Posts tagged ‘producer’

March 6, 2013

Introducing Jim Beanz The US Producer Everyone Wants A Piece Of [Interview]

A lot of US artists have Jim Beanz to be thankful for giving them hit records including Katy Perry, Britney Spears, Shakira, Timbaland, Missy Elliot, Nelly Furtado, Keri Hilson, Jamie Fox, Jennifer Hudson, Ciara, Justin Timberlake, P Diddy and The Pussycat Dolls. Timberland’s protégée is now working his magic on some UK artists including Cheryl Cole who he produced ‘Sexy Den A Mutha’ for and is now in the studio with JLS, Little Mix and Dionne Bromfield.  Shireen had a chat with him about being a 5 star threat, Timbaland and being a producer/vocal producer.

What was it about you and your style that led Timbaland to notice you?

Timbaland noticed me from my vocal production skills but also because I started doing vocals myself on a few of his songs, and a few vocal arrangements I did for Nelly Furtado and things I did for Justin Timberlake. From there he also started to notice that I could produce.

Timbaland invited you to work on Nelly Furtado’s ‘Loose’ album with him. Were you just thrown in or did he give you any pointers?

The first song that we worked on was ‘Man Eater’. I was thrown in (laughs). I guess there are so many people that come in the Timbaland camp that are there one day and gone tomorrow. That was my big shot to show I had the ability and stay in the camp and grow from there.

How was the chemistry between you and Nelly Furtado when you first worked together?

The chemistry was magnetic it was amazing because she was very artisty, and she noticed I was very similar in terms of my ideas when it came to vocal arrangements and doing weird sounds with our voices.

You have been called a ‘5 star threat’, because of the five separate talents you can bring to any project you are working on. Which of the 5 would you class as your main forte?

I would say production, writing and vocal production. Those are the three top. As far as being an artist and a musician, I kind of stray away from the artist side. One day I think I’ll go in the artist direction, but right now I’m enjoying building music from scratch and working with different artists.

For those out there who are unfamiliar with the term, can you break down what a ‘vocal producer’ is, and in what ways does your voice play such an important part in your music productions?

A vocal producer is basically a person who guides the artist. A lot of people think the artist just goes in the booth and sings whatever and they keep that. The vocal producer is the person who directs them and tells them how to sing a song. For example on of the first songs I produced with Timberland where I didn’t have any keyboards or anything. We went in the booth and I did the whole song from scratch with just my voice.

You recently worked on Cheryl Cole’s ‘A Millions Lights’ album. How did you meet and what made you decide to work with her?

I took a train to New York to meet Cheryl, and it was just meant to be a session to see if she liked the vibe, and if she didn’t we wouldn’t go any further. She loved working with me so we went from New York to Los Angeles and finished off in London.

Your over in London for the summer working with some UK acts such as JLS, Dionne Bromfield and Little Mix. Can you give us an insight into what you’re working on with them?

I’ve come in at the end of each artist’s projects except Dionne. They all had their albums pretty much strapped up, much like the Cheryl Cole album was, and they called me down because they were looking for a lead single, a clubby single, that smash song that people just want to hear on the radio and in clubs. I came in and I delivered and we had some great sessions.

Have you noticed any UK artists you would want to work with?

I’m meant to be going in the studio with Professor Green in September. They were telling me that wanted me to go in with an artist called Dappy but I haven’t had a chance to yet. I love Emeli Sande I think she’s amazing. There’s another artist I met years ago, but I lost contact with and I thought she was amazing is Paloma Faith.

You wrote the 2008 winning Eurovision song ‘Believe’ – a great achievement in the eyes of the world, but what would you say has been the crowning pinnacle of your career to date?

‘Sexy Den A Mutha’ song I did with Cheryl Cole. It was sort of like my bridge over to work with more UK acts, because of her a lot of other UK acts have heard my talent and want to work with me.

What made you decide to come over here to work with UK acts?

