Truancy Volume 92: Local Action


We recently sat down for a lengthy Skype chat with Tom Lea, head of the peerless Local Action record label. There’s no one out there doing what they do, perfectly bisecting the spectrum of grime and garage. We talked early beginnings, the various directions the label has taken, the parties they’ve thrown (especially their epic Christmas party with friends Unknown To The Unknown last year) and more. We talked sweetboy life and going to Nando’s. And then fate, and a clumsy thumb, led to the whole thing being lost to the ether. Tom was good enough not only to provide this killer mix, but also to jot down his responses and sum up the path his baby has taken since its inception in 2010.

Tell us about how you came to set up the label. “I’d wanted to run a label for a while, then the record store Phonica – I used to share an office with them – approached me about working with them on one. Obviously they sorted distribution, manufacturing and everything like that from their end, and I was never gonna turn down that shortcut.” What led to the breakaway from Phonica? “A couple of things, really – Phonica’s great but it’s primarily a house, techno and disco store, and I felt like to release stuff like grime, footwork and bassline through them wouldn’t have worked. Also, I wanted to have complete creative control – it’s not like Phonica ever put their foot down over not releasing anything, but if I’m gonna run a label I want to be able to go over-budget on some dumb reissue that only 50 people will buy, and not have to worry about it being somebody else’s money I’ve spent on it.”

The artwork started off with the simple logo over a beautifully hued photo, before branching out in different directions for albums and white labels. How important is the visual identity to you? “I think about it loads. When you’re releasing 12”s, it’s definitely smart to have one template for the artwork and stick to it – the sort of thing L.I.E.S., Hessle, Punch Drunk do. It means people can instantly identify your records, it makes them seem more collectable, like Mr. Men books or some shit, and ultimately it means you save time and money. I used a template like that for the label’s first two years, but I felt that “Brandy & Coke” and Raw Missions really needed to be presented differently, and now me and Andy, the label’s designer, are doing a different design for each 12”. It does delay releases, so God knows – maybe we’ll go back to some kind of template soon.”

The next white label is the DJ Q – Trust Again remixes package. Can you talk about how that came about? “We just uploaded the acapella for a competition with Juno, that was it really. I couldn’t believe it when four of my favourite producers responded with remixes – totally grateful and overwhelmed. I wasn’t sure it we’d do a 12” or not, but they started getting such a good reaction, and people like Slackk and Oil Gang were battering the Rabit one in particular, that we had to. It was the same thing with Skydiver, the Cassie compilation – no one got a fee for it or anything, so I was blown away by how many people responded.”

Stream: DJ Q – Trust Again (Major Grave Remix) (Local Action)

You’ve got albums coming from Q and Slackk, the two anchors of the label. How are they coming along? “They are the two anchors of the label, you’re right. I started working with both around the same time – and to be honest, it followed a period of not really knowing where I wanted the label to go. When I started LA in 2010, there was so much promise and so many ideas punting around 130bpm in the UK – that period where Funky had made everyone drop their tempo, and Night Slugs, labels like that had started up – but a year and a half later everyone had gone into their own lanes, and shit just wasn’t as interesting to me. I’d been fans of both Q and Slackk for a while, but when I first heard “Brandy & Coke”, and “Sleet Riddim” – which eventually became “Blue Sleet”, on Raw Missions – that was the moment where I was like “fuck, this is what the label needs to do next”. What Q does with garage and pop music, and what Slackk had started doing with grime – and fucking hell, look at Boxed now and how ahead of the game he was with that EP – it was the opposite of all this Soundcloud house bullshit that was getting hyped all over the shop.

Stream: DJ Q feat. Kai Ryder – Be Mine (Local Action)

“The Q album’s out on March 31 [stream on Pitchfork], it’s a pop record that, to my ears, is basically how UK pop music should sound now – big vocals and melodies but totally in the lineage of Wookie, MJ Cole, The Streets, Dizzee, shit like that. Slackk’s album’s very close to finished, and you’ll hear more about it soon.”

Tell us about the mix – how representative of your DJing style is it? I dunno, the start’s probably more patient than I am in a club half the time. Bunch of grime, bit of rap, forthcoming label bits, it’s fairly representative.

