EXCLUSIVE INTERVIEW


The musical universe is sprinkled with stars, but among them, the luminary force behind Hotflush Recordings shines bright, defining and redefining the contours of electronic music for


two decades. From its early days as an


underground UK Garage label to its evolution embracing varied genres like house, techno, and bass, the journey has been emblematic of music’s organic evolution. As we traverse this musical tapestry, we also delve into the creative impetus behind the much-awaited ‘Digital Underground’ mixtape, the golden age of London’s pirate radio, and the exciting road ahead with the Not A Diving Podcast. Join us, as we tap into the pulse of electronic music, its inspirations, and innovations.


Celebrating the 20th anniversary of Hotflush


Recordings, could you reflect on the label’s journey and its role in shaping the music genres over the years?”


Twenty years is obviously a long time in culture and a lot of things have happened in that time - a lot of things have come and gone. Hotflush was originally a Dubstep label… or actually it was a sort of underground UK Garage and breaks label because no-one was using that term yet. So we were there in the journey from 50 people in a room, to the global explosion of the genre, with artists like Distance, Benga, Boxcutter and others releasing on HF, and then we played a really big part in the whole post-Dubstep thing which was just as interesting with Mount Kimbie, George FitzGerald, Sepalcure, and all of that stuff. I guess that was the first ten years of the label, and since then we’ve been quite nomadic in the music we’ve covered - a lot of differing styles of house and techno, with really great records from people like Recondite, Mind Against, Paul Woolford, and Dense & Pika, but also quite a lot of bassy stuff as well, like OR:LA, Bodhi, and Closet Yi. So it’s been really varied, but that’s how I like it.


‘Digital Underground’ Mixtape: Your


anticipated to be a significant body of work, connecting diverse


upcoming music


mix, and what styles. What


Underground’ mixtape inspired


this can the listeners ‘Digital is eclectic expect from it?


The project really came from a bit of fun in the studio - ma- king a lot of really sketchy rave tracks, maybe spending a morning on each one, and just messing around with the classic early 90s sound palette of pre-‘94 hardcore, early jungle, acid house, techno… all the good stuff. It’s absolutely not any sort of profound musical statement, but I got so much personally out of making the music, and so much of it seemed to work together, that it totally made sense to weld it into something a bit more substantial. I’ve made several ‘proper’ albums, and this is definitely not one of those. It feels a lot more like a DJ set to me, so I figured let’s call it a mixtape.


Influence of London’s Pirate Radio: Can you share some insights into your experiences with various London pirate radio stations in your early years? What did these experiences teach you?”


I played on various pirates in London from about 2000 til around 2006, most notably with a weekly show for a few years on Rinse before it got a license. By the end of that period, internet radio was pretty well established and a lot of the stations were moving over to that because of the comparative lack of legal issues. Pirates in London would be losing multiple transmitters every week and just keeping the station on air was a full time job for someone. But the early 2000s were a great time to be on a East London pirate; the first wave of Grime was really happening with Roll Deep and Dizzee on Rinse when I started, and in hindsight they showed pretty incredible foresight to bring the early Dubstep guys onto the station when they did. So it was a really important thing for me, even when you had rats in the studios and I was doing late night shows with work the next day!


I played on various pirates in London from about 2000 til around 2006, most notably with a weekly show for a few years on Rinse before it got a license. By the end of that period, internet radio was pretty well established and a lot of the stations were moving over to that because of the comparative lack of legal issues. Pirates in London would be losing multiple transmitters every week and just keeping the station on air was a full time job for someone. But the early 2000s were a great time to be on a East London pi- rate; the first wave of Grime was really happening with Roll Deep and Dizzee on Rinse when I started, and in hindsight they showed pretty incredible foresight to bring the early Dubstep guys onto the station when they did. So it was a really important thing for me, even when you had rats in the studios and I was doing late night shows with work the next day!


I am in a constant search for excitement in the studio. It’s a never-ending challenge to keep things fun and interesting, and for me personally, the key to that is to keep changing musical styles and keep setting myself new problems to solve. Sometimes it’s very technical, and sometimes it can be just to focus on something that comes completely naturally and then go wherever it takes me. It’s a very personal thing though, and it’s different for everyone. And then what you decide to release at the end of the process is a very personal decision too.


‘Not A Diving Podcast’ Experience: Can you share your experience recording the weekly Not A Diving Podcast; podcast and how that’s been for you? What can the audience anticipate from your live podcast interview with NIKS happening at the ADE Lab this year?


We’re nearly two years into doing a weekly show, and it’s obviously a lot of work but it’s also a lot of fun and I get a lot out of the time I spend on it. It’s forced me to think about what happens in music in different ways, and I’ve learned a lot from the conversations I’ve had with all the guests we’ve had on. I’ve also learned a lot about communication, and doing live episodes at places like ADE and IMS was pretty nerve wracking but ultimately a lot of fun. So I’m looking forward to chatting to NIKS this year at ADE, although I haven’t even begun to plan it yet… these things are usually better to be kept pretty spontaneous anyway!


Influences and Inspirations: Who have been your major influences and inspirations in the industry, and how have they shaped your approach to music production and DJing?


Actually I’ve been lucky enough to welcome a few of my biggest inspirations on the podcast. Chris Goss from Hospital Records is definitely one, their label was a big thing for me when we were getting going and it was great to have an in-depth chat with him about that era. Another one would be Tiga, who I have been trying to persuade to write a memoir (but he won’t do it!). And also Dave Clarke, who I think has been setting the standard in techno for decades now.


Having traversed through two decades of musical exploration,


the maestro behind Hotflush Recordings


exemplifies the power of resilience, innovation, and passion in the ever-evolving soundscape of electronic music. His journey has not just been about creating music, but also about understanding its nuances, channeling diverse influences, and engaging with its community through platforms like pirate radio and podcasts. As a pioneering figure in the UK’s music scene, his words resonate as a testament to the music’s transformative power and the importance of embracing change while staying true to one’s essence. With promising endeavors on the horizon, the legacy of Hotflush and its founder continues to inspire and set benchmarks for the world of electronic music.


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