Interviews

I stumbled upon Mogwai’s sophomore album CODY in the kitchen of my halls of residence after one of my housemates dropped out. I would like to take this opportunity to extend my gratitude to the guy who left it behind before sacking off Goldsmiths for a way fancier college.

A master of colour, composition and tone, elements that define the work of traditional graffiti writers, KAWS’ iconic images and otherworldly sculptures, whether shelf-size or eight-metres-tall, truly are a visual feast.

“In another world I could’ve been a songwriter or musician, unfortunately I can’t sing tunefully and I can’t play any musical instruments. I’ve been part of musical projects, but more in a button pressing role, rather than stringing together a song.”

Like a fourteen year-old at summer camp, we fell deeply in love with a handful of albums last year. Our love for certain records lasted a day or so before ebbing away, some lasted a week or two before we decided it was not gonna work out and dumped them, however, a select few still find themselves spinning so frequently on the Livemusic PA, it’s like summer camp will never end.

I-D: a lot of people hail you as a genius. How does that feel?

AM: It feels good. Cause you know, what I do is something that people don’t see that often, if ever. People say it’s just amazing to see and be introduced to, the way I do it, but I think everyone is a genius in their own way.

My first gig as Fink (the singer songwriter) was an intense baptism of fire – in front of Coldcut (who own Ninja Tune) at a sold out ICA in london, live on XFM. We were bricking it.”

TH: “Right so let’s scratch all that dreams shit and talk about music.”

HB: “Dreams are gay.”

I interviewed a cartoon character.

“There is so much to learn with painting; from how you render something, to lighting, form, composition. It can be pushed in so many directions from total abstraction to super realistic and I’m not good enough to do that yet. Then again, its coming out of my head so really anything goes. It’s like learning to play an instrument you invented in a key which doesn’t exist - I’m still learning…”

DJ Krush has been the face of Japanese hip hop ever since his eponymous debut dropped in 1994. Krush is responsible for the finest mixtape the world of hip hop has ever witnessed (in our humblest opinion) in the shape of Code 4109. As records go that was his game changer; constructed entirely by his two fair hands, live in the mix, no cheating involved. Our jaws continue to drop at the sound of that record twelve years on.

We’ve seen it coming for a hot minute now, but boy, is it ever great to witness in the flesh. We sat down with Nick in a glorious coffee spot (in the middle of a thunderstorm) in Stoke Newington the day after his triumphant sell-out show at Village Underground (his first London show with his new band no less) to see how the big time was treating him. He was beaming.

“I don't think I have a favourite chess move, other than checkmate, because each move is part of a combination of other moves. Just like I don't have a favourite piece, because they all work together. I mean, I love myself; I am the king on the board, but other pieces do different things and they all work together, so it's not one particular move unless it's checkmate because usually there's an answer. You know, chess is about questions and answers…”

Take a back catalogue of solid rap releases and add a hearty portion of charisma. Never hold back on the charisma. Let these vital ingredients simmer in a huge pan, at the same time slowly adding spices; namely, a pinch of ‘incredibly unique content’, a tablespoon or two of ‘indulgent food bars’ along with a dash of ‘style that commands the attention of rap fans worldwide’. Once the dish is simmering, be sure to sprinkle some ‘all-star collaborations’ and ‘spectacular live showmanship’ to the broth and finish off with a pinch of freshly squeezed ‘major record deal’. A recipe for success we are sure you will agree.

“I decided to do a show where everyone’s lying on the ground…”