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January 23, 2012

T-Pain, Bringing Soul Back To Hip Hop

Hailing from Tallahassee, USA, multi-platinum selling artist T-Pain burst onto the music scene in 2005 with his debut album Rappa Ternt Sanga, featuring the first hit single ‘I’m Sprung’ and second ‘I’m N Luv (Wit A Stripper)’. Showing he is different to his peers in the music game, he’s bringing soul back to hip hop. He has worked with some of the most successful music artists in the US, including Lil Wayne, TI, R Kelly, Chris Brown, Kanye West, Ludacris and DJ Khaled. Flavour catches up with T-Pain ahead of his fourth album release Revolver…

Tell us about your name T Pain and what ‘Pain’ means to you?
The ‘Pain’ bit is the pain and the struggle it took me to get out of the T. It sucked: it was very terrible trying to get out of Tallahassee. There are not a lot of music execs and record companies that come to Tallahassee looking for talent; it was a hard deal trying to get out of there.

You were tired of the borders that divide hip hop and soul – how have you brought them together?
I think I did it pretty well [laughs]. It’s been working out so far. I came from a hip-hop background, with all my brothers and my dad around, and I just felt more love for R&B and soul, and it’s meshed together really well.

You turned your bedroom into a recording studio at 10. You must have been a pretty wise 10-year-old then?
At this point I had no idea what I was doing, I wasn’t too smart. I knew myself in my heart and my mind – that’s all you do really know at 10 years old. There was no major money involved; I had my parents. Nothing really came about at that age; I just got rid of my bed and turned it into a studio.

You started off rapping and then singing – why did you switch?
There was too many people rapping at that time; we had too many rappers in my hometown. I just wanted to be different and do something else. When you have enough of the same thing, I just felt I had to switch it up.

Did you ever think that by making your own version of ‘Locked Up’ – ‘I’m Fucked Up’ – that Akon would hear it and sign you?
I didn’t think he would sign me at all. I didn’t even think he had a record label [laughs]. When I heard the song, Akon hadn’t been signed for too long. It was kind of weird that he was the one who called me up – you always think you’re going to get a call from a huge record label or company. I thought it was a joke at first, but when I found it wasn’t, I wasn’t sure if Akon could do the same thing as a huge record company.

You told AllHipHop.com that you vow never to use Auto-Tune again. How is the T Pain effect better, and what exactly is it?
The T Pain effect is better because I’m T Pain and I’m better at a lot of things [laughs]. I think the effect reflects everything I do, and I get to control it. Every time I used Auto-Tune, I wished I could do this or this on it. So now I’ve made my own one, I can do everything I want. With Auto-Tune you just get pitch correction; with the T Pain effect you get everything I use in the studio: you get my reverbs, my chorus, my delay, my distortion, the compression – everything I use; it’s a one-stop shop.

Do you think you will ever not use any pitch correction technology?
There’s always songs I don’t use it on; people don’t realise, though, that’s why I don’t make a big deal about not using it. On some of my biggest songs there is no Auto-Tune, like ‘Low’ with Flo Rida. People never notice; I always put two songs on my album that use no Auto-Tune, and those seem to get noticed the least.

How do you start to write? Where does the inspiration come from?
Just real-life experience. It’s not too hard to write a song about something you’ve already been through; it’s harder to make something up. If you don’t have money, you cant make a song about money. If you have money, you can’t make a song about not having money. I think it’s harder to come up with catchy stuff, other than just writing from the heart. That’s why Lil Wayne doesn’t write any more, because if he writes, it’s not going to be real. Real situations shouldn’t have to be witty and catchy.

Your new single is ‘5 O’Clock’. How did the collab with Lily Allen and Wiz Khalifa come about?
With Lily Allen it was an automatic collaboration, which was dope. Wiz Khalifa, I was looking for him; I’ve been waiting to do a song with him for a long time, it was well overdue.

Tell us about Revolver?
I think this is going to be one of my best albums. I’ve gotten better as a musician and learnt more things that make my music better. I explore more instead of being afraid to try things.

How has your music evolved from the first album to this one?
I’ve matured as an artist. I listened to my old albums and said to myself this is better [laughs]. Sometimes I try and find out why people liked my first album, but it was just me and that is what I wanted to put out.

Follow T-Pain on Twitter @TPAIN or visit http://www.t-pain.net/uk

* published in Flavour Magazine

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January 11, 2012

Mic Righteous – The Mike Tyson of rap

Mic Righteous, real name Rocky, oh yes, is one of the most talented and honest rappers in the UK. His music speaks volumes and takes rap music back to its grassroots where it’s about oppressed people having a voice. His mixtape Yob Culture comes with a hard and passionate delivery of lyrics – hear his anger and hunger as he take us deeper into his world…

His parents fled Iran in the early 80s, moving to Margate to begin what they hoped would be a better life. This was not to be. By the time Mic was 10, both parents were not around, so he and his sister faced maybe going into foster care. His brother looked after them for a few years, but at the age of 14, Mic was left to survive on his own again, this time without his sister who had gone to university. He left school and his seclusion from the world took his writing to new heights; it became a form of escape.

On Yob Culture, in ‘Tied to the Tracks’, he says, ‘Mic Righteous is back, the Mike Tyson of rap.’ The former undisputed heavyweight champion of the world is where Mic Righteous he got his name. ‘I used to be called Mr Reid because my brother was called Mr Blitz. Eventually I thought that name’s kind of whack, so I decided to change it. Mic Righteous was kind of like Mike Tyson, and I was really influenced by Mike Tyson at the time; I love boxing. I just thought of Mic Righteous, it just My manager said, ‘That’s it, we need to take over now, were ready to go.’ The name suits him well as his raps are packed with punches.

Mic Righteous first came to people’s attention shortly before he turned 18, when he featured on English Frank’s album The Hardway, then on Lowkey’s LP Dear Listener, which put him at the forefront of conscious rap and brought him to the attention of hip hop’s underground movement, gaining him a fanbase worldwide. About Akala, Lowkey and English Frank he remarks, ‘All them guys, they’re my dawgs.’ What does he think about people comparing him and Lowkey, even though the differences are obvious? ‘I don’t know why people say it. I don’t think I sound like Lowkey in any way; but if I do, it’s because I listen to a lot of his music, so it’s probably rubbed off. I’ve acknowledged that people have started to clock that, but it’s not like I try and copy him, he’s just one of my friends. Lowkey took me under his wing at one point when I was young. He’s taken me to the side many times and been like, ‘This is your future.’

