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  DJ
Supreme Interview
deejay feature
0027 added
09.08.05 technical QED words K-Per
A legend of both the UK hip hop and turntablist scenes, DJ Supreme
will be
known to most of you as either the pioneering producer and DJ for Hijack
or as the guy who pioneered cuts years ahead of the turntablist revival
that emerged from the US west coast in the early and mid 90s. Referred to
as god by Qbert and Jesus by Primecuts, Supreme really was years ahead of
many people, both as a producer and DJ alongside Undercover. But after
Hijack disbanded following their first and only album, Supreme retreated
from the UK and the hip hop scene and moved to Switzerland to continue his
career.
Hijack had such an impact on the UK scene at the time and since
that when the chance came up to catch up with the legend there was no way
we could miss it. Having never given any interviews during their time as
Hijack, Kper paid no attention to his phone bill and called the man up to
find out some more about the crew’s history, how he came to scratching and
production, Britcore, stage antics, moving to Switzerland, turntablist
recognition, things you didn’t know about Hijack and even grime! Ahead of
the release of the Hijack documentary, ‘Turntable Trixters’, take a trip
down memory lane or a lesson in history depending on your age with the one
and only DJ Supreme.
"...you could have mastered all the techniques in the world but if what
you do with them is not singing, if you can’t make your cuts sing or have
expression, it’s not working for me..."
So what have you been up to?
 S: Recently, or since leaving the UK?
Recently…
S: I’ve been quite busy. I released a mix CD late last year. A mix tape of
my favourite Swiss hip hop tracks. I produced a couple of my own tracks on
there featuring some of the best Swiss MCs, Gries, EKR and Chakal. That
took up a lot of time with a video, doing TV appearances, radio and press,
festivals and the club circuit. It did pretty well for me here. After
that, I started The Turntable Trixters film earlier on this year. It’s
something I’ve been wanting to do for a long time but never had the time
or the people to work with. That was until I met with Pritt from
Nu-Skratch, a talented filmmaker who agreed to help me put my story
together. We’ve both spent a lot of time working on it, arranging all the
interviews in different countries, getting archive footage and pictures,
filming hours and hours of stuff. So, that’s keeping me pretty busy on top
of all my regular club gigs, tours and producing. It’s hectic at times,
but I’m enjoying it.
Good stuff. Well I thought it would be good to
maybe have a little bit of history about you and how you started and came
up in the hip hop scene back in the 80s, for the readers who might not
know.
S: Ok, well… I started scratching in 84-85, when a friend of mine Dean aka
Cosmic Jam, gave me a demonstration. He spent a few years in the US with a
DJ crew and was real good at cutting and scratching. He’s the reason I got
into it. Before that point I was into poppin’ breaking and a little
graffiti but not really the DJ side of things. But when I saw Cosmic doing
it, I knew that’s what I wanted to do, scratching was the thing for me. My
mom bought me my first belt drive record player and I practiced on that.
But as soon as I started making my own money it all went into scratching
and getting the equipment I needed. By the time I was 18, I had two
Technics turntables and a phonics mixer. I was practicing every day for
stupid hours – 12 hours straight sometimes. I listened to almost every
record coming out of the US with scratching on it and I would practice the
new cuts and styles I heard - but I’d also tried to create my own cuts on
top of that. I guess after about 3 years practice I decided I wanted to
form a crew. I had already been part of Cosmic Jam’s crew for a brief
moment and after splitting away I wanted to start my own.
"...I would practice the new cuts and styles I heard - but I’d also tried
to create my own cuts on top of that..."
I thought an all
DJs crew would be cool, 3 DJs minimum and so I started looking for people.
I met Undercover and Kamanchi Sly shortly after that. It’s funny actually
because when I first met Sly he pretended to be a DJ, and came up to my
house and showed me what he could do, but he didn’t have the skill,
because he wasn’t really a DJ – turned out he was a beat boxer. But he
told me he knew someone who could cut and brought Undercover to my house,
and Undercover and myself had a battle basically and we then realised our
styles complimented each other. We were both on the same level with our
love for cutting, you know? So we agreed to be a crew and I said we needed
another DJ, because I had this 3 DJ crew idea in my mind but somehow
Undercover and Sly talked me out of it and suggested Sly be a beat box /
hype man so that’s how we ended up with 2 DJs and one MC.
 All that happened at my place, that’s when we came together as a crew for
the first time, and we called ourselves the Turntable Trixters – the name
we used before Hijack, before we had the record deal…
Oh ok, so how did the name change happen?
