‘Wastelands’ for the very simple reason that these were tracks from 2/3 years ago that were originally Garage tracks we weren’t too happy with, but when we started on the Grime/Dubstep flex we had another punt at them and they’ve turned into absolute beasts.

What have you got lined up following the release of the album?

We’re going to take the next year to be a little more free with our production and try to write tracks one at a time rather than for a full release. We’ve got a nice little ditty called ‘Fision’ coming out on Southpoint: Introducing in January, and hope to be working more with those guys next year. We then have our beast of a collab with man like Pelikann coming out in March, and of course all our other aforementioned collabs we plan on starting in December. We also have a couple of compilation releases on In:flux lined up, a free Dubstep compilation that will be going out in the New Year and Get Fluxed Vol. IV that will be going out in June. Other than that, we’re interested in putting a few more freebies out next year so we’ll see how that works out in amongst all of this madness!

You can stream the showreel for Tik&Borrow’s forthcoming album, ‘Neurality’, below and pre-order the release here.

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Talking about huge forthcoming collaborations, changes to the Brighton scene and getting into music production with Pavv ahead of his next EP [Interview]


Pavv is an artist who, for us, is synonymous with consistently sick releases balancing effortlessly between soulful UKG cuts and rave-ready Bassline bangers. ‘Falling’ is his first EP on local label and scene heavy hitters, Southpoint, since ‘That Talk’ back in May ’16 – a combination already proven to yield brilliant results. We caught up with Pavv to talk about the EP, future projects and more.

You first cropped up on our radar back in 2015 with huge EPs on Project Allout and U Wot Blud and since then you’ve been a go to name for high quality, ukg infused, bass heavy tracks. Was that always the sound you wanted to pursue?

Most definitely. UKG has been a massive influence throughout my years of production, with Grime, Dubstep, House and even hip hop in some ways. When I first got in to producing Bassline, everything just naturally sounded garage-y so I kept that sound throughout.

What was it that made you take up production and Djing?

When I left school I didn’t really have any type of career in my mind (like most kids) that I wanted to pursue. I used to MC for fun in my spare time and I’ve always loved music and been fascinated about how it was made, so I looked through a college course book and saw a Music Technology course and just thought why not!? When it came to Djing, the moment I started getting relatively good at producing I thought if I were to ever get booked to play a night, Id need to be able to DJ. So I bought a pair of 1210s as I was already collecting vinyl (addictive personality) and was taught by a good friend of mine.

Where do you draw your inspiration from and what would you say your biggest influences are?

Without sounding too pretentious, I draw inspiration from everything around me. Whether it be music from different cultures that I like or simply watching other artists work rate. That makes me want to work hard.

As a Brighton local, how has the scene changed from your point of view in the last few years?

I’ve been here five years. When I first got here the scene was ripe, mid-week raves were very common and the array of artists that played was crazy. Gradually the city has turned in to a very university focused city. Club goers are drawn out by free entry and drinks deals and not really for the music. But, that has been changing over the last year or so, there’s so many club nights promoting underground music and artists and the students are starting to get into the music rather than the nightlife alone.

You’re latest EP, ‘Falling’, is being put out by fellow Brighton stalwarts, Southpoint. You’ve worked with them a few times now, how did the relationship kick off?

I’ve known Jay (KXVU) for a good few years now just through being a Brighton regular, so when I heard he was starting a label I was very interested in getting involved. I originally approached Josh Gunston (Southpoint’s other co-founder) to enquire about a remix of a track they had just released. He pretty much sent me the parts the same day and then when we met properly we got talking and arranged for me to do a full EP, which was That Talk. Since all of that, I’ve become good friends with both of them and we are set to do many more things in the future!

Brighton really seems like a hotbed for talent recently – which 4 other artists are you tipping for big things?

Tengu, Zero, Freddie Martin & Hamdi. There are many more doing bits though, and  more than most are part of the Southpoint team!

Vocals seem to be a huge part of your productions, with Charli Brix and Duke featuring on your new EP- is there any plans get some more original vocals down in the future?

You will see alot more tracks with vocals from me next year, 100%. Bru-C and Dread MC are two that I can confirm but the others are still under wraps!

The whole ‘Falling’ EP really showcases your style of soulful instrumentation and gully drops – talk us through how the project came together?

After the first EP with Southpoint doing so well, we instantly had plans for another down the line. I wanted this EP to showcase all the styles of bass I enjoy to make, with all the influences I also enjoy. ‘Falling’ was inspired by old school bassline, big strings and synths with soulful vocals. ‘Pick up the Pace’ is a dark bass driven track so I thought I’d get some vocals to match that, and who better than Duke?! ‘Gully Face’ is just a straight rave banger, and the Hamdi Remix is mad! And ‘Scatter’ was inspired by my love for reggae stabs and ragga vocals.

What was your favourite track to make and why?

Most probably ‘Pick Up The Pace’. Lots of the sounds I used are different to my normal synths so it was more of a challenge to mix and get the levels right. Duke is one of my best friends outside of music so to create something that I loved and then have my good friend vocal it with pure fire is a blessing to say the least.

