tune, and there were so many tracks on vinyl that I only had the one copy of, that having the digital world of possibility open up was massively liberating. I ransacked the internet for days buying tune after tune after tune and scratching after I got hold of it – it was awesome.
Tell us a bit about the Battlejam days – how did all that come about and start to evolve Right – so…. I’d just got Serato and my flatmate, shit hot producer Ed Solo is looking over the tech specs. ‘Oi’ says he. ‘It’s got a record function’. ‘What?’ I say. ‘You’re fucking joking’. ‘No’ he says. ‘I don’t joke about shit like this’
Obviously there was nothing for it but to record Ed’s voice saying something stupid. Had to be done. So we recorded it in and bang – there it was – loopabale and useable in a split second. Now Ed’s a blinding producer, and a top bloke but probably not winning any vocal awards anytime soon, so I rang up Beardyman and started shouting at him to get round sharpish with his microphone. He didn’t know what the fuck was going on as I hopped around telling him where to plug it in, and as soon as he beatboxed a beat, I instantly started beat juggling it. We were all totally blown away by the whole new world this was gonna open up so we locked ourselves in and set about the serious business of being really silly with it and seeing what it could do and how far you could push it.