The two discuss politics and religion in their songs. ‘I have beliefs,’ says Mic, ‘I believe in a higher power. I don’t know about religion, but I believe it’s a basic skeleton to live your life by. Everyone knows you shouldn’t steal, you shouldn’t kill, you shouldn’t do bad things. My parents were religious and moved here – nuff said [laughs]. My mum still prays and that, but she does a lot of things that contradict her religion at the same time; but we all do, don’t we? That’s why I don’t label myself as anything; I just have my own beliefs.’ Wise for his 21 years, likely down to an emotional and turbulent life, he is also sweet, charming and open despite this.

Things are looking up now he has signed a publishing deal with Sony ATV/Naughty Words. Naughty Boy is the producer behind Emeli Sandé’s hit ‘Heaven’ and new song ‘Daddy’; he has worked with Wiley, Chipmunk and Professor Green, among others, and previously with Mic, Dot Rotten, Griminal and Sneakbo on the single ‘F**kery’. ‘I signed a few months back, so Naughty Boy is my publisher. Shah’s one of my good friends and I love Emeli Sandé, she’s like my sister.’
As we’re there on the shoot of video ‘I Know’, Mic talks about the new track and the album follow-up to Yob Culture. ‘The new track is “I Know” – Charlie Sloth and DJ Semtex have been spinning it; we’re going to put it out soon. It’s the first off the album Kampaign, and every single beat is produced by Preston Play. It’s kind of like Preston Play presents Mic Righteous’ Kampaign. This is the new thing I’m trying to bring to the table, the pain, the essence. Kampaign is the new movement, Yob Culture is the movement, Mic Righteous is the movement.’ And the next big thing.

Back to the Future
Favourite childhood memory?
Probably leaving school. Yeah, my last day of school.

Favourite childhood film?
Terminator 2.

Best food:
My mum used to make this dish called ‘subsi’, but you won’t know what that is.
We do actually…
[Looks excited] You know what it is? That’s sick! Do you like it? Oh I love you!

If you could bring a memory back from the past what would it be?
That’s quite hard… I remember one time, my brother took me out and we emptied out Coke bottles, cut them and put them on our arms so it was like we had guns on our arms…
[Anyone else confused?]
Cos the bumps at the end look like a machine gun.
[Of course…]
We took them out and pretended there were aliens in the field – then we shot them.

Favourite album?
The Marshall Mathers LP.

Favourite old-school tune?
[Ponders for some time] Tupac,
‘Hit ’Em Up’ or ‘Holla At Me’ or
‘Dear Mama’

What’s your most embarrassing
childhood moment?
Probably when you’re out and about and a bird just squats on ya. In Margate there are a lot of seagulls and one will just decide to squat on ya and it will land on your face or something. That’s pretty embarrassing.

Worst childhood telling off?
One time I had a fight, my first fight, and I got told off because I didn’t win it, so I wasn’t allowed home. I was so pissed off I went out, found the kid and slapped him. Then I went home and my dad was alright!

Follow Mic Righteous on Twitter @MicRighteous or visit http://www.micrighteous.com

* published in Flavour Magazine

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January 4, 2012

Everyone Wants A Lil Bit Of Cash

Cashtastic is an artist set to take the underground scene by storm. He may have only recently turned 18, but his music is already punching way above his youthful years.

The early guidance and encouragement of an older brother to do music was reinforced by teachers at school, telling the then eleven year old that he had a gift for writing. Dedication and hard work soon led to a joint mixtape with LP called, ‘The Formula’, which sparked a lot of interest in the gifted artist, and soon after Big Lee Records of Peckham chose Cash to join their ranks. Whilst at Big Lee Records, he released a single and featured on other singles and mixtapes. 2011 was Cashtastic’s year as he featured on Charlie Sloths show on 1Xtra alongside Yung Meth, also featured on Ace & Vis’ show, performed at the Wireless festival, G Shock store and went on the Bigga Fish tour. Shireen Fenner interviews him to find out Cashtastic’s story, his new releases and what 2012 holds for him.

Tell us a little bit about who Cashtastic is.
I’m a rapper, just turned 18 from South London. Sorry I’m an artist that’s who I am.

How do you bring your personality and your life experiences into your lyrics?
I tend to tell the truth instead of lying and fabricating the whole situation. You would be surprised at the amount of people that can relate to you telling the truth. When you tell real life situations you have to remember people are living real life so they can relate without you even noticing that anyone else can relate. I just put anything that I’m going through at that present moment in my lyrics.

It sounds like you had a quite a tough childhood. Was music an outlet for you where you could escape?
Yes definitely. I came from the streets, the streets were an outlet for me to go and do madness. Growing up I was trying to go to a different direction, and music is what I chose to do. One of my older brothers used to do music, so I looked up to him as my role model. It got to the age where I started doing it and enjoying it for my own purposes.

How does being religious guide you and help you make decisions in everyday life?
It has. It’s a bit of both I’m Muslim, so I’m not really meant to be doing music in the first place. I believe that everything happens for a reason, so I’m doing this at this present moment for a reason. I pray every night and every day, so I believe that if I’m doing something like this interview today it was meant to happen. I don’t really bring religion into my music; I just say God willing and inshallah because it’s in my daily grammar.

How did your brother help in shaping you into the artist you are today?
I wouldn’t say he helped shape me, because when I was looking up to him and following his style of music it was more just doing exactly what he was doing. When I got to around Year 7, I started to shape myself. Them times I wasn’t even an artist. It was really a year and a half ago when I started shaping myself into an artist and trying new stuff and actually making a format for a song, and strategising without just rapping over a beat.

You’re from Peckham, growing up who else inspired or was influential to your musical journey from South London?
100% Giggs, because if your from Peckham, and your in my age group it was definitely Giggs that was doing this thing 100%. He’s made a lot of people start rapping. My brother made me start rapping, but Giggs defiantly influenced me to say well he’s from Peckham and he’s doing it so I can do it.

When did you realise that you could pursue your hobby as a career, and was there anyone in particular who really supported your decision?
I don’t like feeling like I’m wasting my time and that I’m doing something for no reason. I was building up a fanbase so I gathered that people were loving my music. There was a good amount of people that were supportive. Firstly one of my English teachers Ms. Fernandez. I loved English in school, so she could see my writing skills from there. She pushed me and a couple of other teachers pushed me. My friends loved the songs anyway; they banged the songs out and promoted it by sending them round and making everyone aware that I had new stuff coming out.

Talk us through your earlier days with Big Lee Records
There like the man dem from the ends. Big Lee was one of the mandem from the ends but he died, and his friends decided to make a label with his name in it. I’m still among Big Lee, the managers and CEO’s they are a part of my management team at the moment. They just got a collection of artists from the area, and just did songs all together, but I didn’t want people to think we were a group or a boyband. We started doing solo stuff and everyone went there own way.

