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When you think about London, what’s the first thing that comes to mind? The Royal Family? Big Ben? Topboy? The British accents you secretly wish you had? What about the rap game? British hip-hop or grime— as it’s commonly referred to in the U.K.— is often overlooked in the U.S. and we’re missing out big time. One of the U.K.’s biggest rap gems is Little Simz.

Though we were in Brooklyn, through Khalil’s set, opening acts and Little Simz rhymes, the A Curious Tale of Trials + Persons tour took us on an audio journey to London.

Khalil of Living Proof warmed up the budding crowd with an introduction into grime — which featured tracks like Skepta’s “Shutdown” and Shakka’s “She Nada”— while blending it into a few more familiar songs like “Antidote”. As Rough Trade began to fill in, DJ, musician, and curator, Melo-X hit the stage. The crowd got hype as the Brooklyn bred artist performed tracks from his latest EP, CURATE.  Melo’s presence is commendable, he took the party from the stage to the heart of the crowd as his tracks played. Before his set was up, Melo gave some shine to a new young collective that he’s working with named NXGN.cabnet.

In between sets, Khalil paid tribute to hip-hop legend, Phife Dawg, with an A Tribe Called Quest set.

Soon the King herself, Little Simz, blessed the stage. Simz opened up with the first 8 tracks of her debut album, A Curious Tale of Trials + Persons. The 22 year old rapper opened up with the crowd about being inconsiderate to her neighbor on “God Bless Mary”. By the time she finished the track, the entire venue was shouting “God bless Mary”.

As soon as the words “Have you guys ever seen a dead body,” left Simz’ mouth the crowd wild out. Moshpits and crowdsurfing from Melo-X ensued as she performed her hit “Dead Body”. Later into her set, Simz invited Bibi Bourelly — singer and songwriter of “Bitch Better Have My Money”—to the stage to perform their collab, “Interlude” from Age 101: Drop X. As Simz played the guitar, Bibi referred to her as Simbi Hendrix. All in all, Little Simz’ performance, stage presence, and inspiring moves as an independent artist with her own record label was enough to turn me from a first time listener into a new fan.

A Curious Tale of Trials + Persons is currently available on iTunes. Watch  Melo-X’s latest video for “FFFS” featuring Little Simz below:

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The first Canadian signed to BBK. Big up my brudda @skeptagram for life yeah. And my section gunners too. ??

A photo posted by champagnepapi (@champagnepapi) on Feb 24, 2016 at 3:41pm PST

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While fans eagerly await the release of their new album, London producer duo Chase and Status have announced their London Bars series, which will consist of collaborations with some of the UK’s best.

Kicking things off, Chase and Status call on BBK’s Frisco for “Funny”. Watch as Frisco hits the studio spitting bar after bar, reminding us that Grime is in fact very much alive and well.

The post Chase and Status announce “London Bars Vol. 1”, teaming up with Frisco for “Funny” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Florida emcee André DeSaint revisits his most recent EP, Quit Your Job, and drops a new video for “Grime”, which also features Mouf. Shot on an Atlanta night, by Mike Ellwood, the video for “Grime” is dark, raw and gritty just as the bass-heavy song suggests. Peep it.

The post André DeSaint featuring Mouf – “Grime” (Video) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

RESPECT: First of all Happy Birthday!
Conducta: Thanks! turning 21 has been eventful so far.

Let’s get straight into it. Where are you from?
I’m from Bristol in England and I’ve been residing in London the last couple of years. But for those who are thinking where are you really from I have Nigerian heritage and two real passports.

How long you have been making music for?
I’ve been making music for just under 4 years at age of 16. I started off in a group with two of my cousins as an MC and producer then I chose to pursue music a bit further.

Who are some of your music influences?
whatever I listen to I usually gain influence from and that list is ever growing. Mainly for inspiration at the moment I’m listening to lots of old school tapepacks from Sidewinder, Cookies & Cream and Sun City events. Having access to them is revisiting my childhood to when my God brother first introduced me to Grime and UK garage. It also helps mould my production as I can gauge what kind of tracks are guaranteed to do damage at a show. As for Artists, producers like Mike Millrain & Groove Chronicles shape elements of my sound.