S: Well the name changed just after KSly won the rap competition at White
City. A few days later Undercover and Ulysees met with Music of Life where
they asked us to sign to the label. At that meeting Undercover told them
our name was Hijack. Undercover started rapping around that time (87) and
had made a demo with KSly where he rhymes the word hijack. He got the idea
from that lyric basically. Neither KSly nor I could go to the meeting so
Undercover decided the new name by himself. And that’s how it happened. We
all met up later that day at my place, and when Undercover told us the
name it was so strong we just couldn’t rubbish it, we knew it was a heavy
name.
Wicked. As you said you first got into scratching,
where and when did the production work come in, was it like a natural
progression for you after years of being on the decks?
S: Yeah totally, it was very natural. I used to listen to all the stuff
coming out of the US at the time like BDP, Ultramagnetic, Marley
Marl/Juice Crew, Steady B, etc… I mean when scratching to beats you got to
know bars, measures, tempos, beat syncopation, rhythms and patterns. All
that practice scratching on the turntables meant I was also learning how
music is structured which is key for producing. People like Marley Marl,
Premo, and Dr. Dre started out as DJs and moved to production so it really
is a very natural step for most DJs. When we signed to MOL, it was
suddenly an opportunity to put all that skill to use and make music. It
never really occurred to me how people made records, I just listened to
the music but never fully understood how it all came together. I didn’t
really know about sampling either so I went out and bought a cheap one to
practice on.
"...When I first met Sly he pretended to be a DJ […] and showed me what he
could do, but he didn’t have the skill – turned out he was a beat
boxer..."
When we made ‘Style Wars’, we had to work together since we
were all learning together. We brought a load of records to the studio and
we told Simon Harris what we wanted him to do… telling him where a sample
should start and end, how a drum should be programmed, etc… So that record
really involved all of us, but I really liked making beats so after that
single I completely took over production for the group. The 2nd single,
‘Doomsday/Hold no hostage’, was my first attempt at producing. That’s how
I got into producing, and that was around 89. And the thing is the more I
got into production, the less I was able to practice scratching…
Undercover found a new path in rapping so he also wasn’t cutting as much
later on. And people would sometimes say ‘oh there isn’t enough
scratching’, but the reason for that was the music became my new love and
I focused most of my time on doing that right.
You can never please everyone can you?
 S: Totally. So I just kept at it, I still practiced the cut but I was just
fully into production. And I would spend hours splicing beats, obscuring
my samples, going through my mom’s records and looking for stuff to use in
Marga’s (Katch 22) and Soul Man’s vast collection of records. So yeah, I
got into production around 89, and started scratching properly around 85,
so it took about 3 years to move from one to the next.
And looking back on it, did you ever had any idea
or think that what you did back then on the turntables would have such an
impact on a whole generation of DJs and really affect what they did and
how they looked at scratching and what it could be?
S: It’s kind of strange actually, because at the time when I was
scratching my goal was to gain respect and street cred as a DJ. I wanted
to be known for doing something like what Cash Money had done on
‘Scratching to the Funk’, or what Jazzy Jeff had done with the transformer
scratch. I wanted to be remembered for bringing something incredible to
the scene - and to do that I had to be the best. I know it sounds
egotistical but at that age we all think ‘the world is mine’. So I
practiced with the intention that one day I’d be there with Theodore,
Flash, DST, Cheese, Jam Master Jay, Jazzy Jay, Jeff, Cash and all the
others. That is all that mattered. But then we split up prematurely in 92
and I felt like we didn’t make that impact on the world in the way I
wanted. People knew us in England and around Europe, but not so much
outside it seemed. So I thought my opportunity might have passed.
"...All that practice scratching on the turntables meant I was also
learning how music is structured which is key for producing..."
That was
until the end of the 90s arrived, and people like the Piklz, Babu, DJ
Shadow, Disk and all that lot had come out of the West Coast and totally
blown the whole scratching thing up. Next thing I hear is these people are
talking about Supreme and Undercover from Hijack and I was quite shocked!
It basically took 10 years for me to find out that in fact we were
recognised and did make that impact on the scene. It was like an Oscar
winning moment for me, finally getting the recognition by the world
scratch community, at Scratchcon, and being named as an inspiration to
some of the worlds best DJs of today. Q-Bert would tell me how he got hold
of our tapes and would listen to them for hours and just want to scratch
for ages afterwards. By that point a lot of people had become very good,
strong all round DJs, but I was being recognised for the impact I made on
just scratching.
