you doing Adam?
very well. I've been busy, busy working. I'm in London now, just working
another Redman joint out ("Rush the Security"), how did you
guys get back together?
He came to
me. I've been working on a project in Brooklyn and until May of this year
was living in Jersey, doing production for J Records and Jive and different
people and mixing stuff for people in England, and he just hit me up for
a track for his album. He said he needed another "Smash Sumthin."
He wanted me to come to the studio with my funk. He was about to go out
on tour in Europe. I went on tour with him in Europe and his Gillahouse
messing around on some tracks for his Gillahouse mix-CD, doing voices
and just having fun. I sent Red some beat CD's and just wanted to make
something that would be banging. That's how the process went.
been working a lot with DJ Craze. It's a mix of Drum-n-Bass and Hip Hop.
The fusion is there. We've been on tour and all that. I was working with
Red, and Craze had an idea, and I had an idea, and that's how "Rush
the Security" was born. We also did the video for it in Brooklyn.
The last track Red and I had done was on the Def Jam "Vendetta"
game. He's been following all the stuff I'm doing. We've talked about
starting a band together as well.
It's a mix
of things. It's sort of a rock-fusion. Craze is doing cuts and was heavily
involved in the production. It's like a whole metal band with the Hip
Hop thing. It's mad fusion. It's predominantly English musicians apart
from Craze. It's a very animated live show. It's very edgy, hard stuff.
Red's been loving that, he's done vocals on that.
I also have
my own label over here as well, Breakbeat KAOS. It's been going crazy
off of acts I've been signing, like the group Pendulum from Australia
that's just blowing up over here. We've just shipped 65,000 units of their
like you and Red have real good chemistry together
is the key thing. I think it's because I like to have fun and fuck around,
generally. I'm still amazingly professional and Red is a very hands-on
person. A lot of people think Red fucks around all of the time. He's very
hands-on in the studio and into producing art. He'll cut and scratch himself,
do the mix himself
we're very professional. I had my crew come on
tour with him and we had fun. I've done skits for him with my [English]
voice. We just have fun. We're friends and we have the same dry sense
of humor. We get on well in the studio and I think that's very important.
It makes it much easier on me and we both have all sorts of ideas. We
did a new "Soopaman Lover" with some crazy porn music. I like
to push Red to do things that he thinks "it's not me." I think
he likes being challenged and that's what helps us to get along so well.
have any other cuts for his album?
other songs but I'm not sure if they'll be on the album. It depends because
his album is in its final stages.
you want to give Red with "Rush the Security"?
to make a banger that would work over here and over there, and it's still
very, very Redman. He wanted his first single grimy. I've done other songs,
but whether they'll be used or not I'm not sure. We've done a lot of fun
the difference between how the U.S. responds to "Rush the Security"
versus how the U.K. does?
As far as
the DJ is concerned, there are no particular differences. It's a hot Redman
record. In the States, Hip Hop has a bigger appeal and there's a bigger
market over there than here. Apart from that, as far as club play is concerned,
it works on both sides of the water.
spin songs like "Smash Sumthin" and "Rush the Security"
during your drum-n-bass sets?
I'm known for doing shit like that when I work with Craze. I have mad
intros and sections in a set where I like to do mad shit, twist it up,
and push the envelope. Sometimes when I do drum-n-bass, I like to do it
like a Hip Hop or dancehall set, where you're more animated and you work
with the crowd. That reflects in the new band I'm doing as well, the way
it's presented on the stage with a variety of genres.
emergence of Southern music and the presence of drum-n-bass sounds in
that music, have you found an increase in demand for your services?
To a degree.
That is everything that I have a background for. It's also present in
the soul stuff I've done too, like Carl Thomas. I've gotten a lot of interest
not only because of the sounds but also because of the instrumentation.
think that being in the U.K. gives you a wider view of what's going on
in the States?
grow up in a culture and you're surrounded in the music, it reflects that.
It's a lot more personal to the audience and the people. When you go to
another country, you have to spend quite a bit of time to understand where
it's coming from and the relationship it has to the environment. As a
producer, I definitely have different tastes. It shows in the three years
I lived in Brooklyn and Jersey. It's definitely connected to me more as
well, on a more personal and emotional level. It helps to work in the
market you are instead of looking at it from a production point of view.
It helps to analyze the production point of view and where the producer
is. I'm sure my take is different than if I was always in the States.
Some of the English stuff only works in England. It's nice to be able
to do both. I can come back to my lab here and do stuff that would never
work there, and vice versa. It's all real when you're making it.
experience in a lot of different genres of music. Does your state-of-mind
change when you switch genres?
actually change that much because I'm always trying to make something
that will catch me off guard. Drum-n-bass, rock, Hip Hop, they're all
about being edgy, even if certain things are more musical or song-based.