How would you describe your style?
Whether it comes to me making speed garage or more 2step material, i always look to impart dark basslines with harmonic vocals.

How is the garage/grime scene in your area?
I think in London and UK as a whole it’s thriving due to weekly events and the tons of good music being released and pushed. With Grime it’s great to see the importance of a music producer heighten with many taking their own independent route rather than relying solely on MC’s. Within garage, again I believe the scene is thriving however I see a danger of saturation within the genre as it continues to evolve on a mainstream level and the ease at which anyone can pirate software, a sample pack and immediately become a “house/garage/ukbass/future dj producer”. I attended a masterclass talk from MJ Cole late last year and he spoke of how in the early 2000s garage became a “dirty word”. I’m hoping that producers can retain and develop their craft and that history doesn’t repeat itself rather than tracks bring made just to suit a labels blueprint.

If I was to turn on your iPod right now what would I find?
Oliver du Coque- Identity and the U2 I’ve yet to delete.

My personal favourite tracks of yours has to be “All Night” and “Belong”. I feel like your production on those tracks was superb. What was the process that went behind those songs?
Funnily enough those two tracks were the quickest ones to date that I’ve ever wrote. With those two tracks in particular I believe in was a turning point in my production as I finally felt I could replicate the 2step ideas in my head onto my workstation. Once I had introductory melodies sorted, it was then time for me to experiment with bass riffs then once that was done, I knew what I wanted to do in regards to drums and percussion and with the help of couple of sleepless nights the tracks were completed.





It’s 2015. What are your plans for this year?
I’ve just released my EP “Spend The Night” on Project Allout Records. I have a VIP release of my last project “Let Go” forthcoming very shortly on Digital Pirate Material & I’m just polishing off my next 3 releases for the year. I suffered a few setbacks towards end of 2014 but best way to bounce back is to let the music speak for itself and keeping putting quality music out.

What do you do in your spare time?
If I’m not digging for music or getting frustrated at Arsenal, I’m either studying or sampling chicken shops across North london.

How soon can we expect new music from you?
End of February/beginning of March

Do you have any other side projects going on?
Aside from my next solo releases including a vocalist, I have Joint releases lined up with fellow producers Moony & Deadbeat which i’m looking forward to releasing.

Stream Conducta’s latest joint “Let Go VIP” below which dropped on BBC Radio 1xtra and for all of his music check out his soundcloud.

The post Exclusive: Conducta Talks Production and Grime Going Mainstream appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The highly-anticipated project is a much heavier, darker ride, openly inspired by conscious observations. His new single, “Rebel” is a testament to his resilience. It’s a winning formula, one that’s sure to absorb listeners and immersing them into his inventive mind. It is as bold and dramatic a shift in sound as he has ever made, but he wants you to know: “I’m not doing what the mainstream or the underground says I should do. I’m doing what I want to do.” We got a chance to catch up with Ghetts, also known as Justin Clarke, and chatted about fatherhood, selling out, happiness, haters, and why he is a rebel.

RESPECT.: Do you ever think about how people your age or younger look up to you, or even see you as a role model?

Ghetts: I have never really looked at it from that perspective, but since the birth of my daughter, I kind of feel like I have a responsibility now. I mean, in terms of some of the things that I previously would have said in my lyrics, I really wouldn’t say certain things now, because of her. So that’s why my new stuff is not as raw or uncut as it was, but also because I’m living differently as well. My music is a reflection of how I’m living. It always has been, so that’s one of the reasons, too.

What do you think is the biggest misconception people have about you?

I think they think that I am bad or something. I notice that when a lot of people meet me in person they always say, “You know what, you’re a nice guy.”

How would you hate to hear yourself being described?