I’ve been coming over here for a while; I’ve always loved the music in the UK. I was a fan of Jessie J before she even reached this stage and Taio Cruz. Everyone’s sense of enjoyment of music is a lot broader over here, and there so much more open to hearing different sounds.

You have your own label, Millennium Kid Music, and are signing new talent yourself. Is there anyone you have come across that we should look out for?

I just signed two writers in the States, and one producer in the UK his name is Troy Boi. He’s an amazing producer, but even now I’m still looking for writers and producers to add, were constantly growing and getting bigger projects, and I would love to share the success and the ability to get peoples music out there to the world.

What’s next for you?

There’s a guy called Dot JR I’m working with he’s great. Right after I leave him I’ll be back in the States finishing up on Shock Value III with Timbaland, and also helping out on the Missy Elliot album. Justin Timberlake is also in the studio, so I’ll also be helping him out.




October 1, 2012

Dillon Francis [Interview]

Dillon is a young DJ/producer from Los Angeles’, known for being one of the biggest names in Moombahton who has quickly risen to reputable heights in the electronic music world. He is supported and singed to Diplo’s Mad Decent label, and worked with and released an EP on Skrillex’s OWSLA label. Known for his world class remixes as well as his own releases such as ‘Westside’ and ‘Take Me High’ that have been supported by world renowned producer/DJ’s including Sinden and Rusko, it is safe to say will be hearing more from Dillon in the very near future. You can catch him live as he embarks on his debut UK and European headline tour.

 You seem like an interesting character. How would you describe yourself in a few sentences?

I’m just a guy that makes music and likes to make jokes, that’s it! I’m not a complex human being, but I really do love cats.

How did you get into DJ/producing electronic music?

The first time I ever heard Bloody Beetroots’ ‘Ill to Destroy’ while I was in my friend’s Jeep Cherokee is when I realized I wanted to DJ and produce electronic music. I fell in love with the song and with dance music and knew I wanted to be a part of it.

Are you still into graffiti?

I like looking at it, but I don’t do it anymore.

How would you describe your music to us in the UK?

My music is very bubbly, bouncy and it makes you very happy.

What do all these terms actually mean, Moombahton and Luvstep?

Moombahton is bubbly, bouncy music, and has great Major Lazer tropical vibes. Luvstep is very lovey, happy dubstep. It sounds like you’re going to go on a date, and this it the type of music you would actually be able to play for a girl and have the girl enjoy it instead of thinking it was robot music. It’s very happy.

Your music got heard quite quickly. What do you think it is that makes you different from other producers?

The thing that makes me different from other producers is that I don’t put my pants on like every other producer in the morning!

 What was Diplo’s reaction when he heard your track ‘Masterblaster’, and how did he support you from there onwards?

My old manager sent it to Diplo and then he let me know that Diplo really liked it. After that I reached out to Diplo on twitter and that’s when he told me to go by the studio to hang out.

Your signed to Skrillex’s label and worked with him on your EP? What have you learnt from him?

I’ve learned a lot from Skrillex.  He is a genius when it comes to sound engineering and it’s pretty insane how things naturally come to him and how great he is with music.

You recently remixed Flux Pavillion’s ‘Daydreamer’ featuring Example, what drew you to this record?

Flux is one of my really good friends and he asked me to remix it. I said yes because 1) it’s flux and 2) because it’s a great song! Example is a good friend of mine as well, so doing the remix was a no-brainer.

What is the electro/dubstep scene like in the US, particularly Los Angeles where you’re from?

The electro/dubstep scene in the US is very good and is always evolving.

Where’s your favourite country to play out to apart from the US? Which country really appreciates your sound?

UK and Norway are both my favorite countries so far and I feel like they both really appreciate my sound as well.

Which UK producers are you rating right now?

UK producers I’m into right now are Netsky, Doctor P & Calvin Harris.

What does the future hold for Dillon Francis?