So how does it feel today to know that the
recognition was there and that you had such a part in making scratching
what it is, in pushing the artform forward?
 S: It’s a great feeling! I still scratch today, I ‘m still out there on
the turntables in the clubs. Still people will meet me and ask if I am
‘Supreme from Hijack/Rhyme Syndicate - the one in Scratchcon?’ and then
ask me tons of questions. And the funny thing is some of them weren’t even
born when I made records with Hijack. But, they have become interested in
what I’ve done because my contribution to the art is still being talked
about by the new generation of DJs out there. I’m pleased to know that
I’ve done something that lives on like that, and I achieved that
recognition I was looking for when I started out in 85. People are still
listening to the ‘Horns of Jericho’ LP today, copies of it are being sold
on the Internet and a lot of what we did has become legend.
Well going back to the production side of things,
with your work on Hijack’s productions, you’re widely regarded for
bringing through a unique sound to the music you did, the Britcore sound
as it’s been referred to since. And I was wondering if you could tell us
what it is for you that made the sound what it is/was? What were the
things that you did that made this sound so unique?
S: When I bought my cheap sampling equipment for ‘Style Wars’, the first
thing I tried to do was copy the music I heard coming out of the US. But
my attempts were poor. What I was doing sounded good but not half as good
as the US material plus my music didn’t move me, it was empty and had no
soul to it. So I wiped my slate clean and started again. I wanted to put
me, my feelings my mind set, my aspirations into the music, I wanted the
music to be something that was a part of me so I started experimenting
with the beats. I wanted the music to be a powerful raging bull, to have a
crazy violent energy to it – like a b-boy wanting to serve everyone on the
floor (laughs). That’s what I felt really represented me and that’s what I
wanted to portray in my music.
"...I would spend hours splicing beats, obscuring my samples, going
through my mom’s records..."
And the way I did that was by pitching up
the tempo of the breaks and samples. Throwing in long horns, staps, off
key organs from wherever I could find them, even playing live bass too. I
found the right speed pretty soon, around 115-120 bpm. That was pretty
fast for the time, no other hip hop was really at that speed (except maybe
‘Raw’ by Daddy Kane and a couple of Rakim tracks) but for me it was
perfect. It captured the energy I wanted. It was an emotion for me, there
was nothing like it and it represented me as well. I wanted to cause
emotions in people, hit them with hardcore energy. It didn’t bother me
that my music didn’t sound like anything else out there – what was more
important was that I liked it and I was happy with it.
And it did work in a way…
 S: Yeah it did. And now I’m moving towards making music for films, that’s
what I really want to do these days. That’s one of the reasons for the DVD
being put out, I wanted to make a movie of my life and also put music to
it. This project is great for that. And after this I’ve got a few other
similar film projects lined up, which is great because it’s always been
there for me, this need to put music to images. Being able to write
emotions and feelings through the music. That’s what it was about for me
back then, and still now, just in a different way. The music we made back
then, a lot of people always said it’s not something you can smoke a
spliff and chill to, and that was what I wanted. And when I moved to
Switzerland it was also amazing to see the impact still living strong on
hip hop in Europe. That was a big compliment for me and it showed I was
right to follow my heart.
And what was it like having Ice T sign you to his
label and go on tour with PE, LOTNS, all these great acts?
S: That was the best thing about doing the music man! If I had stayed in
my room and never came out but my name was on the UK scene I would have
been happy. But doing shows with all these guys, who I respected and whose
music I grew up with was just amazing! And the thing is as well I’d never
left the country before, I was 20 when we went on the first tour, and took
my first flight, which funnily enough was to Switzerland…
That’s a crazy coincidence!
S: Yeah and the thing was when I got there I told myself ‘I’m going to
live here one day’. But seeing all these countries, visiting all the
towns, people knowing your name, singing your songs, seeing your music
cause all this energy, that was all amazing. Learning from Ice T as well,
that was really incredible. By the time we got to the second tour we were
real pros. We learnt so much from him and all these guys, the second time
round we had everything sorted, all the shows were tight. We knew about
rehearsals, stage presence, communicating with the crowd, all these
things. We wanted to do shows people would never forget and that’s what
happened. If you go on the site today and check the guestbook, there’s
people coming on there because of a show they saw in 91, and that’s great.
"...It basically took 10 years for me to find out that in fact we were
recognised and did make that impact on the scene..."
Yeah I saw that clip from the Montreux festival on
your site, and it looked amazing.