What’s your drink of choice? “Amaretto, ice and lime.” And when was the last time you danced?This Saturday.”

Truancy Volume 92 – Local Action by TRUANTS


Yamaneko – Seabrooke Rise (Local Action)
P. Morris – Submission Devil Mix
Dark0 – Karmmm
ZMoney – I Can’t Stop
P. Morris – Turtle Lounge
Fatima Al Qadiri – Vatican Vibes
Slackk – Voodoo Sketches (Local Action)
Yamaneko – Slew Wave (Local Action)
Shriekin’ Specialist – Snowy Island Breaks (Local Action)
William Skeng – Graveyard VIP
Dubbel Dutch – Load It Edit
Dark0 – Scyther
Shriekin’ Specialist – Temple 2 (Local Action)
Slackk – Millipede (Local Action)
Murlo – Roman Baths
DJ Milktray – Wifey Riddim Edit
DJ Milktray – Velour Pool
Yamaneko – Tugboat Otherworld Mix
Unknown – Unknown

Words by Aidan Hanratty, 25 March 2014. Leave a comment

Introducing: LinG


We’ve something special here. Liverpool artist LinG, who’s also a member of three-piece Ninetails, recently put out the Anthracite EP on Get Some. It’s an EP that mixes the sound of classic grime and garage with organic, filtered noise, distilled through the heavy machinery of the industrial north. To coincide with Anthracite he’s given us a stellar mix that transcends the club-ready beats he makes, blending film scores and abstract experimental music, dropping in some classic grime and finally going down the rabbit hole with Holden and Grouper. We quizzed him about how he juggles the organic and the synthetic, how he started off making donk edits of metalcore, and his views on the Liverpool scene.

Stream: LinG – Anthracite EP (Get Some)

Hi! Thanks for taking the time to talk to us. What have you been up to lately? “Hey, my pleasure. At the moment when not at work, I’m spending at lot of my time focusing on the new Ninetails album Faixa. We are trying to turn this album out a lot quicker than the last one.”

There’s not much about you online. Can you tell us a bit about yourself? “My name is Jacob King. I’m 22. I originally come from a small town called Leek in Staffordshire, but I’m now currently based in Liverpool. I started showing a real interest in music at around 15, I bought a drum kit of my mate for £30 and it started to expand from there. My interest in electronic production began through my mate Ben. One day after school he brought over his copy of Reason and I was immediately hooked. We used to spent hours making ridiculous donk edits of metalcore tunes. Eventually I started taking electronic production more seriously and decided to study audio production at university.”

How did you get involved with the Get Some team? “I became aware of Get Some in 2011 when they put out Crypt’s GSR001 EP. I uploaded a few of my tracks to Soundcloud and forwarded them to Get Some via their dropbox. A few weeks later they got in touch and wanted to put out an EP from me. It was great to gain some recognition from a label whose previous releases I’ve respected.

In my mind your sound is somewhere on a line between Perc and Burial, with a dash of Gang Gang Dance thrown in. What do you think of that summation? “Yeah I can see the relation to those artists from this EP but I’d only cite Burial as a real influence out of that selection. That being said I really wouldn’t want to be grouped with the dozens of Burial impersonators out there. The new material I have been working on follows a completely new aesthetic and it is important for me as an artist to keep progressing into new unexplored areas. So hopefully after my next release the comparisons will be completely different.”

Stream/download: LinG – Demigod (Get Some)

You say you want to present a sound both digital and organic – how difficult is that to reconcile for you? “The organic component comes from the massive amount of found-sound that I use within my tracks. The majority of all percussive/atmospheric elements included in the Anthracite EP were crafted from my field recordings. I tend to have stages throughout the year where I’ll constantly have my field recorder on me and just have it running for long periods of time. I then import the recordings to my computer and start processing from there. This is where the digital element comes into play. Processing the field recordings is a really enjoyable part of the creation process and often completely determines the direction of track. I maybe went a little overboard with the processing on this EP which makes it difficult to differentiate between the organic and digital sounds, but a clearer hybrid of both is a goal I’m working towards.”