Hamdi’s remix of ‘Gully Face’ is absolutely massive! How did that come about?

Isn’t just?! The guy is on top form at the moment. Basically, KXVU hollered me asking who I wanted/who we both thought would do the tune justice, and Hamdi had recently had his first release on the label and it was huge so I asked KXVU to ask him and get it sorted. A few days later he sends a clip of pure madness to my inbox, and that was that.

If you could have one more producer on remix duties for the release who would you pick and why?

PVC (Purple Velvet Curtains). He is one my favourite producers, he has a skill like no other to take any sound, and use it in a way that you know its been made by him, one of the best signature sounds in the scene.

We’ve heard on the grapevine that you’ve got some collaborations on the way. Are you able to give us any info on them?

Yeah – Me & PVC have got something in the works that I’m very gassed about. Another one with PVC & DeadbeatUK. One with Tengu which is already sounding mad. A couple on the go with Killjoy and one with Wölfe. I’m also going to be putting out an old one with DJ Direct soon as well.

What else should we look out for from you after the release of ‘Falling’?

Loads more music of course, raves, a collaborative compilation album next year. I’ve also got a couple of projects started that are separate to Pavv but I wont go in to that now…

Finally – what’s your favourite pizza?

Tomato base. Buffalo mozzarella. Smoked pancetta. Prosciutto. Cherry tomatoes and Basil.

Pavv’s lates EP, ‘Falling’ is out on Southpoint on November 16th. You can stream previews of the EP below, and pre-order here.

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The inspiration behind his album, collaborations and the future of UK Funky – we had a chat with Champion [Interview]


Back at the start of October, one of UK underground music’s most talented artists and key figures, Champion, announced he was releasing his very first album. Off the back of this news and with the hype around his latest single, ‘Running It Red’ featuring MC Shantie, reaching fever pitch, we reached out for a quick chat about the forthcoming ‘Snapshot’.

After so many years in the game, why have you waited until now to release an album?

I think it was a mix of two things. At first, I didn’t feel like I was ready on a production level to do an album. Then when I felt I could possibly do one, I put it off for ages until I got given a nudge and just started one day.

Has a Champion full length always been on the cards?

Yeah, I’ve always known that I wanted to do one! I’d done quite a few EPs and remixes over the years and knew that eventually I’d want to put out a proper body of work even though I didn’t have a clue on any of the specifics.

Did you approach making a full body of work differently to how you would an EP or an individual track?

Kind of – usually for an EP I would just go through all of my demos and see what works together for a release. With the album, I had an idea of what I wanted to go on it and then went through all of my demos/sketches to see what I could use and then filled in the gaps over the last year.

What was the main inspiration or driving force behind ‘Snapshot’?

A few things; one was expecting and having my first child. Another was that I kind of wanted to put a body of work out that felt like it truly represented me at this current time. The driving force was a lengthy conversation with Four Tet at Radio 1 one time!

There’s some very sick collabs on the tracklist! How did the tune with Four Tet come about?

We’ve been cool and working together on things since I remixed his single ‘Kool FM’ in 2013. I’ve always liked how our collaborations came out and, with Four Tet being one of the key reasons why I started the album and him helping me put the album together, I just had to ask him if he would like to collab with me on a track for it!

Is there anyone you’d have loved to work with who isn’t already on the album?

Oh yeah, loads of people! If I could have had anyone on there that isn’t, it would probably be Wookie on a production one. One vocalist would probably be Donae’O.

Obviously ‘Running It Red’ has had an incredible response – did you know it would have such a big impact during production?

I kinda knew it would do well in a set when I was making it but I didn’t expect it to get so much support! It wasn’t even made for the album, I just made it randomly one day and played it to a couple heads and their responses were all positive. I still fought putting it on the album until maybe 1 or 2 months before sending the album off for submission but the tune kept getting bigger.

What other tracks from the album have been doing the most damage when you’ve been playing out?

I reckon its a tie between ‘Drill’ and ‘Millennium Dub’ with Royal-T!

You’ve been around UK Funky from early as a massively influential figure – what are your thoughts on the momentum it seems to be picking up recently?

I’m happy that its making a slight revival. I feel like it just needs that one flagship tune now to kick it into gear. I reckon for that to happen though, someone needs to come with something completely fresh to the sound, something that will completely set it apart from what we were doing back then.

As someone with a very distinctive sound, what advice would you give to new producers trying to make an impression?

The main advice I could give for that would be to trust your ears in a sense where if you honestly like what you hear, whether it be a snare, sample or some hats, work with it and don’t question yourself. Also it would be to make tunes that you would personally go nuts for if you heard it elsewhere!

Finally, what have you got coming after the release of Snapshot?

I’m working on some vocal projects at the moment that I wanna run at some point next year. I’ve also got quite a few interesting collabs that will start to surface after the album as well.

You can preorder ‘Snapshot’ here, and be sure to check out Champion’s promo mix ahead of the release of the album below:

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