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Supra Interview

interview 0056 added 17.03.01 words Spoon

You could have heard of Supra from a number of places. Regular visitors to our guestbook may have noticed a proliferation of entries from some Northern bunch up Sheffield way, readers of the sadly declined UK-dedicated Blindside zine or people who keep hearing about this 'Landscape Recordings' label...At a recent venture out of Yorkshire to play at the excellent 'Off The Hook' night in Derby, Spoon caught up with Doyen & Cocka (interview soon come) and the man who's currently putting out a record by the former - Supra.
Ok then, give us the usual introduction for people who haven't got a clue who you are
[Supra] my names Supra, from Sheffield, running Landscape Recordings at the moment, used to write the Blindside fanzine and then Sightless after that and ukhiphopcentral for a bit. Producer, writer, all round ukhiphop entrepreneur
When did you start the fanzines?
[Supra] fanzines started in mid to early 99 and that was basically cos I was frustrated. Before HHC had their UK page there was no really people pushing uk hiphop and I was like, right I'll do my own, do a fanzine dedicated to uk hiphop and help promote artists that aren’t getting the light and that I'm feeling at the moment. So the Blindside started and that went on for 6 issues, monthly and then I had to change the name, for anyone that doesn't know, because of Big Kwam's label cos It was getting a lot bigger than I'd anticipated...somehow people kept getting the address, so I thought 'right I'll have to change the name'. So I changed it to Sightless. The whole 'blind' theme was for the fact that British hiphop was there but generally people couldn't see it, trying to show people that British hiphop was there. I did a couple of issues of that and then mid-2000 it stopped because basically, it was becoming too popular. I couldn’t afford to keep doing it and mailing it out, I wasn’t making money on it. Plus the whole label thing started up around that time...the inspiration behind the label came from Skitz. I was talking to him one time, and Titan Sounds was just starting up, and he was such a down to earth guy, and listening to him, I was like ;'shit, I've got to start my own label'. And I was spending so much on putting out the fanzines and not making anything back. So then we did the first Doyen 7" and now I'm getting the shit together and we've got three releases to come out over the next few months.
What sort of print runs were you doing on the zines then?
[Supra] the first run was like 50. It was quite weird, I put it in shops in Sheffield and sent it to Fat City, Deal Real and Mr Bongos and anyone I knew around that time like Disorda, Prime, Kela, K-Delight, the people that I knew from being into hiphop. The 2nd issue, I got a bit more money, did 100, it got into HHC and people wrote to me to get hold of copies. From issue 3 until the end of the Blindside we were doing 250 copies and then for Sightless we were putting out 350/400. It's not that many, but it’s a lot of photocopying, quite a lot of time and money.
And it was just yourself running it?
[Supra] yep, just a one-man job I had some people helping me by the end but it was just me at the start. The first issue was delayed because I was relying on people and at the end of the day they didn't write articles for me...everything’s been like that, there's no way you can trust people to come up with anything, so I was doing everything on my own, all the artwork, articles, interviews, promotion, posting, printing.