How did you end up working with Rugrat, who features on the EP? “When I first moved to Liverpool I got in touch with Rugrat. We would share beats with one another and eventually I asked him to MC at a couple of shows that I was DJing. I had done a remix for Rugz a few months prior to the completion of ‘Droop’. Once I had completed the instrumental for ‘Droop’ I placed the acappella of his from the remix on top of it. I loved how it sounded, so I immediately booked in some studio time and asked him to bring some fresh bars.”

The mix you’ve done for us, I don’t know what to say. It’s really quite stunning. Can you tell us about your key influences and inspirations, outside of those you included here? “Thank you. I find it pretty hard to pin down my key influences. I grew up listening to lots of metal and post-hardcore and eventually got turned on to D&B, it gave me that same kind of visceral feeling and consequently opened up my eyes to the world of electronic music. This exposure to very aggressive sounds is something that has obviously influenced my sound. Alongside this I have a great interest in much prettier genres such as ambient and R&B. I’m currently trying to expand my knowledge in modern classical music. Jordan from Ninetails has turned me on to some great composers such as György Ligeti and this is all really exciting territory to be exploring.”

Apart from the imperceptible layering, the transition that goes from Actress through Oneohtrix Point Never and Future Sound of London into Visionist is beautiful in its simplicity. How did you go about stitching it all together?  “I did the mix on my girlfriend’s DVS setup. I had a clear idea about how I wanted the mix to progress. I wanted to create a cinematic mix, something less club-orientated that would suit personal listening situations. I like my mixes to slowly increase in tempo but before getting too settled they get rudely interrupted by intertwining ambient sections.”

As well as your Ling project, you’re also a part of Ninetails, who were just named as the Guardian’s 1,713th NBOTD. Is LinG a world apart from Ninetails, or do you bring electronica to the band? Or is it more complicated than either of those polarities? “LinG is 1/3 of of Ninetails. Before our new stuff I would have said that Ninetails was a world apart from LinG, but our latest record (Quiet Confidence) has seen me step away from the drum kit completely to provide an electronic palette of percussion/samples. Already during the demo stages of the Ninetails record, I can see a stronger LinG imprint.”

What’s Liverpool like, both in terms of the electronic scene and for “band” culture? Does the scepter of the Fab Four still loom, beyond a few tourist landmarks? “The scenes are fairly electric for both. There are a few nights doing things that I like such as Abandon Silence and Deep Hedonia. Also there is a fairly new grime night called Go!,which looks pretty promising. The only time i ever really hear anyone talk about The Beatles is when I’m reading music reviews about an act associated with Liverpool.”

What’s your drink of choice? “Blood orange San Pellegrino.” And when was the last time you danced? “Last night when i was working on a track.”

Truants Exclusive – Ling – Cine Mix [GETSOME] by TRUANTS

Ernst Reijseger – Shadow
Cryosmurf – …
Holly Herndon – Chorus
Asusu – Velez
Fennesz & Sakamoto – Oto
Actress – Gaze
Oneohtrix Point Never – Zebra
The Future Sound Of London – Papua New Guinea
Visionist – M
Halls – Arc
Burial – Come Down To Us
Ling – Grounded Play
Mssingno – Xe2
Spinline – Monday Luv
Ruff Sqwad – Functions On the Low
Rabit – Sun Showers
Ling – Droop Ft Rugrat [Acapella]
Ling – Droop
TCF – 7a6eba595638b069bd02c44bfa3cc892ef83631fd59bad82602b8da4eacc76d2
Holden – Inter-City 125
Grouper – Vanishing Point
Calla Soiled – Sweet Tear(アナタガ… Remix)
Billow Observatory – Calumet

LinG – Anthracite EP is out now. Buy here.

Words by Aidan Hanratty, 22 March 2014. Leave a comment

Recommended: Samrai – Riddim Trax EP

970643_3971539303715_1261484952_nAt the heart of Swing Ting, a Manchester-based collective whose core members curate nights, deejay at night and create music, sit Deejay Samrai and Platt. The duo came together initially to form a function where they could play out a diverse range of bass-driven tracks, non-ironically, to a crowd of slaves to the rhythm. Since its birth in 2008, the crew has since garnered the most apt residents for their monthly parties, including Murlo and Joey B. As well as promoting and playing out, the pair has also released a splattering of tracks, including “Head Gone“, which features one of our favourite vocal hooks by Mr Fox (one that Murlo later twisted into this bombastic number). So evidently, within Swing Ting, there is a steadfast dedication to diversity and dancefloor, which provides the context needed to appreciate Samrai’s neat, four-track debut solo release: Riddim Trax.