I am working on a bunch of different singles that will be coming out on different labels like Mad Decent, OWSLA and Calvin Harris’ Fly Eye label.


July 6, 2012

Mikey J | Interview

Mikey J is not just a producer, although some know him best for the work he has done with Kano; producing London Town, Home Sweet Home and Not For The A List and the newly released EP Random Antics. What some might not know is that he is also a classically trained singer, with his voice being featured in many songs. Not stopping there, he has also been heavily involved in the dance world, starting up Boy Blue Entertainment with a friend, and winning the Laurence Olivier Award for Pied Piper. There is more to this man than meets the eye.

How did you get into producing and was there anyone in particular who influenced you?

I think it was an amalgamation of my love for music overall, experimenting and putting music together. Music and production back then was more analogue, I got into it when I was 14. No one in specific got me into production, it was the creation of music which got me. I was in a studio and saw guys making music, and I just thought I want to do production.

How do you start making a tune? Do you make the beat first or the bassline, or do you get inspired by a sample, talk me through the process.

It depends really. Of late I’ve just been playing with ideas and sounds and putting them together. You could hear a sample and just be like yea bam. The Kano track Layer Cake, well I was watching the film Layer Cake, the Michael Gambon speech and I thought this talks about what I’m going through at this point in time, I’m going to make a track inspired by this. Or it could be you get a job and it’s the artist that inspires you. Now I’ve got The Maschine, I just have more fun with my music. It’s the No1 source where I begin my material now.

What programs do you use to make your beats and why?

The Maschine which has it’s own software attached to the hardware. I use Logic Pro mainly to make my tracks or loops into full songs. I use samples from all kinds of digital software out there.

Your work had been very varied from dance theatres and shows to production and engineering. How do you juggle so many different things at once, and which one do you want to pursue the most?

It’s pretty hard, I don’t have much of a life. I just like to put my head down and work. I don’t get to see everyone often, but my friends and my family are very understanding they know it’s a part of me. No one nags me saying where are you, they are very supportive. I don’t get much time; my weekends are usually spent in the studio. I get down time every now and again. Juggling everything is exactly what I do, but it can be tough. It’s allowed me to do so many different things, produce music for films, TV, shows and theatre. As long as I’m doing music I’m fine.

 Do you feel that by taking the hip hop dance scene to a wider audience in the theatre that it’s helped it to become more understood and mainstream?

Yes defiantly. Flawless are doing their thing now they did the Chase the Dream tour. Zoo Nation has got a piece called Some Like It Hip Hop. Now we’re starting to see that hip hop is more viable, people are understanding it more. It’s getting more prestige in the dance world, you don’t have to go and see Swan Lake. When you see hip hop dance it’s really exciting, that’s what makes people come.

 You’ve been working with Kano for a long time now including the albums Home Sweet Home and London Town. Why did you feel it was the right time to bring something out together again?

We did a track that was a personal for him for one of his friends. It had been a while, he was doing his thing, and I’ve been doing my thing. I just had a jam with him after we made the track for his friend and I said, ‘we should just do something.’ So he said ‘OK cool.’ He came over that Sunday, and literally I just made a couple of beats, and it just ended up being Random Antics. He was leaving and said this tracks cool I’m going to go now, I said I got one more, and he stayed and we did another. Random Antics is the perfect way to describe the project, it just happened randomly.

 Have you got any exciting projects coming up that we should know about?

We got a new show with Boy Blue. We’ve got a new show up in Ipswich were doing for 2 weeks, up at DanceEast. I’m making all the music for that, so I’m going to be working on that for the next few months. I’ve done a track with Chronz from RD, that’s come out sounding nice. I’m working with quite a few artists, so you will be hearing them soon

May 11, 2012

SPOT x Will Brennan – Love My Style

Fresh off his newly released DJ Drama mixtape The Price Iz Right, SPOT, the buzzing NY artists by the way of Atlanta, drops a new collaboration with upstart West Palm Beach, FL, emcee Will Brennan.