it's pointless just doing a 12 and then fading back into obscurity...
Is that something you find synonymous with the scene - that people say they'll do shit and then won't deliver?
[Supra] I don't think it's synonymous with ukhiphop, I think it's synonymous with things generally. At the end of the day I think I'm as guilty as anyone. Everyone’s got their own agendas, if their hearts in it then they'll do it but a lot of people have got so much other shit going on. But at the end of the day when you say you’re going to do something and then don’t deliver it puts people in sticky situations. Like the Evil Ed 7", the track he's done with Microdisiacs which is out in May, we've been trying to sort that out since July 00 and then it finally got recorded in December...the time it took to sort that out, it's crazy. I dunno, people, you can rely on yourself at the end of the day. If you’re doing things on this small scale, no money involved, it's all peoples good will and the goodness of their heart, you really want to try and do as much as you can, if you can do it then do it yourself. That’s what I'd say about British hiphop generally., It needs people to get off the sofa and do something, even if its something like Blokeys doing with Black Sun Connection, putting people in touch with others, even if its writing fanzines, websites. Just do something. It's getting there though, It's bubblin' at the moment, it's bubbling.
What about the Internet then? I read somewhere that the number of UK sites gives a false impression of the scene and makes it seem bigger than it really is. What do you think of that?
[Supra] I remember Flat 4....when Martin reads this, cos he was a big help to me, I used to get a lot of information for my zines off his site...never any plagiarising but a lot of the reviews were very helpful, put it like that! I dunno, bigger impression than it really is....it can only be healthy to have like, there's ukhh, hiphopmusic, hiphopuk, cratestate...and all the labels and artists doing it....Let the world be falsely impressed is what I say cos at the end of the day its only gonna help us sell more records and will keep you websites having some healthy competition.
Moving onto your label then, do you want to tell us about all of the releases.
[Supra] The very first release was by Doyen D in October 99, very limited release, only 200. And that was produced by me, Cocka did a track on that who later did the mobile library EP with Doyen and they all went. The second release is my Supra solo 7" and that's out now. It's got three tracks, all instrumentals, one track's like pretty laid back, but there’s stuff for MCs to rhyme over too. The third release is a 12" by Doyen called 'Money Shot' which was all produced by me except the cuts which were done by Danielson. 2 tracks, a clean version of the Money Shot which is hilarious and yeah again, quite low budget, interesting shit, nicely produced. The 4th release, third this year is the Microdisiacs 7", who've released stuff on Dominant Third. Evil Ed has done one track and I did the other. The fifth release will be...well I think Danielson & me are doing a 7" with undisclosed artists, I’m not going to say anything. But there's also Realms Of Rhyme, a 7" in the pipeline, that’s being recorded now. There's also Ashbury - a kind of diversion from hiphop, a full album from this girl called Becky that I know singing, that’s being recorded now and will be on CD.
Why are you focussing on 7"s?
[Supra] Sevens...for two reasons. Firstly its cost. they’re a lot cheaper than 12s to get made and I had a choice to either put it out on 7s or keep it in my bedroom. Also there's so many 12s out there, 7"s give you a way to differentiate yourself. Also cos reggae is a lot bigger in the UK than it is in the US, maybe that will cross over a bit. Also novelty value basically.
Where are you getting them pressed then?
[Supra] This place in the Czech Republic...1000 records cost me roughly a pound a record, all in. Plus the DATs went off on January 8th and everything was back in the country on the 31st, very good turnaround. The only problems you'll get with pressing vinyl in the Czech Republic is getting the DATs there in the first place and it costs quite a lot to get them back, clear them through customs etc, all good fun. I'm not putting anyone down but people that go to Braintax' place (Independent Pressing) there's plenty of other better pressing plants, Braintax is doing his thing and I respect that. I wouldn't say go to one particular place, make sure you shop around.
You're producing most of your releases.
[Supra] Yeah people probably know me from the fanzines but I’ve been producing from way before that. I had a track on Blazin 12s before that I did tapes - Suspended Beats, if anyone remembers that. So yeah, most of the stuff on the label is produced by me. I like to get other producers on there, Ed, Cocka. It's always an honour because of the superstar that Ed now is! I prefer to be doing more thoughtful and laid back tunes, there's so many good producers in England now that its better for them to do the more club stuff, the more jump up stuff cos that’s what they do wickedly..Ed, Harry Loves got some wicked beats.
What set-up do you use?
[Supra] setupwise I've got an Akai S3000 which is where all the sounds come from, and then sequencing using Cubase on a PC. The vocals..we're improvising all the time. The Microdisiacs were done on Eds 8-track, the Doyen tracks were done in Sheffield, my friends got a limited but good set-up for vocals. And then it's all put onto Minidisc unfortunately. And all the sounds are 100% samples. I know a lot of producers say they only use samples of vinyl, blah blah...
It's very anal.
[Supra] It is. I think it's very small minded...the reason I use samples is that I haven’t got enough money to get a wicked nice old analogue synth. All those wanting samples, forget all your jazz stuff, you want to go for late 70s experimental electronic shit - Tangerine Dream, Vangelis, cos they’ve got wicked sounds already there.

At the end of the day why are you bothering to use fucking shit American MCs over British producers...
What are your long-term goals for the label? You looking to sign artists on long-term and stuff?
[Supra] My take on all that is, the UK is a wicked little scene, but people are signed to such and such is stupid cos there's no advances, like, how are you signed, so I like to do as much as I can with as many people I can that I feel. Long term I'd like to see how the Ashbury album goes down. That could give us a lot more financial stability coming out on CD so you can make more money, unfortunately. Basically it's all about building, and trying to make money which goes back into it for more releases. The reason why I've got three pressed up to go straight away is so that I can follow each one up. it's pointless just doing a 12 and then fading back into obscurity, need to keep a bit of a profile. long-term, just gonna keep doing what I'm doing. Artist-wise, if anyone’s got any demos or whatever I'd love to hear them.
Cos obviously you're focussing on people you know from where you are -the Sheffield and Manchester scenes
[Supra] Yeah. It's basically...Hoodz Underground from Sheffield are probably gonna be on he next 7. But I'd like to do anything with anybody who I’m feeling. But I'm hoping to do something with the YNR guys on 7"...it's basically people that I know cos it's easier to hook up and get it together cos they’re close and dedicated. There's so much talent in the UK. Production wise, in same ways its the UKs strong point but in other ways its the Achilles heel. We've got some of the best producers - Skitz, the CON guys, though Salsa Smurf, was, erm, interesting! I've heard people who've heard the album and that's meant to be wicked. Lewis should hurry up and get his own album finished. Get a move on! At the same time people cut corners...in the UK people are reluctant to go into the studio and spend money on hiphop production. bedroom stuff's good but if I had the money I'd go into a studio every time. That next step of production, getting everything so crisp, that can only be done in a studio. I'd like to bigup Skitz basically, cos those basslines...noone can touch those basslines! I think the UKs healthy but at the same time it needs to get more professional.
What’s your experience of your home scenes, Sheffield and now Manchester
[Supra] Sheffield’s got a good scene, but I think it's the same as a lot of other places - there’s a lot of people doing stuff in their bedrooms, known in their area but not pushing it beyond that. Everything’s very local. Manchester, although it's a bigger city than Sheffield, I might be ignorant in saying this but there doesn't seem to be much going on. You've got the Idiots, Microdisiacs. Manchesters....garage is ruling Manchester basically, again. It's pretty healthy, there are more nights on in Manchester.
What about the whole Grand Central/Fat City thing?