Stream: Samrai – Let It Ride featuring Mr Fox (Niche ‘N’ Bump)

The clue’s in the name: the priority here is rhythm. This is of course expected of the label, Niche ‘N’ Bump, which has always remained faithful to UK funky in its output. The record opens with “Let It Ride”, wherein a rumba-style beat gurgles and Mr Fox sings, soothing, “Music’s flowing, yeah yeah… Got me going, crazy…” This is not breakthrough lyricism but that’s the point. In true singjay style, Fox weaves another layer into the track’s soft, skippy rhythmical texture. The second, and final, number on the A-side is “Responsibility Riddim”. It’s an instrumental version of the previous track - again, proof of Samrai’s club-driven ethic. But its placement straight after the vocal mix is interesting because, in a clever bit of foreshadowing, it lets the listener know that the mood shifts when the record’s flipped. 

If the A-side is all bloom and breeze, the B-side is shards of ice and tarmac. In “Problematic Riddim”, four to the floor, militant snares march you onwards until you reach a contrastingly giggly climax, its trembling synths reminiscent of a Sega level-up skit. Samrai continues to tease us; starry bursts dissipate as soon as they arrive. Things take a step even more left of centre in the finale, “Concrete Riddim”, when we are exposed to the producer’s most angular, spasming track yet. Muted drum sounds are stalked by prolonged, alien synths while some weird speech is muffled at the back; a plate of sounds that’ll have drum and bass heads licking their lips. Bashment in groove but grimier in tone, it is a brutally and beautifully contorted track. But the regular “hey[s]!” keep you stomping. And that’s the goal.

Stream: Samrai – Concrete Riddim (Niche ‘N’ Bump)


Words by Erin Mathias, 21 March 2014. Leave a comment

Recommended – Machine Woman – Pink Silk


Machine Woman’ sounds like an oxymoron at first; an unholy matrimony of living tissue and cold steel, neither human, nor robot. Actually, it’s more than any spineless human or soulless droid could ever be, a tool working towards some purpose built from parts of both origins. Transhumanism ties in well with the attitude of Salford’s krautrock collective, GNOD, who convey their embrace of creative evolution through their own label, Tesla Tapes. Anastasia Vtorova releases as Machine Woman for the first time on here, previously working under her Female Band moniker to push lo-fi atmospherics. Vtorova’s multidisciplinary approach is evident as distant, downtrodden world cinema samples surface throughout the murky, experimental electronica on Pink Silk – ‘pink’ and ‘silk’ being two words that belong on the opposite magnetic pole to wherever Pink Silk resides.

Stream: Machine Woman – Pink Silk (Tesla Tapes)

“Machines are like people, but,” Vtorova explains via the proxy of sampled murmurs on “Machines”, though the revelation seems to become increasingly tenuous over the course of the minute, worn down by the involuntary shivers of metallic chimes. The faint buzz of the voice’s source – tape that acts as a conveyer belt for sound – is repelled by a doppler shift of ambience that creates uneasy tension in the mind of the listener, the sort of paranoid awareness that spooks unwilling trespassers. The very same voice is heard on “What did he say to you?”, this time in conversation. It repeats the title question throughout, though Vtorova splices it in a way that changes its tone implicitly – sometimes the question is framed inquisitively or ambiguously, other times it’s equivocal or challenging. Often the dialogue is unintelligible, and the moments you can make out aren’t always revealing as the second voice repeats the question aloud. As the track draws to a close, it’s as if the two voices become one, though their motives remain unclear. Regardless, what stands out most is Vtorova’s talent at drawing a narrative from the scarcest of sources.