Produced by multi-platinum producer Black Key (Jay Z, Beyonce, 50 Cent), this unlikely pairing features SPOT and Will trading rhymes over East Asian instruments and huge bass drums.

Download SPOT x Will Brennan – Love My Style here

May 4, 2012

Just Blaze Talks ‘Hip-House’ & Why He’s Not Working With Jay Electronica At The Moment

New Jersey producer Just Blaze was interviewed by recently and said Jay Electronica’s move to London is why they haven’t been able to work together. He also talked about growing up listening to house music, and how he tried his hand at dance tracks in early 2000’s.

“I grew up on house just as much as I grew up on Hip Hop. So I was probably trying to reintroduce ‘Hip-house’ too early,” said Just Blaze after mentioning dance tracks he created for Rah Digga and Joe Budden. “But I mean it’s cool. It’s great because again that just opens the door for us to be able to play both at a party without it being a weird thing. Cause there was a certain point where if you played one at a party you wouldn’t play the other. It was either a Hip Hop party or a house party…I kinda feel like where music’s at right now you can play a little bit of everything.

A lot fans of the work Just Blaze and Jay Electronica have done together will be disappointed. Due to Jay Electronia’s move to London, it has been hard for them to work together.

“Jay moved out to London. Jay’s got a situation in London. He’s doing good out there. He’s happy out there,” Just Blaze explained to “I personally, I can’t be out [in London]. My life is here in the U.S. We’ve gotten back in the studio, we’ve sat down, we’ve chopped it up, we’ve exchanged some ideas and what not but in terms of being heavily at work we’re not really.”

April 12, 2012

Preston Play

Preston Play is the producer behind Mic Righteous’ latest release Kam-Pain. Having been brought up in Cape Town, he was introduced from a young age to music from his parents who were singers and owned a music bar there, and in the townships where he would join in playing homemade instruments. After the success of Kam-Pain and recently opening up for Talib Kweli on the UK leg of his tour, Preston Play releases an instrumentalist mixtape, singing all the hooks and harmonies himself, ready for any artist to record on it.

How did being raised in Cape Town play a part in your journey in music?
I lived on the outskirts of the Cape Town flats and near a township called Khayelitsha… Half the kids from my school lived there so obviously that was where I played and ran riot as a younger. Music is a big part of people lives in the townships, they don’t have much, but they do have each other and music. It’s not rare to find groups of people banging water drums and homemade instruments and I used to watch and dance along with my mates. Then obviously as a kid you start to want to get involved so I started banging drums and singing with everyone. It was a fun time and I learned a lot. My parents also owned a large Music Bar and I grew up in the “Bar Life” surrounded by singers and bands. It was cool as a kid. I used to love it.

Your parents were singers. Would you say this had a big impact on you?
Yeah well my dad is a great singer, he won’t admit it now though but he used to sing Roy Orbison songs at the bar nightly and was amazing. He sung all the oldies, Roy, Elvis, and Eric Clapton. My mum used to sing anything. She was really talented. I remember even at home, she would always be in the music room with headphones on playing records and singing and making mixtapes. Music was a big part of my family’s life growing up.

Did you always know you would become an artist?
You know its funny, from back then, at the age of 11, when my parents got me my first keyboard, I knew I wanted to “do music”. I have held over 20 different jobs, all in different sectors, including training and becoming a qualified chef. I always felt miserable though and hated every minute of them. Music is all I’ve ever wanted to do.

You also moved to Spain for 2 years. Musically what was the biggest thing you picked up from being there?
Spain is my second home; I have a real strong bond with Spain and feel at peace over there. I have a flat there and try to get over there as much as possible. Whilst I was there, when I was younger I worked in a Flamenco bar. I learned about melody, rhythm and the importance of music as a healing tool. The Spanish see music differently from us; to them it is a very community based activity. Everyone comes together you know?