I think with “Artillery” being one of my biggest songs there are loads of people that will listen to that one song and think that’s exactly who I am, or what I am about. I mean, they think that song is the whole me, basically. They say first impressions last forever. For example, if I came on the phone and you were having a bad day, but you had this tone about you, I would think that’s you all the time, not knowing you were just having a bad day. Unfortunately, when I make music, sometimes the imprints from the songs will live on. I could make a very angry song right now, and that song would probably live forever, and the same goes with also making a cheerful song.

How many times a day do people stop you thinking you’re Chris Rock?

They know I am not him [laughs]. What they do say is, “Has anyone ever told you you look like Chris Rock?” It’s now at that point where I don’t really mind. I’m not too bothered. I don’t embrace it as such, but when I see him, I do see the resemblance. Then again, I’m my own person and that is how I like to be looked at.

Your music is often described as “moody.” Do you consider yourself a moody person? Or, perhaps someone who just doesn’t like to follow rules?

Yeah, I have a problem with authority. To be honest, if everyone is going right, I tend to veer to the left. I’m just like that as a person and sometimes I have ask myself, “Am I doing it for that reason alone?” or, “Is it because everyone is going in one direction, and I want to go somewhere different?” It’s something that really feels natural for me in doing that. It’s who I am.

You seem to be a very composed person. Is your upcoming album, Rebel With A Cause, inspired by your unruly approach to making music?

Rebel With A Cause has got so much different meanings. Like, obviously, “rebel,” meaning the way I am as a person and me wanting to do what I want to do. I’m not doing what the mainstream or the underground says I should do. I’m doing what I want to do. At the end of the day, I’m here today because when I was a kid in my bedroom I decided that I wanted to make music my way, which at the time people appreciated me for doing. So I try and still have that approach to music now. If you go onto my YouTube, you will see that I’ve disabled all the comments. When I started there were no comments and people just loved what I was doing, it was very authentic and that is the same approach I had with this project. I would say the first six or seven songs are very rebellious even though I kind of have a hindsight moment halfway through where I think the birth of my daughter provided me with this whole new perspective, which is basically the cause.

“Rebel” is a really striking song, perhaps one of your most overtly intense. Tell us a little about your writing process. Are your lyrics always personal?

Yeah, ninety-nine percent of time. I only write off reflection. Following the aftermath of the riots across the UK, I remember watching the news back then when I wrote the track. I wanted to be very direct because I think in this country, artists are very scared to do such things on the scale that I am trying to do it on. I wasn’t scared or worried about expressing my views. I wasn’t even thinking, “Is it going to get radio play? or “Will it be on TV?” Like I said, I just wanted to make music that is authentic and where I’m saying stuff without having to please anyone.

As a self-proclaimed “rebel,” what laws do you break every so often?

The speed limit [laughs]. I love driving fast, but on a serious note, I’ve not been breaking any real laws of such.

Do you find sharing intimate thoughts with the world liberating for you?

Yeah. Imagine taking a pain relief, that’s what it’s like. I made that song on a day I was feeling down, and I thought by going into the studio and letting it all out, people would be able to identify with me. If they can in any way. I feel like at times we all share the same feelings, so yes, it is liberating.

It sounds like this album was a session of musical therapy. But lyrically, I get the feeling listening to your music that you like to present situations but not really draw any conclusions. It’s like most of your tracks have something unconscious going on inside them.

I hear what you’re getting at [laughs]. A lot of my tracks do have a message behind them, especially the newer music. I wrote this album in a way that when you’re listening to it, I want you to feel like you’re reading someone’s autobiography. I didn’t want to talk about music during the album. I wanted to take people away from me being a rapper and just feed them my thoughts.

On “Rebel,” your voice is captured in a way that makes it sound like you’re yelling or self-loathing. What is it that inspires this heavy, oppressive approach?

When we got into the studio we made everything from scratch with this album. I knew that I wanted live instruments involved and because I know people love me for my energy I wanted to incorporate that in the record. The electric guitar brought that out a lot. I think I really gelled well with them, but for anyone thinking I’m trying to be mainstream or anything like that, you can tell them this from me: if that was the case, would I ever start a verse with “I don’t give a fuck my brother, I never have”?