Being young and a talented artist with a daily growing fanbase, what advise would you give to young people who want to pursue music?
Keep going, and I know you probably hear it and it’s a cliché but I’ve actually realised if its not happening now, its not meant to happen now. Don’t feel like your making however many tracks and your only getting 30 views, that doesn’t mean that you should give up. Just keep going because I remember when my only fans were my friends, now I’ve got fans in places that I’ve never been to in my life. I’d just say keep grafting and be persistent.

Did being on the Bigga Fish tour increase your presence on the scene and your fanbase?
Yes 100%. It was a great platform for me. That was my first time going on tour, and to not only tour London, but Birmingham, Sheffield, Manchester, which was my first time going to each of those cities. To go there and have the crowd sing back your lyrics, and I’ve never been there before was like how the heck do you know who I am. It was definitely great, and to finish up in London and get that love back from the hometown was wonderful.

You said recently that your female fanbase has expanded. Why do you think this is?
I don’t know I just think there feeling the boy. Females get attracted and I think if it’s not the lyrics they say it’s my looks.

Have you had any funny tweets from the ladies?
Yea, I get proposed to all the time. There’s a line for bookings and they phone and they book me, like they’ve got an event. It’s like, ‘yea we want to book Cash for a show,’ and they ask where’s the venue and they say, ‘my house,’ what’s the capacity, ‘no one just him and me. ’ I get that a lot, but it’s all love and I love the attention and the support.

A Lil Bit Of Cash is out soon, this is you first solo mixtape. Do you feel any expectations or more pressure because you don’t have anyone to share the burden with?
I don’t, the reason why is because I’m confident with the music I’ve got and if it doesn’t work its trial and error. You make mistakes to learn from them, so if I do this and it blows out the water and I turn into some next star overnight then I’d know I did the right thing. If I did it and I started losing fans, then I’d know not to do it. Personally I’m confident with the material I’ve got on it, and it will put me on a better platform than the one I’m on now.

Tracks collabs
I’ve shot 3 videos for 3 songs; they should all be on Channel AKA. I’ve shot ‘Gassed In The Rave’ ft. Krept & Konan, ‘Boasy,’ ft Stylo Gee and Rascals and ‘J Cole K Koke.’ ‘Boasy’ and ‘Gassed In The Rave’ are more up-tempo dancy kind of tracks. The majority of my stuff is about pain and slow kind of piano beats. I didn’t want people to think those were the only songs I could make, so I put those out. It’s just a journey throughout the whole tape. There’s a song on their called Flicker, and on the chorus I say, ‘I’m just here waiting, waiting for the day I can start celebrating.’ At that time I was thinking, I haven’t actually gone out and done something lately, I need some good news to celebrate. That’s earlier on in the tape, and later on in the tape, I got some good news and I needed to celebrate, so there’s a song called, ‘Celebration.’ The last song is called ‘Journey,’ and it shows the journey that I’ve made from where I was to where I am now, and the journey I’m trying to make from where I am now to where I want to be.

It’s nearly the end of the year, so what are your plans for 2012?
Bigger and better, epic, everything I do has to be bigger and it has to be better and it has to be epic. It has to be different; I’m not trying to do what everyone else is doing.

Any New Years resolutions?
I want to become a better artist, I’m always keen to learn and I’m learning every single day. I want to aspire to more things, I want to go to more places and become bigger than I am right now.

A Lil Bit Of Cash is out now on iTunes
Follow him on Twitter @cashtasticmusic

* published in Flavour Magazine

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January 3, 2012

The Bullitts

The Bullitts essentially is Londoner Jemyes Samuels, who is a quirky and individual talent. He is not just a musician, writer and producer, but a filmmaker too who comes up with the concepts for his videos. They Die By Dawn and Other Short Stories is not just an album, but a whole story played out like a film. Lucy Lui, who narrates the album, plays the character Amelia Sparks, a femme fatale who is a murder on death row. Idris Elba plays another character, with other features on the album including Jay Electronica, Tori Amos, and Mos Def. Jeymes describes his music unsurprisingly as ‘action adventure,’ which sounds like an exciting film genre. This is Jeymes Samuels though, not one to stick to the rules, he is an innovator and explorer.

Tell us firstly about the history The Bullitts?
The Bullitts is the moniker that I make music under. I was always called The Bullitts because I love the Steve McQueen film, ‘Bullitt.’ I used to refer to my songs as bullets, because they were like gunshots. The Bullitts is myself, although it seems schizophrenic of me to have a ‘s’ on the end of my musical moniker, but I suppose in this insistence one man is a plural. It allows me to have Tori Amos to sing the song, or if I want to fall back and have Lucy Lui talk over that piece of music, and no one questions it when it’s The Bullitts. If it were Jeymes Samuel, I would have to sing every track. I perform 90% of The Bullitts album, but its not all songs that I have to appear on.

You seem like an interesting character that comes up with imaginative concepts. Tell me about yourself and your thought process.
In film I was always doing music and film. Someone said to me the other day, “what’s the one thing you do best?” I said who made up that stupid phrase, why do you have one thing best? Great minds think alike, the greater minds do something about it. For me I’ve always done music and I’ve always done film, and I’ve done both simultaneously. As a musician I don’t hear music I see it. I would have a dope idea for a song, then the next day I will go out and shoot the visual for the idea that I have.

Do you think your songs would have as much of an impact if they did not have well known artists and actors involved?
Yes, it could be egotistical, but Landspeeder doesn’t have any feature on it, but Zane Lowe chose it as hottest record in the world, and proclaimed it as his seminal track for The Bullitts album. Landspeeder again won the review show. With the pen and paper I’m nice, I don’t write about some mundane, ‘braid my hair,’ I’ll write like, (sings) ‘there’s an angel of forgiveness, whose taking out the witness, I remember, she’s a melancholy stranger with a bullet in the chamber, I remember, in a land of fallen kings play the violent game to win, I remember.’ I write from a unique standpoint, so it’s not that I use actors or actresses because they’re famous, I work with the people that are the right people for the project.

You selectively chose Idris Elba and Lucy Lui to work with and voice specific characters. What was it that led you to choose them?
When we see actors, we just look at them and watch them, and we don’t listen to them until their doing some animation. Lucy has an amazing talking voice, it literally melts you and because of that reason I always wanted to hear her on a track with Jay Electronica. That’s why I choose the artists and actors and actresses that I choose, it’s because what they bring to the sonics of their role. Idris Elba is Luther and Russell Stringer Bell in the Wire, he is a phenomenal talent, his voice is nuts so it works in a musical forum. Idris can actually sing and rhyme and produce. No one’s put Jay Electronica on a track with Lucy Lui, no ones put Charlotte Gainsbourg on a track with Jay Z. It’s about having strength of convictions when you write something, and then pursuing it. I want to put Jay Z and Jack Nicholson on a track.

