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Probably best know for his work with Doyen D and the Microdisiacs
- Supra is a shining example of the dedicated hip-hop artists filling our shores. Not only blessed with a high level of creative talent and originality, he also has the determination and enthusiasm to push his musical visions forward…
Matt G
© ukhh.com 2002
interview 0100 added
21.04.02 words Matt G
UKHH: First one's an easy one, when did you to first start beat making?
SP: I started maybe about 6 years ago. In some ways, its kind of strange how I started... I was messing around with DJing at the time, and just buying records like anyone else does. I had just finished a music course at school though, and I didn't really want to take another one, but didn't want to stop doing music either, so I found this guy who said he'd teach me composition. Anyway, he was really into experimental stuff, and was the first person to show me how equipment worked… like, showed me how to use a sample, how to sequence, how to put sounds together etc. So it just went from there. I was also getting friends with some people from Mexborough (near Sheffield)... there was a guy called Chris who went under the name AM and they were in a crew called Passive Resistance… and YNR. This was the original YNR that Jehst is in now...he was in it then too, along with Lexis and others... So I was hooking up with them and they were making beats, so that inspired me a lot - just seeing how people made beats and it just gave me a lot of ideas. I guess as far as artist influences go, it was the same old people...Primo and the Beat Miners were big influences, and so was DJ Krush and DJ Shadow when his LP came out. I also loved the first Gunshot LP. That was really the first UK rap record that I bought when it came out... I loved it - the way it sounded...it was heavy y'know. It was different from my style, but I'd say I was influenced by it.... big up Whitechild Rix!
UKHH: So how would you describe your production style to someone who has never heard your work?
SP: Hmmm…. I'd say 4am music. The type of thing I think I'm best at it is more laid back and mellow stuff. I don't know why - it's just the style what seems to come out. I love more melodic stuff... like when you hear a good beat, a lot of times its built around a nice sample, and the sample usually sounds nice because of its musical qualities. That sounds obvious I know, but I kind of aim to make a beat that has that sound, but from lots of little elements that I create, rather than one big sample -sort of like making the sample myself… and that usually comes out as slower stuff…. especially my instrumental stuff and stuff for Ashbury, its very much music you could go to sleep to.
UKHH: There's a lot of beatmaking programmes for the PC around at the minute, do you ever use any of these? Is there any you would recommend to heads who don't know?
SP: Yeah, there's so many ways you can make music these days...I'd recommend simply finding one that suits you and run with that. For me personally, I still like using external samplers...Akais... I'll use a PC to sequence with, but I won't actually put any sounds into it. For sequencing, I'm still using Cubase because that is what I know best, but I think eventually I'll move onto logic. I think I'd also end up getting a small pro-tools set up, and move all my computer stuff to the Mac. I'm planning that in a year or so.... I think pro tools will help a lot for the more instrumental stuff - like, really help the technical quality of the music. I would in no way say you need a set up like that though to make good music. No way. You can make wicked quality things on the Akain MPC 2000 alone, which many people use, and which I am currently using to make the next Ashbury LP and my own solo LP. I think it all depends on what you find easiest to work with and then to a smaller degree what sound you are looking for.
'
..
.Well, I guess we'd be lumped in with Massive Attack and Portishead, which is
cool...'
UKHH: Alright, lets say a genie is going to grant you three pieces of sound equipment of your choice - what would you go for?!
SP: Hmmm…. hard one! I'd have to say, that at this time, the first one would definitely be a wicked desk - like a Neve or SSL. I remember Insane Macbeth telling me about both these kinds of desks. They're big professional consoles that are probably far more than I need, but they give a wicked sound and there is nothing you couldn't do through one - because their price is way more than I'll ever be able to afford, that would be my first choice. Then I'd have to say a really old valve compressor. They're also expensive and are quite rare, but give a really warm sound. I'm not up on makes or models, but I'd have to have one of those. And finally, I think I'd go for a bit of an out of the way instrument, like a Theramin, of a laser harp. I love experimental electronic stuff and new age stuff... Some of the sounds are amazing, and not many people use those sounds, so I'd go for something like that. I can imagine a lot of people opting for old samplers if they could have any equipment, like SP12's and MPC 60's, but for me, I don't think they would improve my music all that much. The MPC 2000 is good enough for me, and I prefer working with stuff that has more options - more sample time etc.
UKHH: So what equipment do you use at the moment?