Do you incorporate Spanish and African musical influences into your production now?
African, definitely…. My thing is percussion. I spend hours getting my drums and percussion right, sometimes before I’ve even written a line I will get that right and then play my melodies over the drums half the time, as was the case on most of ‘Kampain’. Spanish music is a strong influence on my melodies too. As I said, I learned a hell of a lot!

Why did you decide to MC on pirate radio for a year? Was MCing something you had always done?
Yeah I kind of just got into writing lyrics and MC’ing on the garage scene for a while…I still bar occasionally but only very rarely. But my music is my thing now…

Why did you start to take production seriously after being on the pirate radio circuit for a year?
I used to get bored of MC’ing over beats everybody had hit, so I decided to make my own. I sold my car and everything of value that I owned and hustled the rest to raise enough to buy a mac, a Yamaha Motif synth and an MPC. I didn’t even have speakers I done it all through headphones. It took me about 5 months more to get money for monitors! Eventually, with enough practice and WEEKS spend learning on YouTube and from other producers, I started to get good. I remember going into studios with a pen and pad and writing down everything I was shown and told. It was peak, but I done it the right way. I learned to do things properly, and all my own.

Do you believe that to make it in music you have to sacrifice everything?
For me, yes 100%. I sacrificed everything, I still do, daily. I think if you want something bad enough, you will always do what you have to do and par everything else to get that thing. If you don’t, you can’t want it that bad. I have sacrificed everything for my music. You have no idea…. Hopefully now I will start to get the recognition I feel I deserve. In the last year I have not only secured a great working relationship, and gained a good friend in Mic Righteous, but through putting in the years of work, I’ve been able to open for The Game, Talib Kweli and Lowkey with Mic as his DJ/Producer. I feel that’s a good achievement in itself for me, last year no one knew who I was hardly.

How do you decide what artists to work with?
You know what, I will contact someone if I see that raw talent and potential. I’m not interested in gun talk and how much drugs someone sells. I love rap that means something and rappers who are true to themselves and real. I will never work with someone trying to be something they are not. My art won’t work for them. There’s too much feeling in what I do…I don’t think they would get that.

You and Mic Righteous released ‘Kampain’ together. Tell us about what work went into this, and how you both put it together.
I contacted Mic and his manager, (Now also my manager) about a year ago and sent the track, ‘Take Me Away’ with the hook on it. They contacted me back straight away and we got Mic in the studio that week to record it. It went on to ‘Yob Culture’, Mic’s debut mixtape. I guess we just clicked you know? Making a mixtape together just seemed like a natural progression from doing a great track together. Next thing I know, he comes for a couple days and we have done 3 tracks, then comes for another couple days and we do another 4 then a couple weeks and we got a banging mixtape! Mic’s work rate is sickening. Perfect for my work rate.

‘Show Of Force’ is released this Friday 13th April and is an instrumental mixtape. Tell us about the ideas and concepts of this new project.
I decided that the time was right to put out something different for not only the supporters, but for artists who are struggling to find good instrumentals on the web. I have packed it with this sound Mic and I kind of came up with whilst making ‘Kampain.’ It’s got a stripped back feel. I got rid of all the generic snare rolls and “bells and whistles” I hear so many producers pack into their beats, and focused more on the real melodies and live sound that I love to listen to. I also don’t really use samples…No disrespect to anyone but I personally have never been a fan, to me, making music should be exactly that, making music. I have 2 tracks on there that use a sample, but only really to show that I can.

You sing the hooks and harmonies on nearly every track. Why did you decide to do this?
I don’t believe any producer has done it before? I wanted to give the supporters something fresh and exciting…You can listen to it as an album without any artists on it, or record vocals on it…. As far as I know, no producer has done this so I’m excited to see the response.

All my hooks and harmonies are 100% free use. Royalty free.