What role would you like to secure for Ronnie Corbet, who you described as the ‘illest storyteller?’
Ronnie Corbet is a dope storyteller. I imagine him reading classic hip hop verses. Imagine Ronnie Corbet saying to the audience, ‘Good evening my name’s Ronnie Corbet. Have you ever had the feeling that you’ve been falling for weeks in a well. I was on the verge of dying, like ET in the bald spot of the forest right next to the Speak & Spell. Trying to phone home but the signal wouldn’t reach the cell. 
Trying to hold on a little longer, teeth and nail, without a hand to wipe the tears away from my cheek when they fell.’ That would be the illest tish to have Ronnie Corbet on a Youtube clip rapping a Jay Z line. That’s why I want to work with Ronnie Corbet, to have someone whose storytelling is good.

Given the albums ingenious individuality, how would you yourself describe it in a few words?
I would describe the album as a one way portal into the world of action adventure and no one gets out of here alive. It’s bad, this album is dope, The Bullitts album is dope. The first track, ‘They Die By Dawn,’ is monstrous of the highest degree.

Your name The Bullitts was taken from the film, has the film Bullitt inspired the album in any way?
In same ways it must have done because I love that film so much. It must have done, (you ask really good questions). There is a film that inspired The Bullitts album, and that film is ‘They Live By Night,’ it’s a film noir with Farley Granger. They Die By Dawn and Other Short Stories is a film noir, it’s like a sonic film noir. Its all audio opposed to visual. ‘They Die By Dawn’ is a play on words from my favourite film noir ‘They Live By Night.’ Other short stories comes from my love of Roald Dahl. He always made these books and other short stories kiss kiss.

Many people already are viewing you as an innovative visionary – very unique and ahead of your time. Growing up, who did you consider to be the visionaries that stood out for you?
I’d say Ennio Morricone who was a soundtrack composer, he composed the score for Sergio Leones westerns. He would use voices as percussion. He couldn’t afford a massive orchestra in those days, so he would use voices. He was the original beatboxer. Jay Electronica, the way he puts lyrics together is amazing. That guy is a genius, what he’s saying is so on point. His train of thought is so fast. Jay Z, Kate Bush, Tori Amos. The sound of someone’s laugh can inspire me; I always hear melodies’ in laughter. That kind of stuff inspires me more than one person.

Has the excitement and interest with which your music has been received surprised you at all?
It’s warmed me; it makes me feel really warm that it’s being embraced. Especially with people like Zane Lowe who’s given us three hottest records in the world so far. It excites me when people get excited over The Bullitts. There are things missing in pop culture, I don’t know what’s happened. Saddam Hussein was executed on Youtube, Gaddafi was executed on Youtub. We have all of this going on, but artists are so mundane in their approach to making music. Yet all of this new technological advances are going on from facebook to twitter to iTunes, just the way we use digital media. Everything is changing except artists. There giving us the same old do doo, with the same topics you gave us in the 90’s. No one does anything to change it.

You’re a writer, producer, film maker and musician. Which of these best describes your main calling?
I’ve always made songs, since I could pick up a pen, and I became a producer because I would actively make that song. I blend genres, and influences to come out of one genre. It’s possibly an easy thing to do, but it’s a hard thing to do if your not making the music yourself. I make action adventure. There’s 6 and a half billion people on the planet but only 6 genres of music. Your telling me all you feel every single day is r&b Chris Brown, your telling me all you feel is dance or rock, everything has to fit in those genres? I make action adventure. My main calling is to be Jeymes and to be truthful to what I do.

Supercool is out December 2011. They Die By Dawn and Other Short Stories is put in spring 2012. Follow on twitter @TheBullitts

* published in Flavour Magazine

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December 20, 2011

Exclusive Interview – Loick Essien

Loick Essien is a man of many talents, although most of you will know him as a singer. From a very young age he was modeling and acting, having gone to Ravenscourt Theatre School. From the ages of seven to eleven he had already been in a short film, adverts, and had appearances in Doctors and Holby City. After being chosen to play a young Richard Blackwood in his video, and building a relationship with him, on his 11th birthday he was invited by the TV personality to co-host his MTV show. An introduction to rapper Bashy led Loick to feature on Black Boys. Whilst on this set he met Chipmunk, where the two then recorded a track called Beast. On the video shoot for this song the young singer then met Dappy from N Dubz, who now features on his song Stuttering. Loick is now preparing to release his debut album Identity next year.

You describe your soon to be released album as a true reflection of yourself. Describe this reflection for us. Who is Loick Essien?

This album is about making sure that people have a stamp on my identity when it’s released, knowing who Loick Essien is, and seeing me as an artist that they want to stick around for another album. I’m someone that works hard in trying to give them the best music I can possibly. I think the album is quite eclectic; there’s something on it for everyone. There’s the up tempos that will really go off in a club, for the r&b heads there’s the slow jams for couples that want to lock their doors. There’s me singing my heart out like on, ‘Me Without You,’ and there’s songs you will want hear before going out to have a good night I think its very broad, I’m really proud of it, I think it’s the best thing I’ve done in my life.

What was your childhood like? How has it shaped you into the artist of today?

It’s definitely been hard; nothings ever come easy for me. It’s always something I’ve had to work hard for. It makes me motivated and makes me want to live everyday like it’s my last. I never take anything for granted and I’m always striving to be the best, nothing less than the best.

What’s your favourite personal track on the album?

It would have to be the song title Identity, which was produced by TMF. It’s really personal, and I feel it will give people a real side of my life, getting to this point and what I’ve gone through

You were modeling and acting from a young age. How did this prepare you for a singing career?

I think being comfortable with a camera in front of my face definitely helped. I’m actually quite a shy character. It helped me adjust myself and turn into performing Loick, as opposed to Loick that’s talking to you now

So do you believe that performers have an alter ego?

Definitely, without a doubt, I think there’s a five-minute process before you go on stage where you get hyped up to go on, and that’s when the transition is made. You get in the zone of that person and who you want to portray on stage.

How old were you and what made you decide to become a singer and not put all your time into acting?

When I got a scholarship to go to Sylvia Young for a year. After going there I knew musical theatre wasn’t for me. I realised performing is acting and singing, I feel like it’s merged into one. I feel like I love music so much, it overtook my passion for acting. It just felt more important to me. Acting is definitely something I want to go back to at some point, but right now its music.

You’re only 20, but have experienced a lot career wise. Do you think your singing will be the main focus from now, or do plan to do different things?