SP: At the moment I still have my old Akais 3000xl, which does everything I want. They're so cheap now I'd recommend them to anyone. I sequence that on Cubase, and then run it though a spirit desk. I also have a few FX modules and a few compressors. I've got a Korg synth and dat machine and that is pretty much it. Although, at the moment, I am using none of that stuff and only using an MPC 2000xl....
UKHH: Is there such thing as 'beatmaker's block'?
SP: Most definitely. It's hard sometimes and I get blocks for different reasons. Like, after doing the first Ashbury LP, I just needed a rest from making music, but sometimes you just get stuck and need to step a way for a while. It never usually lasts more than a few days though - it's pretty easy to keep creative. I try and listen to a very wide range of music and that helps a lot because there is so much out there. Like, a lot of people don't like garage or drum and
bass, but they're doing some interesting things from a production point of view and its good to listen to. Plus I like stranger instrumental stuff, and that always is inspiring. So it's just a question of keeping an open mind I think. It's also hard to know when to stop doing a track. Like sometimes you'll be working on a song and its just not going anywhere. It might just be that it's sounding really good but is just a hard one to do. In that case you just struggle on but it might be that its not sounding like anything special, and in many cases its best just to save it and start something new. You can always come back to it later...and you might have some new ideas then.
UKHH: Moving on, how was it working with Doyen D on the 'The Moneyshot/The Quest E.P'?
SP: I know Doyen pretty well and we did a few things before that so it was pretty easy to do that record. In fact, we did it pretty quickly and it was relatively painless. We always seem to get on so well and have such a laugh when we do things that it's worth it just for that. My favourite track in that 12" is the B-side - 'The Quest'. It's funny because I played him the beat and he was like cool…. he wrote that amazing story, and then came back to me and spat it to me over the phone. It was funny because I don't know why, maybe it was the mood I was in, but I wasn't feeling it at all and was like nahh..... We laugh about it now, cause a couple of days later I was like. "Actually!! It fits it so well...we had fun with that tune cause we spent ages putting sound effects in behind the vocals - like, we had car sounds, explosions, laser sounds, crowds, planes etc. It was like a mini film - I don't think people notice them, but they're there. It is one of my favourite tracks so far I think in retrospect.
UKHH: Have you any plans to do what Skitz has done and produce an album packed with loads of different emcee's?
SP: I've given it some thought from time to time but I don't think I'll ever do an LP like that. If I did, it won't be for ages - it would take a while to organise. I would like to do a series of records though -like may be a 7" or 10" that have a theme but with different emcee's. If I did an LP like that done by Skitz I'd like to get most of the people making stuff right now in the UK. I'd love to do something with Fallacy, Taskforce, Blak Twang, Aspects, Lewis Parker - him and Skitz would have to produce a few tunes. I think Hoodz Underground would also be on it for sure - they have always been around and really inspired me early on… Doyen D, people from YNR like Usmaan, Asaviour, Jehst if he's not too busy. Also the Microdisiacs for sure - I'd like to do something with Krispy too….
UKHH: Your in the USA right now, aren't you tempted to hook up with rappers there like Adam F did?
SP: Yeah, I'm in the USA right now - I've been here since August. I've met a few people where I am but its kind of different out here. I wouldn't go looking for emcees out here. If I got the opportunity to work with some like Adam did, then sure I would… But there is a lot of people in the UK I'd prefer to do something with. There's a lot of the same old stuff here and it's not very inspiring on a general scale - hip-hops so big. Like, not many people even know about more underground stuff. I think the one MC I'd love to work with would be Nas. Illmatic is one of my all time favourites. I think I'd be worried about being able to do a beat good enough for him although his new LP isn't that good beat wise so it shouldn't be too hard! The guys I've met here are OK - good emcee's but nothing that is any better than what's back home… So I was like, what's the point of doing some stuff with them that I'll put out back in the UK which won't be any better than the people I know back home? So I haven't really bothered doing anything with them and just concentrated on the Ashbury project and my own solo LP.
'
...It's not too hard financially if you're careful with money, - most of my
money goes into equipment and running of the label...'
UKHH: Tell us a bit more about the Ashbury project....
SP: Well, in some ways just making beats is never enough for me. Right from when I started I wanted to do composition so I always want to do things more musical. I just find it more personally fulfilling. The Ashbury stuff is like a mix between my instrumental stuff and more vocal stuff. Its great and I really enjoy it and it gives me a lot of new ideas. Basically, Ashbury is myself and my friend Becky. She has an amazing voice.... I do the music and we both write the melodies, then Doyen writes most of the lyrics - it's a local thing.
UKHH: Is there any set concept behind the project?