Which artists would you like to work with next?
I have my eyes set on a few different artists I’d love to work with and also a few up and coming artists I am keen to help develop. I am working on a lot right now.

What’s next for Preston Play after the ‘Show Of Force’ release?
Mic and I will be working on more music and I have a few things lined up to keep me busy. I’m just enjoying what I’ve got myself into and taking it day by day. I still just sit here everyday pouring my heart out into the keys…Hopefully that will get me somewhere…

Show Of Force is out Friday 13th April 2012 from

Follow Preston on Twitter @IAmPrestonPlay

April 9, 2012

Kanye West, Big Sean, Pusha T, & 2 Chainz (G.O.O.D. Music) – Mercy

Kanye releases the first single off G.O.O.D. Music’s compilation album due out later this year. Big Sean, Pusha T and 2 Chainz feature on the track produced by Lifted. 

March 13, 2012

Action Bronson & Party Supplies – Blue Chips

Action Bronson hooks up with fellow Queens artist/producer Party Supplies to release a full length collaborative project Blue Chips. The 16 track project is presented by DJ Booth, Complex and Reebok. Guest features include Roc Marciano, Meyhem Lauren, and Kool AD.

Download – Action Bronson & Party Supplies – Blue Chips here

March 8, 2012

Steel Banglez

Mixing for Big H, Ghetts, K Koke and Giggs, to Asian artists Mumzy Stranger, Preeya Kalidas and Panjabi MC. Nice!

Steel Banglez descent into music began as a young boy when he was taught to play various Indian classical music instruments by his mum, including the dhol, tabla and harmonium.

From there at the age of 10, his older brother taught him to DJ. This was just the beginning as he went on to study electronic music production and audio engineering at the School of Audio Engineering, and since then has been producing for artists from Big H, GhettsK Koke and Giggs, to Asian artists Mumzy Stranger, Preeya Kalidas and Panjabi MC. He was the personal DJ for grime legend D Double E mixing in various big clubs, and also shows including the Dizzee Rascalalbum tour in 2009, Estelle’s album launch, Sean Paul at Bristol 02 Academy and Busta Rhymes at Hammersmith Apollo. Now his focus is solely producing, and he is working closely with some of the biggest prospects for 2012, Cashtastic andKrept & Konan.

How has your family influenced your music career?

My whole family is musical, from my great grandparents up until now, to my mum and her brothers and sisters. There music professors in India, my mum’s brother is a classically trained music teacher, he teaches American Sikhs that come from America.

What was the defining moment of your life that transformed a musical hobby into a successful and acclaimed career as a producer?

When I got fruity loops in Year 8. When I was in school my teacher Ms., Conwall, was the nicest teacher and she believed in my music so much. She used to treat me different from everyone, you know when there’s only one computer in the class, and I’d be that one guy on there. I was learning Cubase, and one day she walked in and said, ‘I’ve got this new program and its called Fruity Loops,’ and it just changed my life as soon as I got onto it. It just made me want to become a producer.

Do you feel that pursuing a career in music as a young Asian male still breaks certain family and community expectations?

Do you know what, maybe with the older generation but not with the younger generation. It’s not a good career choice in their eyes. To be honest I don’t have a life when I’m doing this career. It’s not like I get to see my family a lot and chill out.

What more can be done to encourage more young Asians to consider music a viable career choice?

I think the industry should let more Asians in the limelight, because in England there are as much or maybe more Asians than there is any other ethnicity. There is a lot of talent, and a whole scene of Asian music that’s not recognised at a commercial level. I think as a new generation comes, people like myself and artists like myself that are Asian have to set a standard for other Asians to be inspired and want to get through. I think Jay Sean smashed it for Asians.

In what ways has your Indian background influenced the development and sound of your music?