The rest of the tape traverses marginally more familiar grounds, as the title track opens the release with what sounds like an extended snare drum death rattle. Grating sandpaper rhythms shuffle into the foreground and each hit of the drum propels an agonising whoosh that gradually intensifies. “USSR” carries a similar sense of dread and impending doom, the march of a black heartbeat distancing all else in the track as its title and the Slavic snippet at the start really substantiate a Gulag atmosphere. On the other hand, “Sneinton Market” conjures a different image altogether, referring to a local market. We’re not so sure about rural Nottinghamshire’s experimental electronic scene so the connection remains elusive, however the mechanical sparks and noises in the track bring to mind a montage of an industrial factory process rather than farm produce stalls. It’s as straightforward as Vtorova gets on the record, though despite occasional deviations in the synthetic clinks and clanks it doesn’t push in any particular direction – akin to a tool just going through the motions, perhaps. Vtorova’s work with consistent aesthetics impresses, as she’s able to imbue her sounds with intrigue, wasting little opportunity with barebones material. Pink Silk is one for fans of dystopian worlds as well as steampunk, and fascinates as much as it intimidates.

Stream: Machine Woman – USSR (Tesla Tapes)

Words by Tayyab Amin

Words by Truants, 19 March 2014. Leave a comment

Truancy Volume 91: Timbah


We’ve been fans of Timbah ever since his first EP Can’t Love Without You. Two long, quiet years have passed since that offering which we called “like being served a plate full of tropical fruit after a decade of microwaved Supernoodles” but now he’s back on the warpath. His new EP Flow Poke, again out on Bad Taste Records, embraces a tougher side of club grime music whilst retaining a lot of the melodic sensibility that garnered him a lot of fans first time round. Although equally suited to our Functions of the Now series, the general consensus here was that a Truancy Volume might allow Timbah to fully showcase his predisposed diversity, and boy, did he come through. We were also lucky enough to get a few words on some extremely pressing matters including, but not limited to, The Lion King, Cossack dancing and, of course, Drake.

Hey man. Thanks for the mix and for taking the time to talk to us! How you doing? “Absolutely peachy.” Before we get into the nitty gritty, we were interested in finding out a bit more about the man behind Timbah. What are a few things we might not know about you? “Very little actually. I’m crazy obsessed with Adventure Time at the moment but it seems everyone is. And I guess that’s kinda obvious from that ‘Lady Rainicorn’ riddim I made. Are any of its viewership actually little kids? Seen me through some great times, that show. Big up James Baxter.”

We heard you were doing a few languages at university? If not making music, where would you envision yourself in 20 years time? “Yeah, I’m just coming to the end of a degree in modern languages, currently cramming my head with all the Russian and French idioms I can manage. Personally, I’ve never really seen music as more than a hobby. I’ve always just wanted to DJ at club nights and make riddims when it suits me, but I don’t really feel like I’m owed a career out of that. I’d actually really like to do something with the European Commission… but I hear getting a job is pretty hard these days so we’ll just wait and see what happens.” We were also wondering about the name ‘Timbah’. Obviously there’s the link to your real name but is there any special story to it? Also, are you aware of these guys? “Australia’s answer to the Dave Matthews Band”!! “Lion King was a big film for me and I always thought Simba’s name was dope. So I took it and put a T on it so it sounded like my real name. Also, yes, until recently I didn’t have a Facebook artist page and promoters kept tagging that band! They must have been so perplexed to have seen their name popping up alongside DJ Q in those statuses. They probably don’t even know who he is.”

Stream: Timbah – Thunder Clacks (Bad Taste Records)

You grew up in Nottingham but are now based in Sheffield, is that right? What can you tell us about the scenes there? When you hear about UK music you’ll always hear about the obvious places such as London, Manchester, Bristol, Glasgow etc. etc.. Would you say they’re unfairly overlooked? “Yeah, this is my last year in Sheffield then I’m gonna have to decide where to go. To be honest, this whole idea of towns and their musical scenes is hard to comment on because everyone has different reasons for liking or disliking them and, actually, a lot of promoters in other towns just follow London trends with their bookings anyway. For a town to get put on the map, it really has to sort out its own vibe and come through with its own producers. I think Wigflex really did that for Nottingham a while ago with their bonkers garage mutations. More recently the Tumble Audio lot are coming through doing the same thing. When it comes to Sheffield… obviously the bassline scene is just dumb. Off Me Nut crew is the best thing going for pushing madhead bassline riddims, and have been doing so for years with a complete disregard for all the passing trends in music. I love Sheffield for that, everybody here literally goes in. Also, once a year all the soundsystem guys take their shit to the most beautiful locations in the middle of the peaks and everyone goes and parties there. You don’t get that in London.” Is there anybody coming out of these places that we should quit sleeping on? “Out of Notts - KilljoySergic and LykaTOYC and out of Sheffield - Checan and Deadbeat. Maybe nobody is even sleeping on those anymore? Its real hard to gauge how big they’ve gotten.”