Doyen (front) and Supra (back)

[Supra] ahhh, don’t want to say anything about those guys. I don't think they're anything to do with British hiphop as far as I'm concerned. This pisses me off actually. Fat City, you're cool and everything and I hope you sell my records, but at the end of the day why are you bothering to use fucking shit American MCs over British producers. I just don’t understand it. There's so much talent in this country....Roots Manuva, Mystro, Jargon, some of the Outdaville guys, Wildflower, you know what I mean? So I dunno, I think they're even cliquier than Sheffield. A lot of them nights, I went to see Rodney P and he dissed them to their faces, like 'why are you only putting me on now my profiles rising'. I want to big up the guy in Pepper Records cos he's got a nice little shop and is fighting Fat City, he’s got wicked British stuff in there. I dunno, Fat City, people are trying to make money at the end of the day and that’s what they’re doing.
It's not just them though, last year you had Unsung Heroes, Creators...
[Supra] Creators. fucking hate them. dickheads. It pisses me off...there's so much talent in this country. Use some homegrown talent. I know the Nextmen are doing stuff with Rodney P...but Creators....their beats aren’t all that. There are certain dangers, I was talking to Wildflower about this, there's potential for producers to follow America too much and getting pigeonholed.
What about Mark B & Blade and their semi-blowup as it were
[Supra] yeah. I think its a good metaphor for the UK scene, I don't think it's a sudden blowup, more a gradual boiling, they’ve been around for years doing it and to get to 49 in the charts. They're on the Radio 1 b-list. I know Blade, a lot of drama follows him, blah, but I saw Blade at Fresh and thought 'spot on' Marks not my favourite producer but he’s got some good beats....anyone seen in the Pioneers video where he's on about hunting for hours for drums. when I listen to your beats Mark, I don't hear any new breaks, new drums. Where's all this originality you were talking about...anyway that’s a different story.....so I think it's only good. Every year people are like 'this is the year it's going to blow'
What about zines like the NME who did a Brithop special?
[Supra] it can only be good. I know people are thinking it's getting jumped on, but at the end of the day people are putting press out there about the UK and anyone who says that's bad is stupid. Someone was telling me once, that the only reason people are in the independent charts is cos they can't blow up, which I thought was quite funny. I haven’t bought HHC for about two and a half years, it was depressing. But now there are magazines like Knowledge, DJ...all those magazines are a lot more willing to review British stuff. I think it's bubbling. It's not going to blowup like people think, but like Mark B and Blade it's just going to gradually grow.
Mark was telling me in October, like the 4th single off the album would pick up airplay and all that though.
[Supra] really? That’s industry dynamics...no matter what you think, things are more complex. Mark B and Blade, Blak Twang signing on majors is a good thing. But you can't rely on that to happen. People say I’ll do a tape and see if I can get signed...it's not going to happen, do it yourself. Like Outdaville have got their video onto MTV Base...I think that’s a brilliant forum, they seem to be trying to help....the whole Westwood thing...I think he's been given a lot of unfair press. But at the same time when that Blak Twang tune came out there was no reason why it shouldn’t have started off every show instead of being played in the last 15 minutes.
Radio 1 have got plans for this 'urban' station so it'll be interesting to see if that’s anything other than a continuous rotation of rnb and garage
[Supra] that’s another thing, the whole garage thing. Watching MTV Base and I see shit like the Genius Cru...which is terrible production, these guys trying to rap, it's terrible. I think the UK is very different to the US and France in that the music scene revolves around dance music. People want to dance, so hiphops a disadvantage....that’s why garage blew up, drumnbass before that. People have got to be realistic, do shit themselves or they'll only get picked up and then dropped....Brotherhood, where are they now? People can’t get disheartened and just do it yourself. Don't Sleep! Big up to Richard who writes that zine, I’ve got a couple of articles in that. Yeah. Do It Yourself!
And now for the random ukhh questions...If you had your own pub what would you call it?
I don't drink...
Ok, If you had your own non-alcoholic cocktail bar then....
[Supra] I'd call it the Blue Oyster.
In UK hiphop the movie, who's going to play Supra?
[Supra] Oh shit....erm, my mate Alex O Conner, he can play me.
And what’s your favourite packet of crisps?
[Supra] Seabrooks Worcester Sauce.
The Doyen 'Money Shot' 12" produced by Supra is out now with Supra's solo 7" and the Microdisiacs 7" forthcoming on landscaperecordings. And you can order them from that site too so there's no excuse.