SP: Well, I guess we'd be lumped in with Massive Attack and Portishead, which is cool, and to be expected - especially after the first LP. It's that type of thing, like slower, more darker and laid back music. I love it though - we're trying to get a live show together this summer and take it to the next level. The second album is almost finished and we just need to record it. It's a lot different from the first in many ways - it's less detailed. In some ways it's better than the first - it's kind of like a different direction. The concept behind it is just to do good music… nothing more...
UKHH: How well did the first LP go?
SP: It went as well as I expected it I think - it's sold really well and for the first time we've made money on a release. We got one of the songs on a mountain climbing video and on a program on Channel 4 over Christmas which was good. All the reviews we've had have been really really positive. The only problem has been that it has not got reviewed in as many places as I would have liked... This is partially due to me being away and the fact we didn't really push it enough - but you learn as you go along and I'm really happy with what its done for us.
UKHH: Do you plan to do any more work with musicians outside of the hip-hop genre?
SP: Well, as I said, the next Ashbury LP will be out around October I think. I'm also half way through my own solo LP which will feature this poet I've met over in America. She sings and does spoken word. It's cool because it's another totally different direction. She'll be the only guest on my LP. I also want to do some instrumental guitar music with my friend Stuart Hudson. I guess I go for that type of sound. I love Jazz and think it would be a really interesting project to do - besides those there's no definite plans but I'm always looking to do stuff with anyone that I'm feeling. I try to be pretty open minded. As I said, I listen to as much music as I can. It is important for me. Some people don't but I love hearing what's going on elsewhere. Like, I'm friends with a lot of people from the Early Music Institute where I live in America. That's crazy because they all play really old Baroque instruments like harpsichords… It's really cool though because it's something totally different and really gives you ideas....
UKHH: In your own heaven what artists would you be producing for?
SP: Hmm, as well as all the emcee's I mentioned earlier, I'm not sure. Its sounds strange but I'd like to do something with Shaznay from All Saints. They're not doing anything now but I think we could do something really different. I'd also love to work with Tori Amos and Bjork - I'd say Prince too because I was really into Prince for a long time - thing is, I don't know if I'd be able to do anything good enough. And then there are legends like KRS One, Big Daddy Kane - I'd love to do tunes with them. Rass Kass and Chino XL are a few others I'd like to work with ...
UKHH: As head of your own record label, what do you think of the recent chart success of the contestants on Pop Idols and the fact that people like Simon Fuller are set to make millions from them?
SP: Well, I haven't watched Pop Idols so I can't really say. I guess it's to be expected - I don't like them but I don't hate them either.... People will always buy that type of stuff because of the way it is marketed. Like, I believe the first Ashbury LP could have been pretty big if we had a lot of money to really push it. Its the way it goes though - Simon Fuller can make his millions and if he's happy then cool - but I don't even pay that type of thing much mind. What is the point when I could be thinking about my own stuff?
UKHH: So does the quality of music always come first for you?
SP: Quality of music has to come first, I couldn't make and put out a tune I wasn't happy with and I also believe that sooner or later, if your music is good enough you'll see some type of financial return on it. Its like OC said. "Of course we've got to pay rent/ so money connects/ but ah/ I'd rather be broke and have a whole lot of respect."
UKHH: Would you say that your job as owner of a record label and producer pays the bills?
SP: Ha! I wish it did! It almost pays for itself but I'm also at university and that has a big part to play in the finances. It's not too hard financially if you're careful with money. Like, I never really go out and don't drink - most of my money goes into equipment and running of the label but you can do it - its not too expensive to run despite what people think. I have to shout out Bill at Cargo Distribution because he gives me a lot of advice and helps Landscape a lot. I don't know if it will ever pay the bills - I hope so. Ashbury is probably the best shot we've got at the moment for that, but we'll see - even if it doesn't, I'll still try and put stuff out.
UKHH: And to finish, what can we expect from Landscape for the rest of 2002?
SP: Well, there will certainly be Ashbury's second LP and my own solo LP - both on CD. I aim also to release a single of each on 7" vinyl and there will be videos for each as well. As for other releases, I'm not too sure. I have to get back to the UK and re-evaluate the situation. I'd like to do a few more things with the Microdisiacs, Hoodz Underground and may be some people from YNR like Usmaan and Assaviour. So we'll see....keep your eyes open for the LP's though...and check out
www.landscaperecordings.co.uk for more info!
Many thanks to Supra for the interview and a big shout out to all heads in my hometown of Sheffield (except those who I think are nobs). Anyone wanting to know more about British underground music should keep an eye out for
NoizeMagazine.com - a new website dropping soon…
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