My culture, I’m a Punjabi and it’s very musical. Bhangra is at the forefront of Asian music. I think just my family and my background and my life experiences, and learning and studying classical music on the weekends from a young age influences what I do, and what kind of sounds I go for in my current production. That’s embedded with what I’ve learnt growing up on the streets in East London.

Wiley has been seen to be very supportive of your career. As he is the Godfather of Grime and a respected veteran, it must have been very instructive being around him. What have you learned from him that has helped you to further success?

I’ve learnt so much from Wiley it’s unbelievable. He’s shown me the business aspects of things, he’s shown me how labels think, MD’s, A&R’s, what kind of sound their looking for, what kind of direction I should go, how I should go about getting myself out there. It’s just endless. With Wiley I can’t thank him enough for what he’s done for me. I’ve known people around me that are as big as Wiley or have the links, but never really gave me that opportunity. Wiley went out of his way, and he’s got a million people hollering at him and he saw my talent and he just believed in me. He just helped me out in every possible way, and I’ve learnt most probably everything about the music business from Wiley.

Who was the first person you produced a song for?

D Double E, it was a remix of a tune called ‘Colours,’ and that was when I was 15, I had my studio in Ilford. I used to make Grime then, and I invited Double and he vocalled the song.

You have been putting in a hell of a lot of work, and have produced for so many artists. What was the track that really made people take notice of you?

There are a lot of songs; I think I killed the rap mixtape circuit. I think I was out there getting on a lot of mixtape’s with the big rappers and rap was popping off at a street level. There was no sound developed yet for rap, so I came with a distinctive sound and I blew from there. I love all the music I’ve done. I think ‘Breakdown,’ has done a lot for me, I think ‘Let Go,’ with Krept & Konan is doing a lot for me, it’s most of my current work.

Your style of music is quite varied. So can you tell us the thought process behind the ideas for tracks?

Mad. What I do is nuts. I don’t know if I can give my secrets away (laughs). I can give one secret away; a lot of producers should try it. I’m surrounded in an area where there is a lot going on and it’s to the future so that’s one. I can just walk out my studio doors, and jump on a train or just walk on the streets and I can see the future, and it inspires me. I can capture certain moments and come back to the studio, and try to describe that as a thought of emotion. Or I get a picture of let’s say a waterfall or the Taj Mahal or the Pyramids, or some sort of emotional picture, and I just put it in the background. When I play my keys or make a beat I try to describe that.

Why have you chosen to work so closely with Cashtastic especially and Krept & Konan?

I feel like it’s a new day in UK music now, I think the rap game is at the forefront of underground urban music, and Krept & Konan and Cashtastic are very versatile artists. They have a distinctive sound and style of rap that they do. Cashtastic is very good with making songs, and he’s young and he’s got a big buzz, and he knows where he’s going and I see the talent in him. Krept & Konan do the same, their raps are just incredible, the way they write, and the kind of stuff they come out with is just amazing. I just love working with them. I think there going to be huge artists.

Tell us about the EP your going to be releasing. What sounds can we expect to hear and who can we expect to hear on it?

I’m not releasing the vocal EP this year or next year. The vocal one will just be some of the stuff I’ve done with everyone if I do release it, and some exclusive tracks with Wiley, D Double E, and Blade Brown and DVS. I’m just concentrating on developing my production sound more, because I think I’m getting a new sound.

Also the “instrumentalist” album….

It’s called instrumentalist because I like to think of myself as a mad professor, like a mad man. Instrumentalist meaning I’m mental, instrumental, mad. Its just nuts, and your going to expect it to be like a film. I think the way I think and the way I work, I don’t think a lot of people work like that, and its not a big headed thing, I just think its unique. I want people to know and see the insight to Steel Banglez to how I work. There’s going to be visuals as well, I’m going to post adverts up and stuff. It’s going to be a total new image and direction of sound. There’s going to be dubstep, dance, rap, film, contemporary, acoustic, but with a touch of my style. It’s going to be signature in that I’m one of the heavyweight producers in this country when that comes out.