I still want to make stuff that is cutting edge and unpredictable in a
way. I take the same approach. Obviously it changes if you're making it
for the club or it's a personal track. My mind changes when I do film
scores when you have to create music that goes with the visuals and emotions
of the film. It alters the approach and it's a complex thing to do as
a producer. The rest of it pretty much stays connected in a way. Sometimes,
yeah, if I'm going to be making a certain type of music, then I'll probably
spend a bit of time living that music instead of just having random stuff
go in my head. At the same time, having those random movements always
keeps me open-minded. I might try something like going to a Capone-n-Noreaga
track after a drum-n-bass track. Maybe I'll take a sound out of a drum-n-bass
track and try to flip it into a Hip Hop track. I like it because it's
challenging. It's good working between the genres.
the emergence of grime music in the U.K., can we expect to see you get
down with that?
one of our singles features Capleton, from the dancehall scene, and the
other side is a grime track featuring Dizee Rascal. As a label, we're
releasing it, but as a producer, I haven't gone down that route yet. I've
gone through every genre and I'm not leaning towards a certain one. I'm
for working with anyone that wants to push the boundaries and is passionate
about making music.
is it for producers today to be well-rounded?
I don't know.
There's nothing wrong with doing one thing right and just sticking it
out. I didn't make a choice to work in different genres of music, it was
an uncontrollable passion of liking lots of different genres of music.
I didn't really have a choice. It's just the way destiny is taking me.
It seems that if you are able to be diverse in your creativity and life,
you have more opportunities available. You can only be an artist for so
long. My take was always to take different angles as a producer. It's
important that whatever you do, you do it right and focus on it. If you
have the talent and opportunities to be diverse, it's just a great asset.
that a lot of producers follow trends. Do you pay attention to trends
and does that influence the music you make?
are responsible for creating a trend and the record labels follow them.
The Neptunes, Timbaland, they make the trends. Then you have the people
below them trying to do their sound. A super-producer is the one that's
setting the trends.
of producers can pump out tracks all the time, it seems like you take
more time with what you put out
I'm not prolific
like that where I can put out tracks all the time. I would rather have
quality over quantity, although some people can do both. Some people suffer
for the amount that they do. Some people take their time and may make
three to five beats per week and some can do three to five beats per day.
Neither amount says that all the beats will be used either. I think that's
a personal journey that you have to decide to take as a producer. Having
a lot in the market is good for staying hot and having people want you,
but at the same time, you can burn out. At the end of the day, you can
be gone for awhile and come back with a killer and then you're back on
top. I don't really plan it out. I like to feel things out naturally and
work with artists and let it develop.
we hear some stuff from your new band Malpractice?
You can expect
to start hearing some stuff probably around March.
getting into the acting too, how's that going?
evolved from doing music videos to bigger projects. Along the way, they'd
say "I want you to be in this." I started off just being in
videos for music I made. The thing with acting that used to intrigue me
is the wholesome theory behind it and the practice that goes into it,
learning about a particular time and character, really studying the character,
and becoming that. It's an interesting challenge for me, as far as the
actual work process behind it. It's got nothing to do with being famous.
I just like the actual challenge of trying to become something and studying
it. It's something that I've always had a passion for. I like things to
happen naturally and to have a few natural things happen here is good.
I'm just going to continue working.
as though producers usually play the background, why do you think that
off being a singer and songwriter, but I've also produced a lot of tracks.
People think of me as more of a producer than an artist. A lot of producers
don't like to take the heat. As a producer, you can move from project
to project, but if you're an artist and you're not hot, they just move
on to the next one. A lot of producers probably keep it like that because
they don't want the limelight but they want to stay behind successful
is already deep
who are you looking to work with next?
To be honest,
I'm looking to get things back to where they started. I want to get this
band going, go on the road, do festivals, do shows. I really enjoy and
miss going out on the road. That's what me and Red did. I want to have
some fun, do some tours around music. I still want to look at certain
production projects. My label Breakbeat KAOS is really blowing up, so
I'm going to be concentrating on making that a priority because that's
doing really well.
your goals for 2K6 with Breakbeat KAOS?
To just continue
to expand in the next three to four years. We've got all types of people
coming to us from rappers to DJ's
it's so nice to put it back on
developing artists. We can use this as a springboard to a major situation.
It's about supporting the underground and up-and-coming artists with different
ideas. We've got three to four albums scheduled and a DJ-mix series starting
too. There's a lot of big plans for Breakbeat KAOS.
you want to say to everyone out there?
Breakbeat KAOS. Keep supporting the underground, because that's really
where it's at, that's the springboard for everything else.