Definitely, the sky’s the limit. I wouldn’t want to limit myself now because I don’t know what the future holds. I’d like to try some other things in the entertainment business such as acting, and directing videos and loads of different stuff.

What single moment or event do you attribute your current success to?

How We Roll, because I feel like it was my first single. When it was about to come out I was wondering what people would think, are they going to think it’s better than my last songs, because I always want people to see growth and progression from each song. In terms of how well is it going to do; you always want the current one to do better than your last song.

You are very conscious of the contrast between the financially difficult years of your youth and your current prospects and status, even having had tattoos to illustrate this. Do you have any plans to use some of your financial gains to benefit others?

Defiantly, my family has always been quite giving and supportive of each other. What motivates me is I’ve got Rags to Riches on my hands, its life for my family without struggle. I can say I’ve fulfilled what I wanted to do as an artist. If I felt the right charity come along, and I believed in 100% I would defiantly get involved.

Tell us about the tattoo’s you have, and the ones you want to get?

Coming from rags to riches means quite a lot to me. The right arm where I have rags, I want the sleeves of my arms to represent a poor mans world. I want my left arm, which has riches on to represent a rich mans world. It will have all the elements of going from rags to riches and what they both represent. I want a piece in the middle of my chest; it’s going to represent me being in control. I think people don’t know it, but there in control of their own destiny. The choices that you make, and how far your willing to push yourself, and how much you want your dream, or whatever your goal is. The whole rags to riches thing meets in the middle of my chest, and how much you want it.

Why is having body art important to you?

It’s important because it’s almost like speaking without talking. It says a lot about you as a person, and what do the tattoos that you have mean to you.

What is your biggest motivation? What is it that pushes you to do more and to succeed further?

Seeing the life of my family without struggle, and knowing where I’ve come from. Knowing that I’ve progressed, and I’m bettering myself as a person everyday.

Thhe Album Identity is out in March 2012

* published in Flavour Magazine

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December 19, 2011

Flavour Meet DJ Whoo Kid

Flavour’s Maz and Shireen venture to a North London Barge to chat with mixtape veteran and as we discover, the larger than life and humourous DJ Whoo Kid.

As fellow Flavourette Maz Halima and I arrive in North London, we walk towards our destination to meet DJ Whoo Kid. The New York born and bred Hip Hop DJ has created a name for himself across the globe as a mixtape veteran, being signed to G – Unit Records and with the fast success of his website Radioplanet.tv, ‘where Hip Hop meets Hollywood’.

Whoo Kid may be from the Concrete Jungle that is New York, but he isn’t solely immersed in his own scene; you gotta love his love for UK music. Way before British music was fully embraced; The Kid was working with Giggs, Tinie Tempah, Wiley and others. As Shireen and I approached the multi coloured barge that is the Dope Chef HQ, we hop on and get settled on board for a candid discussion on all things music… almost.

S: What was it that first brought you to work with UK artists?

I was touring loads and I saw the reaction that UK music received; people go nuts in the club when UK songs come on. I thought I’d get involved, I thought I could combine these artists with artists in America. I have access to almost all of them. I wanted to create a new movement, and gain some form of respect for the UK artists.

M: You say people go crazy in the clubs; do you think that’s because the English accent is a novelty?

No I think it’s just the record; it depends on the artist and the record. When you hear ‘Pow’ everybody becomes Jamaican, whether you’re Asian or white, everyone’s shouting ‘POW!’ In America everything is defined by the artist, personality or swag. When Rick Ross comes on the drug dealers want to order bottles, when Lil Wayne comes on the girls go crazy. It’s crazy but it was like that years ago, I didn’t understand UK music because of the accent. Tinie Tempah speaks so proper. He has the young, pretty boy mentality, so he gets all the girls…

S: As well as Tinie, you’ve worked with Giggs, Skepta, Wiley… what other UK artist would you want to release a mixtape with?

I wouldn’t mind messing with Chipmunk and Wretch 32. There are a couple of other artists out there that were just figuring out details with. I like Katy B too. I don’t really like a lot of female artists because in America all we have is Nicki Minaj (laughs). I’ve been hearing Ms Dynamite for years. With Katy B I see the reaction when her music comes on – girls be wiggling. I just like being involved with things that drive people nuts. I would like to work with Katy B; I like her swag and her style. Girls like her because she dresses like a boy or something, very dyke like. That’s what I like – girls on girls. Right?

S: So yeah… we have a few great female artists in the UK. Have you heard of Lady Leshurr?

I haven’t. See, I’m not really crazy about female artists. Out here they may be open and have other things to rap about, but in America the earlier rappers like Lil Kim just spoke about f**king and sucking d**k. But at the end of the day it’s like, ‘is there anything else?’ So many of them have come out wriggling and dancing on stage – but talk about nothing. If you’re not down with a team in the US, there’s no way you can be effective. Out here obviously a woman can be on her own and create her own buzz. In America, females need to be in a group, like Nicki Minaj. If she didn’t have influences from Lil Wayne and YMCMB she would still be hustling. She’s been in the game for around 10 years; before she blew up she had to find her way.

M: How do you think UK music will progress in America and do you think it has longevity?

It definitely has longevity because its progressing slowly, so it’s not just going to be a fad where it just pops up then disappears. It’s cool that it’s organically growing. You can hear it at the classy clubs now, where all the rich kids hang out; the sons and daughters of movie stars. When you go in there and you hear Tinie Tempah it’s not only because the song is hot, but because they feel like the song is their own and it’s for them. You’re not going to see rich kids in the regular clubs listening to Soulja Boy; they don’t want to be mixed with the same wave as everyone else. So when Tinie Tempah comes on in the club, it feels exclusive to them and they have their own exclusive lifestyle. I’ve played everywhere from Kazakhstan to Australia and when Tinie Tempah comes on, you see that the ‘Pass Out’ beat is so universal.

M: Yeah, UK music has blown worldwide.

Yeah, now you see him [Tinie Tempah] on big TV shows like The View and The Late Show so it benefited me because he was like, ‘I did a mixtape with Whoo Kid,’ so I think I did the right thing. I hooked him up with Chris Brown and Wiz Khalifa; he’s got records with them now; that’s what I’m here for. It also helps that Jay Z bigs him up. It’s happening slowly but surely, all the big guys are shouting him out. Diddy shouted out Skepta; Giggs always gets compared to 50 Cent. It has to happen this way because you don’t want to just come and go. I mean, I don’t want to say Dizzee Rascal came and went, but every time I’m here [in the UK] everyone says how he’s commercialised UK music. I like Dizzee Rascal, there’s nobody at home that doesn’t like him. Every actor I’ve interviewed on my radio show, every British one brings up Dizzee Rascal or Tinie Tempah, they’re the only two names they bring up.