Both of your EP releases so far have been out on Bad Taste Records. Would you talk a little bit about your relationship with them? “So when I got to Uni, I went to a few Bad Taste nights and they were booking the sickest artists. I wanted to be involved, just to DJ really. I sent some tunes through to Dulla who owns the label and he was like “Yeah, let’s do an EP”. I was real slow at making tunes so it took me a whole 6 months to put an EP together which was Can’t Love Without You. Then I just stopped making tunes for pretty much 2 years. That was dumb. More recently through loads of Dulla pushing me I put together this Flow Poke EP and now it seems like I’ve got a much better speed of production, so maybe this is the start of me going harder on the production front.”

The video for Flow Poke is so great man! How much input did you have into that? “Haha, literally none! Dulla was in New York and just went and made it, and when I saw it I was just dumbstruck. Do New Yorkers get bothered on the way to work every day by this madness? I didn’t even know people could go that hard on a train…”

Stream: Timbah – Flow Poke (Bad Taste Records)

There’s a pretty noticeable difference in the sounds between your former and latter releases. You seem to have gone head first into the tough, nasty riddims! I guess with the two year differential it’s only natural but was there anything in particular that triggered that? “Well, I guess my first EP was a lot more introverted and I do like listening to music like that. But whenever I DJ’d, I always did just like to shell down the place. None of the tunes off my last EP were good for that. So I didn’t really end up playing my own stuff in sets, which I always thought was a shame. Equally, sometimes promoters would book me expecting me to be a sweet boy and then I’d just shell down their club. This new EP suits my DJing style a lot better, I’d say.”

One thing that’s definitely carried over is this ear for a melody which you really seem to have. You mentioned at the time of the first release that your music was heavily inspired by the likes of Rustie and Zomby who we think this also applies to. Is there anybody else in particular who has influenced your more recent work? “I guess Slugabed for being such a guy and certain dope peers in the scene, like Gage. When you’re in contact with people like that, they sorta push you to go harder and do more stuff. Anybody who goes in for making a verging-on-being-stupid tune and somehow manages to make it work really is an inspiration to me. I’d say this new EP is much less a product of many other producers’ influences. It’s more like just a load of sounds that I really liked and arranged in a way so that they weren’t completely unlistenable.”

You’ve talked before about vocal samples making a track more “human”, can you expand on this? Where do you find inspiration for your samples from and how do they work into your production? “Basically, a good sample can add an awful lot to a track. Once everyone hears a set of words, they have something to associate the track with and that makes the hooks a lot more effective. A lot of the recent samples I’ve taken recently are from US rap tracks. I think I’m drawn to them because they make a nice change from all the samples everyone seems to be drawing from grime interviews at the moment. I’m a big fan of leaving random spaces in my music. The vocals fill that space nicely and give the tracks a kind of personality.”

A lot’s been made of the “grime renaissance” we seem to be going through at the moment . You’ve got the Boxed guys getting a lot of recognition, Her Records, of course Night Slugs and Fade to Mind. The list goes on. Being somewhat in the centre of it all, we’d be interested to get your two cents. It must be an exciting time to make grime? “Really really good time in music, yup. Before this grime renaissance, everything seemed to be saturated with house. Don’t get me wrong, I have nothing against that music but whilst the house scene has always been going strong with a dedicated following since the 90′s, there has never been a time where it literally took over everything. Listening to a four to the floor beat for over 9 hours sure is tedious and I, along with many others, felt like I was forced into doing that for a whole year of my life which I will never get back, because of there being a lack of other nights to go to. I’m so glad we got Gs like the aforementioned grime guys coming to make clubbing fun again. We can all go mad to that music a lot more easily. Right?”