There’s a particularly fascinating line in that song where you say, “All I acquired from the riot is that people are sick and tired, dying to be heard, that’s why there’s fire in my work.” Can you elaborate?

When we were watching the news we all focused so much on the bad and not the problem that started it. In the case of the riots – people were upset because of what happened in Tottenham to Mark Duggan. And that’s basically what I’m saying: “All I acquired from the riot is that people are sick and tired, dying to be heard, that’s why there’s fire in my work.” In the mainstream media, they just focused on kids running around and getting free clothes, but that really wasn’t the truth. That’s how I see it anyway.

Do you consider yourself happy?

Since the birth of my daughter— she was born in May 2012— I have been happy. I look at life from a completely different perspective. I love living and when she smiles, I smile. I’ve got nothing to be upset about and I’m grateful for every single thing I have and at this moment I am very content.

The different emotions you convey on the album are definitely intense, but it’s hard to define. Do you know what you want someone to feel when they listen?

I want them to really listen and have or feel some kind of emotional attachment. I’ve got a song called “Fatherhood” on there and if you’d ask me precisely, what I want people to feel when they hear that song, I would say if you’re a father or a mother— I would want it to take you back to that day when you first had your child. I want you to remember that happiness you felt on that day. If you haven’t got children yet, I just want you to feel my joy through what I’m saying on the song.

Whenever you perform, it seems like you’re removed from your body, like a puppet pulling your strings. Do you ever get scared of losing control?

[Laughs]. The reason I’m laughing is because this is the very same conversation my mom and I have. She says to me, “Sometimes music can be so powerful, do you really know who’s in control? Is it you or is it someone else?” I’ll answer the question truthfully— some days I feel like I’m not me on stage. It’s like an overwhelming feeling whenever I watch myself back.

Most musicians say that they get fulfillment when they are performing live for other people, as opposed to when their music is heard on the radio. What satisfaction does music provide for you?

It really is a pain relief for me, man. I go in the studio based on feeling. I never can say, “Okay, today I am going to make a song about such and such a thing.” I can’t do that, like, I go in the studio and I get a vibe and I start writing. It just happens spiritually.

“Party Animal” is such a suggestive song. You seem to really have a good musical chemistry with Kano.

You know what it is — with me and Kano, we’re friends outside of music and we’ve done a lot of songs over the years together. Our chemistry onstage, offstage, in the booth, out the booth is just a great friendship, you know? We highly respect each other as artists.

The thing you bring to the forefront of your music is confidence. Is it a natural thing or is it a quality that you’ve had to create to brand yourself in the music industry?

To be honest, this is a natural thing. I grew up in church where I had to get up and either sing or speak in front of many people, so at this age, it’s first nature to me.

You tend to get a lot of hate from other artists who I think would secretly love to be in the position you’re in. Does that frustrate you? Do you ever wish they’d just like you sometimes?

No, they drive me. I actually embrace it, exactly the same way I embrace love is the way I embrace hate. That’s why I feel I’m the outcast within the outcast, it’s pretty obvious that I’m seen as an outsider of the scene, even though I might be classed as one of the powerful members, I’m still not with everyone else. I kind of enjoy that role. I don’t think you have to be friends with everyone and I’m not going to give them the attention or to be distracted every time someone says something about me. Even though I’m from the grime scene, which I will rep until the day I die, I feel like my path is different from a lot of MCs. In grime, energy and certain other things are worshiped over lyricism and I’m one of the first people to bring lyricism to the table. So there’s not really a blueprint for what I am about in that scene. I am one of the blueprints for what the lyricism is within grime. In fact, you know what, I hate being a sheep in this day and age. Because someone is doing something, that doesn’t mean I have to do the same thing as well. I think that is what’s hard for me sometimes, but nevertheless I’m still counting my blessings.

Rebel With A Cause is out March 10.

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