S: So you know who’s hot and who’s not…

Yeah, me being a mix tape guy, I always want to know who’s new and who’s fresh because I blew up all the guys you see now like Wiz Khalifa, Mac Miller, Big Sean – he’s killing it now. These guys I knew when they were like little kids and now there out here, so it’s good that I have a view of what is in the future. I’d rather work with people that have done their homework. Giggs and Skepta; they did their homework already. I don’t want to find someone that’s totally new and be out here hustling a new guy. [For example] Skepta’s porn video got him talked about A LOT in America.

S: In an interview in July you said you were talking to Swizz Beats about Wiley and hooking them up. Has anything happened with this?

I got sent 6 or 7 beats, so soon hopefully. Wiley and I are working on an iTunes version of a mixtape at the moment, were probably going to give away one more mixtape for free. I have spoken to Just Blaze, I spoke to Swizz Beats.

M: How is working with Wiley?

Wiley’s on his own spaceship level! Drake called Wiley without me even knowing. I wish he would have f**king told me that. He was just like ‘Drake called me’. I was like ‘why didn’t you let me know these things?!’ He’s going out his way to call you all the way in the UK to thank you for covering ‘I’m On One’. Everybody did ‘I’m On One’, but Drake actually liked Wiley’s version. With Wiley, he’ll send me shit but I can never tell if it’s a freestyle or original. I keep thinking its original, like ‘Don’t Go’ but it was a Wretch 32 song done over, he does it so perfect that I can’t tell it’s a remix! I’m not out here so I don’t know all the songs.

S: You worked with Giggs on ‘Take Your Hats Off.’ How was working with him?

Giggs has a hardcore attitude, I’m probably the only one who can get him to laugh and act stupid on radio; he really doesn’t do that with anyone else. When he came to America I got him out of his gangster shell. I do it to everybody. He had my mix tapes when he was in jail, so he respected me from a while ago. It was kind of weird that I had to look for him, when he was already a fan of Whoo Kid way back when.

M: And you worked with Skepta on ‘Community Payback’?

Yeah, Skepta’s just out of control! Tank tops, women… throwing oil on girls – he’s out of his mind. He’s mad cool though. You’ve got to have a relationship first before you start working. We all clicked and everything was cool. These guys all come to my parties if they’re in town. Tinie Tempah is the best homeboy though. We did unlimited parties in New York and I introduced him to Chris Brown.

S: How did he react?

I called Chris Brown and was like ‘Tinie’s here’, so Chris came. Tinie was like ‘Ahhh!’ I said ‘you’re Tinie Tempah, why are you worried about Chris Brown coming in the club? You’re Tinie f**king Tempah!’ He was so amped. I think in America he has this nervous attitude towards other people, but he needs to figure out that they are all aware of who he is. If you have a name that comes out in America, people call their label like ‘who is this guy, why is he big?’ Once you tell them this guy is No.1 in 27 countries and he’s won all these awards, they get that generic recognition and people respect him. It’s Chris Brown though, he be smacking Rihanna… So he was nervous, he’s a nervous guy.

M: Aside from your UK projects, what are you up to in the states and what can we see from Whoo Kid in 2012?

Right now I’m debuting a Dr Dre record. Dr Dre was on my case last week. I think I’m going to give it to Tim Westwood so he can air it out here at the same time. I know I’m not giving it to him today because he might act stupid and air it early; because he thinks I’m out here like I’m f**king dumb! It has an NWA feel. It’s not like ‘Kush’ or the other records he put out. This is like him spazzing out; that NWA sh*t is back.

My radio show is still going strong. I don’t interview a lot of rappers, just movie stars mostly. I’m just trying promote myself and sh*t, [laughs] touring the world and balancing that with the radio show and mixtapes. We’re also launching a clothing line; we just did a t-shirt collaboration with Bruce Willis.

Now I’m in the UK with Wiley for a ten day tour. I don’t know how I’m going to survive that with the UK women out here; because there all amazingly soft and smoothed out! It’s like a lot of the girls are all mixed or something? They’re all mixed up with white people; the white must smooth people out? [blank stares] Black girls in America don’t look like this. It’s like they are a thousand of Beyonce’s out here.

M&S: Where’s Wiley? [This was due to be a joint interview]

It’s my fault Wiley’s not here, he’s in the studio right now. He was talking some grime sh*t with me – I don’t know what he’s talking about. I don’t understand that language. He’s always says [pauses hesitantly for the first time] Jheeez. That’s what Giggs always says. Monster Man is my No.1 joint. You like that song?

M: Yeah, it’s crazy.

Does it turn you on when it comes on? He’s talking about an anaconda, he talking about the monster. That’s the reason you like that song, right? [laughs]

M: [flushes crimson] I don’t know about that… I just like the beat. I haven’t met the monster so I wouldn’t know…

[laughs] I hope not, Jesus Christ!

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December 15, 2011

Flavour catches up with Tantrum Desire

Shireen catches up with Tantrum Desire a drum n bass duo from South East London which consists of Jay Faleye and Devin Smith.

Tantrum Desire is a drum n bass duo from South East London which consists of Jay Faleye (Producer / DJ) and Devin Smith (DJ). The two met in 2004 at a pirate radio station and formed due to their passion and direction in life. They are now signed to Simon ‘Bassline,’ Smith’s record label Technique Recordings, with an album in the pipeline, they are about to release new single ‘Reach.’

‘Tantrum Desire’ – explain the name. Why did you choose it?
It sort of came out of nowhere. It makes sense though, the tantrum part relates to how hard the music is, and the desire part is enjoying making that music.

Why did you and Devin choose to form a duo instead of pursuing solo careers?
We’ve always been there from day 1; it’s just how it’s always been. We’ve always DJ’ed together everywhere and just thought to carry on with it and it’s going well. We both like the same music and wanted to do the same thing and break into the scene. From there things have just progressed, that’s why we still DJ here and there, we do DJ separately because we do get gigs on the same day

What was the track that you feel first got you noticed?
The first track that became an anthem is ‘Here They Come,’ that’s kind of still going today. Anywhere where I play it everyone knows what it is, and it still gets referred to all the time when people come up to me. I think that’s the one that set the trademark in the scene.

What is your favourite track and why?
At the moment my preferred track is ‘Higher;’ that we did earlier this year. It’s kind of like a big party rave tune, it’s quite speedy with a thumping beat, and I enjoyed making it.