We’re a big fan of your remixes too! You’ve exchanged a few with Druid Cloak, both for him and a release on his label. How do you go about them differently? What with already having the source material and not having to start from scratch. “Yes! Druid Cloak is a badman. I really like doing remixes, probably more than making original material to be honest. I usually just take a few elements from the original track and go and experiment with them. That process is far less difficult than building my own riddim from scratch, so I’m always up for it.”

Stream: Druid Cloak – Sterling Thrones (Timbah Remix)

Your Truancy Volume has elements of R&B, hip hop, Jersey and more. What can you tell us about it? Is this the sort of stuff we’re likely to hear you play out in the club? “I guess my sets depend largely on my mood. I love going in stupidly hard when I play at grime nights, but other times those sounds just don’t seem appropriate. With this mix, I wanted to play all the stuff that I’m listening to at the moment and I think the lack of grime in it has actually made me reach further and for tunes that I wouldn’t usually play. Also, because of this whole grime resurgence, we’ve been hearing an awful lot of mixes that are full of crashy stop-starty pulse sounds recently, and whilst that all works well in a club, it ain’t the best home listen. People can consider this mix as a welcome break from their crashy bang bang grime internet forrays. You’re welcome.” How do you go about creating a mix, or more specifically, a club set? Is a lot of it based on what you’re feeling from the crowd? “Definitely. I have a few tunes that will always definitely get played every time I do a set, but largely I gauge what the crowd are feeling and stick on that vibe.”

You could have easily stepped into our Function Of The Now series, and even had a shoutout from Gage in our most recent, are you keen to show fans your versatility? “Yes! Big up Gage! I think versatility is important, and yeah, although I play a lot of grime, I don’t want to necessarily be associated with any scene. The music scene changes real fast and if you put all your efforts into developing just one sound, you kinda look like a massive douche when that sound is no longer a big deal.” It’s a strong tracklist, I take it you’re as big a Drake fan as we are here at TT Mansion?! How do you go about your track selection? “I absolutely love Drake. He’s so real. Literally the whole mix is just a big build up for the arrival of Drake so we can proper jam to him at the end. Track selection was fun for this mix because it wasn’t a question of ramming in all the exclusives I could get off other DJs, but just looking through all my playlists and finding my favourite tunes. I’m real happy with it.”

What does the rest of this year hold for Timbah? Can we catch you play anywhere? “Yes, already got a release lined up with Tumble Audio, which will actually have tunes that are even more club-ready than the last EP (if you can imagine that). Got a few nights coming up in April, one in Nottingham and one in Manchester, look out for them.”

Of course, we have to end on the Truants classics. What’s your favourite drink and when was the last time you danced? “Mountain Dew, and the last time I danced was in front of a class of kids I was giving a Russian language taster session to coz they had never heard of the Cossack dance. What is my life.”

Stream: Truancy Volume 91: Timbah by TRUANTS


Missy Elliot and Vybz Kartel – Bad Man
Anti-G – A Hype Up System
Night Drugs – G-Funk
Robin Thicke – Give It 2 U (Trippy Turtle remix)
Kingdom ft. Naomi Allen – Take Me
Littlefoot – Sell My Soul
Mumdance – Smasher (Sped up to 135bpm)
Chesslo Junior – Cashwave
Ghost Mutt – Rumble Pak
Knxwledge – Inoticed
King Henry – Enough Love For Both Of Us
Slugabed – Smile 4 Me
Tink – Bonnie
XTC – Functions On The Low (Milktray refix)
Dre Skull ft. Popcaan & Megan James – First Time (Sinjin Hawke remix)
Kanye West – Mercy (Schlachthofbronx edit)
Timbah – Thunder Clacks
Danny Brown – BAB (The Titts bootleg)
UGK ft. Outkast – International Player’s Anthem (Timbah remix)
Deft – The Count
DJ Rashad – CCP
Schlachthofbronx – G String Track
Nicki Minaj – Did It On ‘Em
Drake – Come Thru

Words by Matt Coombs, 19 March 2014. Leave a comment

← Older posts

Newer posts →