Toddla T in Nottingham!

18 10 2010

On the walk back to Toddla T’s car from Stealth in Nottingham, just after finishing playing at local Dubstep night Basslaced, we managed to catch Toddla T for a quick chat about what he’s doing these days, Ninja Tune, and all sorts. Check this out to see what he has to say about working with Redlight, missing out on studio with Katy B and his frank opinions on Puma.

You just smacked up Basslaced in Nottingham with Roller Express, is this the beginnings of a Roller Express tour?

Basically me and Redlight, we share a recording studio in London now. He’s from Bristol and I’m from Sheffield and we both moved to London at about the same time. We’ve worked together in the past and thought we should get a studio set up. We set the studio up and he’s in there 24/7, and I’m in there 3 days a week. We’ve DJ’d a couple of times together on the same bill and I was like “you know what, this is big”. We’re doing the same sort of thing and coming from the same angle, even if he is a bit more forward than me I thought this would be wicked to take this on road. Serocee’s my main MC, Dread’s his main MC and we wanted to take it round like a soundsystem. Sometimes we’ll play together, sometime’s we’ll play an hour each and we’ll take over the club for 2-3 hours and project a sound – do what we’re doing in the studio, a lot of dubs from the studio, a lot of production from the studio and things we’re working on as well as the usual party style and fashion.

You’ve just signed a deal with Ninja Tune, what’s the history behind that?

I knew I was going to sign to them for so long and I couldn’t say anything! I was in contract with Sony and I was worried that if I told the world Sony would try and block it. I knew from long time, and the minute I was allowed to say it I was like “ahhh I’m signed to Ninja Tune!” and yeah it all happened a few months ago. I set up my own little label called Girls Music and it goes through Ninja Tune and it’s like a little collaboration between my little thing and their bigger thing. Not only can I make my own record and put them out through Ninja Tune, but I can do that as well on my own little label as well.

I’ve worked with Big Dada a lot before on Roots Manuva’s records and I’ve remixed a few of their acts and I had a Basslaced October 2010 Flyer

relationship with them. I really like what they’re about; music first, politics second which is the opposite of a lot of labels around right now. It was an instant attraction, I liked the roster I liked the background and when I came out of my Sony deal I knew I wanted to go to an independent label as it suited my style a bit more and I just told them! Obviously it’s not as simple as “Hi give me a record deal”, “here you go”, but it felt right. They’re wicked people, Pete who runs it and signed me is so enthusiastic and so about music. I put my label through there, we went for a meeting and as soon as I got out of Sony it was like “Brrrrrrrp!”

You just put out ‘The Rinse Out EP’ by DJ Q, what’s next on Girls Music?

I’m doing an EP for a dancehall DJ from London called Trigganom. DJ Q, Seiji, Ross Orton have all got beats on there and I’ve done a beat for it too. That might not come out till after my album, which technically is on Girls Music as well. So the next thing is the Trigganom EP which is going to be like a dancehall vocal thing with crazy production on it as well, and then my album as well.

What’s on the album?

I’ve been to Jamaica for the album twice, there’s a lot of Jamaican stuff on there unlike last time which was more of a British Jamaican style. D Double E’s on there, I’m working with Wiley at the minute, Serocee my right hand man, Roisin Murphy, Ms Dynamite and a whole heap of people, British, Jamaican, all sorts. Compared to the last album it’s a lot more sensible, I’ve 25 now and I made the last one when I was 22. You can hear it, it’s a lot more technical, a lot more soulful – I’ve got RnB vocals on there as well as the ragga stuff. It’s a progression from the last record.

Is there any

one on the album who we should look out for, anyone about to blow?

I’m working with a lot of people I really rate I worked with Lioness the other day, she’s a female MC who’s really good, a guy called Slick Don from Birmingham who I really rate, he should hopefully be on there – we’re working together but whether the tracks make it on there or not I don’t know. A lot of the people are people you’ve heard of and you know who they are. Ive been wanted to work with Katy B for so long, so eight months ago I had her booked in the studio and I parred her, I was too busy… and now she’s a popstar, and she could have been on there! That’s how it goes, she’s amazing regardless of her being popstar or whatever.

Finally, what’s the beef with Puma?

I’m DJing at this one place in London’s that’s going to stay anonymous and I’m there with Trigganom, an MC. I’m getting my stuff ready and this geezer comes up to me and is like “Yo, where’s your Puma? You gotta be wearing Puma tonight because it’s sponsored by Puma” and I says “Nah I don’t wear Puma, Puma’s dead. And I’m sponsored by other brands that would be a conflict of interest. And even if I wasn’t, I wouldn’t wear your garms because they’re dead”. So, I start setting up and another guy’s like “You gotta wear Puma, if you don’t wear Puma you’re not going on”. “I’m not going on then”, so the promoter come “Please man just wear this t-shirt”, “Nah man, I won’t wear it, it’s dead”. Trigganom’s stood behind me with his Nika jacket on and the next thing you know, some masking’s tape is going over booth trying to put it over Trigga’s swoosh. Now, I don’t know what that’s about but that happened. At this part this is ridiculous.

Anyway, I didn’t want to upset the promoter because he’s a friend of mine so I put a t-shirt on, wore it for about two minutes, took it offand lobbed it into the crowd. Funnily enough when the crowd left it was still on the floor. Nobody really wanted it. So yeah, apparently if you don’t wear their garms you can’t play at certain raves which is utter bullshit. Bun Puma 2010, we don’t deal with them.

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29 10 2010
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