How would you describe Tantrum Desire’s style of DnB?
A lot of people like to class it as jump up, I used to make that a lot but I’ve kind of moved into jump up tech, style. It’s kind of progressing where its coming out of the jump up, but moving on to not too much commercial but a commercial kind of sound and still keeping the dance floor elements.

On a production tip, what programs do you use to make your beats?
Q Base, its quite narrowed down and simplified. I used to use a lot of hardware, but now times have changed so it’s quite simple.

Talk us through the beatmaking process. Do you start with a bassline and then flesh it out with the beat and synths etc, or do you start with the beat?
I don’t really have a method, it depends what I have to work with. If I have a vocal, then I’ll build the track around that. If I process a new drum kit then I build with that first. It depends what I’m working with really.

Who do you look up to in the DnB scene and why?
I’m liking what the Pendulum guys are doing. Sub Focus, they’ve just got quality beats every time they touch on a track its always good. There are a lot of producers and artists out there who are coming out with really big tunes. There’s great music out there at the moment.

Are there any non DnB artists that have stood out for you that you would like to collaborate with?
I like a lot of Electro house as well, I would like to do something with Deadmau, he’s doing some really good stuff. I like what Nero are doing with their dubstep tracks, so it would be good to hook up with them.

Your work has taken you all over the world. What is your favourite place to perform globally and why?
My favourite experience was Los Angles; the parties were a different atmosphere to anywhere else. It’s amazing how drum n bass has reached over there. It’s got good vibes over there.

Describe your new single ‘Reach,’ to us.
It’s a vocal dancefloor/radio friendly track. It keeps the elements of how I usually make my tracks. The lyrics and the vocals sounded really good, and it’s a typical raise the roof record for the raves.

Do you prefer the DnB version or the dubstep mix or ‘Reach?’
I like them both equally, I though I’d like the drum n bass one more but even the dubstep one has grown on me a lot more.

How did getting signed to Technique Recordings change your life?
It was a big move. I mean we were on branded label in 2005, and tracks were coming out and getting good feedback. Then all of a sudden Simon contacted us, and we were like, ‘Wow we didn’t expect this.’ Since we signed everything’s progressed nicely and smoothly. It’s great to be working with Technique; it’s great to be associated with Simon ‘bassline,’ and ‘drumsound.’ Everything’s going great.

Your path to success has been marked by support from various labels and individuals. Who do you want to shout out from the scene?
Future Brown, DJ Funkstar he’s helped us throughout the scene, Vyper, Simon ‘Bassline’ Smith. There are a number of people, but those are a few.

What does the future hold for Tantrum Desire?
Still playing out globally. Still making a lot of tracks I’ll never stop producing. Working on an album, which I’m taking slow at the moment.

*published at Flavour Magazine

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December 6, 2011

True Tiger @ Barfly Camden Live Review

True Tiger’s first ever live, intimate gig was at Barfly in Camden last night. A few people were wondering how a dubstep group could perform a live show. Bringing in a bassist, drummer, and sitar and with Chunky their host banging away on a tambourine, proved that it can be done, and it can be done well.

Mikill Pane supported the group with his DJ first, he told me why he was here today, ‘True Tiger are going to be on my album, we’ve got a tune called ‘Roll On.’ We were on the roof of his (Stanza’s) studio and he was like, “We’d love to get you to support us at our show,” obviously I said yes because they’re my good mates.’

‘It was f****** cool tonight. I’m going through my iphone when I get home and picking out my favourite photos.’

‘I love live bands. If you look at a lot of the photos that I took, they’ll be focused on the drummer, it’s all about the beat for me. True Tiger’s forte is the fact they produce stuff with amazing beats. The melodies are cool, the beats are amazing, so it enhanced it.’

True Tiger performed some of their memorable tracks including ‘Jungle,’ without Professor Green who was on tour so couldn’t join them. Their remix of Ed Sheeran’s ‘A Team,’ really got the crowd going, it was just a shame he couldn’t be there, with Stanza telling me after, ‘Ed was meant to be here, we had it planned out, but last minute he had to go to Manchester to promote the album.’

Chunky introduced another support act asking the audience who they thought it was, hinting he was from the same area as him. It had to be Daley a singer/songwriter from Manchester. Stanza told me about the new track that he performed tonight, ‘we’ve got a new tune with him which is one of the singles from our album called ‘Love Lost,’ he’s got an amazing voice and we had to get him here to do the single. It was wicked to have him here, he’s going to have a bright year next year.’

Everyone got hyped up when D Double blessed the stage for ‘Be Like Me,’ which was one of the highlights of the night, along with ‘Slang Like This,’ with P Money’s appearance of the night. It proved how fantastically well MC’s can work with a live band, enhancing the performance.

They played some of their dirtier bass tracks including ‘Show Me Your Bass Face,’ and Sukh Knight’s ‘Ganja Dub,’ and ‘Orange Powder.’ The show ended with their most recently released single, which features Maverick Sabre and Professor Green, ‘In The Air.’

Stanza told me how he thought the show went about the build up to it, ‘It’s out first live show; we’ve been working on it for the past few months. We wanted to keep it intimate. Normally we just DJ so mixing tunes, or doing PA’s with artists just playing the backing track which is really boring for us. This time we got to play our tunes live, and play all the parts. We’re all playing different parts of it and added different intros and outros, so yeah it was good.’

‘It’s been tough we’ve been rehearsing long hours, just taking a lot of trial and error, there were a couple of things we weren’t happy with but hopefully no one noticed.’

I asked him how nervous they were, ‘A couple of our lot had a sneaky lot, it’s our first show so everyone was anxious to see how many people were there, and if anyone was actually going to come. Everyone was a bit nervous, and we were relying on new equipment and stuff we’ve never run through before. The maschine and the novation kit, that’s all new, we were a bit worried about how it was going to run.’

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December 2, 2011

MTV Brand New for 2012

Flavour’s Shireen Fenner headed to Koko last night to the MTV Brand New for 2012, which was headlined by Wretch 32, who was named on last years list. Two other acts who were shortlisted for this year who also performed were Clement Marfo + The Frontline and singer Angel.

Clement Marfo + The Frontline kicked off the show with an intro to Barrel of a Loaded Gun. They also performed their song Champion, which has been used for the Superbowl XLV Ad and the Formula 1 video game on Xbox. The most notable performance of the night was their new single Mayhem, which is produced by Ishy (Tinie Tempah, Tinchy Stryder) featuring Kano. When Kano came to join them on the stage, the energetic and lively Clement jumped onto the floor spraying the front of the audience with water. They finished their set with latest single Overtime, which features Ghetts, and a surprise performance from the man himself.

Angel performed next with single Ride Out, and singing another single Popstar, He pleased the audience with his rendition of Rhianna’s We Found Love, also giving an exclusive teaser of his next single. He told MTV how he felt about being nominated, “It’s been a long time coming and it feels like a blessing.”