S: That was on the first tour though, it wasn’t that polished compared to
the second time round. By the second tour, the show was so tight. We had
balaclavas, smoke, lighting, etc… We always tried to perfect it as well,
we wanted to impress people on all levels. And I guess that’s also why we
took so long with our releases, because we always took the time to do
things well, to do them perfect. We were really perfectionists, and it
showed in the music in the end I think.
And moving on a bit, as we’ve mentioned you’ve
been working on the Turntable Trixters documentary. What was your
motivation for doing this documentary, what made you want to do it?
 S: After the split, I left the UK and moved to Switzerland. By that time I
went back into normal life mode with my family and everything. After a few
years the music changed, the scene changed, people like Black Twang, Ty
and others were coming through, establishing themselves, and so when I
came to Switzerland the mad thing was that people were still really hyped
about Hijack. I wanted to chill, but then I got back into it partly
because we were still big over here in a sense. So I got back into
production, doing clubs, gigs, and things picked up really from there. And
at the same time some videos of us started coming out, through this label
that Sly had set up. They released some videos, including footage from the
Montreux festival, but this wasn’t a film or documentaries, they were just
video videos, you know? They showed what we did and the music, but they
weren’t really amazing I guess. So then people would start emailing me or
calling me and asking all sorts of questions about Hijack, the music, the
production, what had happened, why were there no scratches on such and
such song…
And the thing is we split up at our pinnacle, after the first album, and I
think that left a lot of people wanting much more from us. It was like
unfinished business. So given that, I thought we’ve got an album out,
we’ve got a video out and I really wanted to give people a full story, a
real look into what it was all about and answer questions as well. I
didn’t do it to make money but for the people that were still into what we
did. I wanted something that would tell the story and sort of like a
documentary, with input from loads of people. Because the thing was as
well that we never did any interviews during all that time, we only
started doing them afterwards, and so I thought it was important to do the
story of Hijack. Because most of it, most of what we did, happened at my
pad.
"...I’m pleased to know that I’ve done something that lives on like that,
and I achieved that recognition I was looking for when I started out in
85..."
The lyrics, the music, the cuts all of these things were mainly done
at my house, the HQ. There are all these stories people never knew about
and I feel that revealing all this is like filling the gap, making it
complete. Having people like Q on it as well to show how it evolved and
how it impacted on a whole other generation is really important as well I
think. Show how things changed because of what we did. Everyone can learn
from it as well, it’s like a gift and a history lesson. The idea had been
fermenting at the back of my mind for about 2 years, and then I met Pritt
doing an interview with him and from there realised that I could have
someone to help me turn this idea into reality. And to be honest as well,
since we started it and put the word out I’ve also been really shocked by
the support we got from around the world. It’s been amazing.
And are you working on anything else at the
moment, or have you go anything else planned after the release of the DVD?
You mentioned the movie work…
 S: At the moment I’m focusing on the film a 100%, the whole project and
then after that as I said I’ve got another film project lined up with some
guys in Germany who want me to make music for their film. I’ve also got
some production work lined up for EMI, for some local artists round here.
I want to focus on production a lot more again, do the film work as well
and keep on doing the clubs and gigs, which also keep me busy. That takes
a lot of time and of course I also practice so…
You were saying the film work is something that’s
really close to your heart.
S: Yeah it’s definitely something I’ve always wanted to do, and it’s good
that someone wants me to do it for their film work as well. I love the
idea of putting music to images, and doing it for someone else’s images is
great. Thing is I never know what’s around the corner, there could be some
big tour up next, the bookings take a lot of my time, but it’s all good
though, I love it still and that’s why I keep on doing it.
So I wanted to ask you why you moved to
Switzerland, because I hadn’t realised that you left the country.
S: Well I moved over in 2000, and initially I had no real intention to
move over here so soon but my wife, who is half Swiss, made a strong case
for me to come out here! (laughs) So I threw caution to the wind and flew
out. I knew Switzerland quite well already, because I’d been here on and
off many times before touring and coming on vacation etc. I never knew
what I would do when I got here, but then I found that people were still
interested in what I was doing and me. So it was no problem to get in the
mix with people, network and start new projects. And being in the middle
of Europe is great as well, I can travel to all these other countries
easily, meet people around the continent, hook up on international
projects. That’s how the ‘Style Wars’ remix happened actually, after I
went to Germany and hooked up with the legendary DJ Stylewarz and we
worked out the remix together. But the best thing about Switzerland is the
quality of life I have, everything is just that much better really.
