“If I made a song in pink boxer shorts and green gloves called Sexy Girl and got a number 1 the whole fucking grime scene would be in pink boxer shorts making a f****** remix.”
Dexplicit plans to release twelve instrumental EPs over the next 12 months, with the first coming out at the end of February.
Unlike the stars of most sporting professions, in the music world there is rarely an age at which someone should retire.
Back when grime was still called sublow, Youngstar was an eight bar rhythm champion. Ten years on, the genre is still arguably pulsating and he’s still about to celebrate his classic cut ‘Pulse X’ hitting a decade. We caught up to chat about Dizzie Rascal, the genre in the US and grimy classics.
Marcus Nasty gave the world UK Funky and next year he says ears will be tuned to a new genre, Jacking, along with the musical outputs of his talented younger brothers Lil Nasty and Griminal.
“The problem comes when that inner circle run the game until someone comes out and literally blows them out of the water and they can’t block him – there’s a lot of blocking going on.”
Back when VGA camera phones were still all the rage, grime was in its relative musical element. By 2004, many had loosened the shackles on the early term, eskibeat, and instead accepted grime as the conclusive phrase to describe this inner city sound.
Starkey’s industrious melodies and grimy tendencies have rightfully led to the coinage of the term ’street bass’. Originally from Philadelphia, the DJ and producer has also experienced life in London, picking up traces of grime and garage along the way. We caught up to discuss sci-fi films, Mike Skinner and America’s cult-like grime following.
Brighton producer and DJ, Moony, sits comfortable as one of the latest students to learn from grime’s seminal school of hard knocks. We caught up to talk about Artful Dodger, Gobstopper Records and grime’s current potential identity crisis.
Back in 2004, following the release of Wiley’s debut album Treddin’ on Thin Ice and Dizzee Rascal’s semi-seminal Boy in Da Corner the previous year, a young grime fan named George Quann-Barnett (www.twitter.com/qu_nn) wrote a handwritten letter to XL Records asking if there was any way he could be involved in working for the label.
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