Wretch 32 the headliner of the show was joined by surprise guests; Josh Kumra for Don’t Go, Etta Bond for Forgiveness, and an even more surprising guest Loick Essien. Wretch’s performance was amped up by accompanying singers, drummers and a guitarist. His performances of, Orthodox and Traktor got the crowd fired up and proved that MTV are spot on when it comes to naming ones to watch for next year.

The other nominees were announced for MTV’s Brand New For 2012 last night, here are all of the nominees voting closes on January 9th. http://www.mtv.co.uk/brandnew

Angel
Charli XCX
Clement Marfo + The Frontline
Conor Maynard
Delilah
King Charles
Lana Del Ray
Lianne La Havas
Michael Kiwanuka

*published at Flavour Magazine

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November 29, 2011

J Cole: Life and Beats

Where creativity is realised and dreams come true, welcome to Cole World…Before we hit you with the interview, let us give you a bit of a history lesson on Roc Nation-signed rapper J Cole. Born Jermaine Lamarr Cole in Germany to a white mother and black father (who left when he was young), J Cole was raised in North Carolina by his mother. He was already rapping by the age of 12, and at 15 he had notebooks full of rhymes. Not having anything to rhyme over, his mother brought him a beat machine, which has turned him into the great lyricist and producer he is today. Cole moved to New York to get a degree, in which he graduated with honours, but also to place himself in the hub of the American music industry. Dropping his first mixtape The Come Up, which got him noticed by Jay-Z, who then signed him as his first artist to label Roc Nation. Known for his emotional and passionate lyrics and delivery, J Cole is a clear contender for the role of saviour of the hip-hop nation. Two mixtapes later The Warm Up and Friday Night Lights, and he now presents us with his long anticipated album Cole World: The Sideline Story.

Shireen interviews J Cole ahead of his UK tour and also discovers the hot music star’s great taste when it comes to clothes, food and women…

From listening to all your mixtapes and now the album we feel like you’ve let us into your life. Does speaking about personal issues come easily?
Sometimes and sometimes not; but I can’t do that all the time. Although that is my favourite type of stuff, I feel free, and people can understand me and feel attached to me.

Is there anything you can tell us that no one else knows?
Every time I sleep I have a dream, absolutely every time. I might have four dreams a night, but I will remember all of them.

You speak about both your parents in your music, especially your mum. How often do you see them and what is your relationship like?
Me and my mum are super tight. I don’t get to see my family that often and she lives in Carolina. I’m always moving around and travelling, but I get to see them at holidays and big events. Me and my pops are getting tighter now that I’m grown; I didn’t really grow up with him around. If I’m in the area where he lives, that’s Texas, I’ll see him.

How has your North Carolina upbringing influenced your music and in what ways?
Where I’m from is like a military camp, and people come from everywhere. It’s in the South but it’s also on the East Coast as well so you get all different types of music. I was largely influenced by West Coast music, like Dre, Ice Cube, Dogg Pound and all these West Coast artists. All the kids used to listen to Kris Kross, and then you had all the East Coast rappers like Jay B, Alchemist and Scarface. So it was like all this mixture of music. When I started rapping I would mash all that up and it would come out all these different styles.

Creatively, which part of your career has been the most fruitful – the many years of being unsigned or those since you’ve been with Roc Nation?
It depends. Both were super fruitful creatively for different reasons. The earlier part of signing with Roc Nation was way more fruitful than the past year. I just wanted to do songs where I was more giving, so the first year I had there was the most creative, but it was tough. This past year I was trying to make singles and get the chain rolling. I’m so glad everything got out there, and now I’m back to square one.

Is it harder to talk about the hardship and turmoil you faced as a younger artist now that you are successful and making money?
No, I don’t think so; it’s not hard to talk about that, it’s definitely hard to not talk about the current situation. I’ll always be honest. I wouldn’t be honest if I was rapping about what a lot of other rappers talk about, like guns or whatever.

In ‘Rise and Shine’ you say, ‘Game full of liars / turns out I’m the truth.’ Are you talking about anyone in particular here?
No, I guess not [laughs]. I’m not talking about anyone in particular; everyone knows when they’re listening to songs who’s exaggerating or not.

Your new album has an interesting title. What does Cole World: The Sideline Story mean to you, and can you break it down for us?
All my fans know I use that slogan (Cole World) in my mixtapes, and I wanted to bring that to the album. So Cole World is something I can relate to and something my fans can identify with. Sideline Story is where I’m at now and where my career is. It’s like I need to change, but I’m always fighting to not become something I’m not. All my fans are waiting for something, and this is before the next step in the game.

Many people are unaware that aside from writing your own lyrics you also make most of your own beats. Do you feel more inspired when rhyming over your own beats?
Yes, I wouldn’t say more inspired but I’m more connected. I feel more connected to the beat, being part of the whole process front to back. I’m connected because I see it all the way through. I pretty much produced the entire album. I want to get out of that now, I’m looking for beats now to expand and grow. I just want to rap over other people’s beats to practise.

Are you surprised that you have blown up so significantly in the UK and the rest of the world and not just in your homeland?
I’m definitely surprised. I remember the first time I came to the UK, I did Wireless and the amount of people that were there and the amount of people that knew all the words, it was such a shock to me. Wherever I go all across the world, people know who I am and all the raps. I walk around London and it can be a problem. I can go to Scotland or Manchester or Birmingham and everyone knows you, it’s crazy.

You will be supporting Tinie Tempah on tour. What are your impressions of the UK urban music scene and which artists really stand out for you?
I’m really impressed; I think it’s really dope. I think it’s a great sound, but I don’t really know the history of the music. For a long time a lot of UK artists were trying to sound like American artists, but it’s clear now they have their own sound, a very distinct sound. It’s great and it’s very progressive. I don’t know enough about the music at the moment to say who I like, but it’s definitely something that I want to learn more about. I know a lot of the songs, but I don’t know the guys who are on the songs. P Money is killing it, murdering it right now. When I heard him, he was just rapping for so long and just murdering it, I got a lot of love for him.

J. COLE’S HOT LIST
Get to know a few things from our hot guest…
Hottest crepes:
Jordon 11 red patent leather
Hottest women:
Rihanna and Beyoncé
Hottest clothing labels:
Ralph Lauren, Dolce & Gabbana
Hottest record:
J Cole new album
Hottest artist:
Lil Wayne – he sold like nearly one million in a week.
Hottest place in London:
I don’t know none of the names of the clubs I been to… so Nandos! [Laughs] We need to get Nando’s in America.

*published in Flavour Magazine

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