"...I wanted the music to be a powerful raging bull, to have a crazy
violent energy to it..."
Yeah Europe has a different pace of life compared
to London.
S: Yeah London is cool, but for me its become a great place for a hype
weekend, you go to the city, hook up with mad people, bleach all night and
then fly back home absolutely knackered. Whenever I go over it’s always
hectic, everything is always open, people are up at all hours, ringing
your mobile, asking to hook up, and I’m always busted by the time I have
to get back to Zurich.
Do you still follow much of what is going on in
the scene in the UK?
 S: Yeah I check the music sites and mags like 1xtra, Suspect Packages, Big
Smoke, Big Dadda, RWD etc. I try to keep up with all of the stuff that
comes out of the UK, though I haven’t really been listening to the grime
thing, I don’t know it hasn’t really caught my ear I guess. It’s also not
around here that much… I mean I don’t even know if it’s being considered
hip hop in England or not…
Yeah it’s a funny thing really, because in a way
it’s really a bastard offshoot of Garage, but then when Dizzy came out
with his first LP it got lumped together with hip hop. It’s really weird
at the minute, because there is a major grime/hip hop debate going on at
times, even though the music itself has only been around for a couple of
years.
S: Well you see from what I heard I think that Grime really seems to be
the sound of the youth today, like the Hijack, Demon Boyz and London
Possee material was in a sense. So I’m not gonna rubbish it because it’s
important for the youth to have their own identity and outlet and to be
able to do their thing and get their music out there. To have the avenues
to express themselves is the greatest thing, especially because we didn’t
really have as many things back then as kids do now. Things like Channel U
are great, I was watching it when I was in London last and it’s crazy the
stuff you see on there. You didn’t have things like that back in the 80s
early 90s. Having your video to support the music was unheard of. I mean I
hear that today there’s people who have videos out but not really any
music, and that’s crazy. I think it’s good though, it helps push things
forward.
"...It didn’t bother me that my music didn’t sound like anything else out
there..."
But yeah I try to keep up with all the new stuff, Roots Manuva, Cappo,
Skinny, Mud Fam, Braintax, 57 Dynasty etc. And especially the producers as
well like Lord Gosh, Nextmen, the Creators, P Brothers etc. I actually
think that today UK producers are making really good hip hop by worldwide
standards. I’ve got people in the US telling me that the UK stuff is
really going to blow up soon, and come through – it’s the realest shit
right now. It’s like even though people are still spitting in their
accents or their own flow, they’re able to at times come across as if they
could be from anywhere, you can’t always tell it’s a UK rhyme or whatever
and I think that will play in their hands. And also I really feel that the
music coming out of England today has a good vibe, and it really
represents hip hop in its truest form. It represents the real stuff, the
underground stuff, not just the charts or whatever. I think we have a
strong scene and sound.
Well I also wanted to speak to you about the
Styluswars release you did a few years back, WRIST, with Aliosity. How did
that come about and what was it like working on the release?
S: That was basically brought about by the whole Hijack revival around
2000, after Skratchcon happened. When Skratchcon happened I was flown out
there and ended up meeting all these famous people who were listening to
the stuff we made and that was mad. People like Disk, D-Styles, Aliosity,
all these cats kind of pushed me to get the material out and become active
in today’s scene. So then the guys at Styluswars got in touch with me and
said they were really keen to do a Hijack scratch tool. So they brought me
over to New York for a week, and we sat down and talked about ideas, and
then I hooked up with Aliosity, and we worked on the material together him
in the US and me Switzerland - It was all done long distance, over the
Internet.
Oh really? So you didn’t actually work on it
together. Was that while you were in NY?
S: Well he was from LA, and it started when I was in New York but then it
just happened over the net really. I had all these unreleased beats,
tracks, which I put together, added some scratches and a few ideas and
basically sent it to him to arrange and compose. And that’s what he did,
he really put the whole thing together and the finishing touches to the
release.
"...We wanted to do shows people would never forget and that’s what
happened..."
So did you ever meet then?
S: Yeah I did meet him in NY and we got a chance to hang out. He’s a real
wild cat, a hardcore scratch nut too (laugh). He first impressed me a lot
with his own material he sent me over email. I was really into it. He did
a good job on that release, it came out perfectly. And it’s funny because
I’ve got that record on my turntable right now!
Yeah that’s become a pretty popular release now,
Styluswars have just put their last copies for sale on their new shop.
