Stray has just dropped a new 12 on BMTM so we caught up. His recent mix is at end.
DB: Both ‘Follow You Around’ and ‘Contract’ are different and disparate, what did you want to ‘say’ with this 12?
S: Thanks! There’s the obvious desire to match the dark to the somewhat lighter on the same 12″… & I guess at the risk of sounding cliché, part of the reason I involve myself with music is because it serves as an easier and purer form of communication for ‘saying’ things in the first place.
DB: What are you listening to at the moment?
S: This track
DB: People will know you from work with people like Critical, Med School, collabs with Halogenix, Sabre, what is work from your past of which you’re most proud?
S: An older track I’d say I’ve always had a soft spot for would be ‘Pushed’, which came out on Exit Records a couple of years ago. It’s subtle and organic sounding and sounds more like the music I tend to spend time listening to than a lot of other tunes I’ve done.
More recently, ‘Poison’ with Halogenix on Warm Comms was a good one for me, because I just love everything about the entire track, and it turned out exactly how I wanted it before we started writing it.
DB: How did you come to be involved with BMTM?
S: Chris is my mentor and is one of my oldest and most valued friends in this scene. I have spent many an evening in his studio down the road in Camden whinging to him about many things. He is virtually my pyschotherapist. I can be particularly picky about the people and labels I like to work with, but Chris oozes professionalism and an aptitude for understanding the way promotion works, so it was easy for me to make the decision.
DB: A production question: if an idea comes to you from out of the blue, how do you find is the best way to harness it?
S: I just beatbox or hum it into the voice recorder of my phone.
DB: Where can we catch you playing live?
S: On the potentially flawed assumption that people reading this are most likely to live near London, I’ll mention my next date at Fabric, which is the 26th October for a Med School night they’re hosting there.
DB: My album session question: which album session would you have liked to have attended, in history?
S: I’ve always been fascinated by what producers look like whilst they are making beats. The look on their face, the way they nod their head, the way they emotionally engage with what they have in front of them at the time. This has been something it’s been impossible to capture, because strictly speaking you’d need to do it with a hidden camera, or you would need to be someone the producer is totally comfortable with working alongside, such as a co-producer. With that in mind, I’ve always thought it would be great to somehow have sat in with the late great J Dilla and seen him writing the beats that ended up on, say, Donuts.