 S: Yeah I’ve got about 12 copies of my own, and I know Styluswars put the
rest up. I’m really glad I had the chance to do that record and pass on
the music to a new generation of DJs with fresh ears and new ideas.
Well actually, while we’re on the subject, I was
wondering if you’ve been checking what Excess, D-Styles, Ricci Rucker and
the others have been doing musically over the last few years. All the
turntable band stuff that they did with Ned Hoddings, and now the new
stuff they’re working on?
S: Yeah man, I love it. My favourite DJs right now are Toadstyle and Ricci
from Ned Hoddings. For me they really are the best. They’re just
incredible, the funkiest DJs I know, just mad funky and musical at the
same time. It’s not something that’s easy to master, but they got it. It’s
like you need good technical skills to be able to chop up a record for
example, making it sound real dope. But then for me, you could have
mastered all the techniques in the world but if what you do with them is
not singing, if you can’t make your cuts sing or have expression, it’s not
working for me. It’s not worth it. It’s like the first time I heard Cash
Money or Whizz Kid, their cuts talked to me in a way no one else’s cuts
did. And both Ricci and Toadstyle are part of the few people who are
really on that level for me, they really can make their cuts sing.
"...There are all these stories people never knew about and I feel that
revealing all this is like filling the gap, making it complete..."
That
for me is why these guys are dope. I had the chance to meet Ricci when I
was in the states and chill with him and Mike Boo, they’re real cool
people. As for the stuff they’ve been doing with the live band scratch
compositions its just wicked as well. I love that stuff, the way
everything is scratched so well, and how everyone has their own
instrumental role to play. I’ve also seen the stuff Excess has been doing
with Hop Fu, which I also think its dope. It’s an amazing concept, and I
know they’ve put a lot of work into it. And last time I spoke to him they
were trying to get mini versions of it on MTV. So yeah all this stuff is
pushing the envelope of DJing onto the next level.
And have you had the chance to hear stuff from the
European DJs and crews, people like Birdy Nam Nam in France, who are also
doing similar things over here, pushing the musical aspect of scratching
and DJ bands?
 S: Birdy Nam Nam, Actually no, that’s a line from a Peter Sellers movie
ain’t it? (laughs) You have to give me some links to those guys so I can
check them out. I try to always keep with what’s happening and try to see
any DJ/turntablist crews visiting Zurich. I still try to keep up with
turntablism worldwide though, and I’m really glad to see how it has
evolved and moved on since we were doing our thing.
Phone gets cut
Well actually I’m pretty much done now. Is there
anything else you wanted to add, last words?
S: Just want to let people know to look out for this movie. I’m excited
about it and I’m sure anyone into Hijack, or just the whole UK scene from
back then will enjoy this piece of history. I’m looking forward to it
being released. Also, drop by my website
www.djsupreme.com for more info
and hit me up in the guestbook.
"...I love the idea of putting music to images..."
Is it going to be available in most places then?
S: I don’t know yet, I didn’t envisage major distribution for this, but
there has been interest from a couple of serious distributors. Originally
I wanted to keep it low key, kinda underground but given all the interest
its getting that might change, we’ll see. I’ve got a decision to make so
we’ll see. Aside from that just check the site as it will definitely be
available there.
Thank you. Quickly before we go though, I’ve got a
couple of quick round questions…
What would you say are 3 UK hip hop records
everyone should own?
S: Oh man that’s a difficult one! 3 records… I don’t know. One would have
to be Demon Boys – ‘Recognition’. And then… well not being pretentious or
anything but I’d have to throw a Hijack track in there! (laughs) Probably
‘Hold No Hostage’, but if you don’t want to count that then I’d say London
Posse – ‘Jump Around’. And the last one would have to be either Gunshot or
Hardnoise… I’m going with both Hardnoise – ‘Mice in the presence of a
Lion’ and Gunshot’s ‘Mind of a Razor’.
Ok and then what are 3 things that people might
not know about Hijack?
S: Firstly Undercover was also known as the Chrymster. Secondly there was
supposed to be scratching on ‘Phantom of the Opera’ but it didn’t happen
because of arguments in the studio! (laughs). And thirdly… anyone who
knows the show on Dance Energy, which you can still find on the net today,
well that wasn’t me on the turntables, it was my brother! I was on
vacation in Switzerland at the time and I asked my brother Keith to stand
in for me. So that’s not me in that show. Those are three things people
might not know about Hijack.
"...I think that Grime really seems to be the sound of the youth today,
like the Hijack, Demon Boyz and London Possee material was in a sense..."
-
K-Per
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