Dubstep in the
right direction

by SCOTT C

Mirror: When grime first started to break in North America, Charlie Dark told me that the music was being exported, but the British youth culture surrounding it was not. You’ve been travelling the relatively new international dubstep circuit extensively over the last two years, so tell me, are other places getting it right?

Benga: It’s a bit of both really. I get the vibe that some people think they know what’s up, but in the end they just don’t. It’s like they haven’t done their research and are simply trying to cash in, but most of the time I meet people who are doing it because they love it, whether there’s money to be made or not. The genuine scene is always growing.

M: When you were interviewed in Toronto last month, I think a few people were surprised not only at how prolific you were for a 20-year-old, but that your list of musical influences was extremely short.

B: That’s the thing, I’ve never sat around and listened to one type of music, and even from very, very young, I was listening to a lot of different things. Drum & bass was probably the thing that I listened to the most, but even now I don’t listen to anything specific, really. My brothers were into 2-step and garage when I was younger and to be fair, they bought me my first records. But I’ve never sat down to listen to this to make that, as it’s just all in my head and comes out when it’s time to make a tune. It’s nuts, innit? (laughs)

M: Not at all, man. A lot of people wish they’d creatively spat out what was in their heads when they were 20, but you’ve been at this a long time already, right?

B: It’s been eight years now that I’ve been DJing, but the last two years have happened really quickly, and everything’s been on fast-forward.

Excess baggage

M: When you get back home from these trips to places like Japan, New Zealand and North America, are you bringing back influences that you’ve picked up on the way that will find their way into the music?

B: I’ll tell you what it’s like for me: When I’m away, I’m struggling because I’m coming up with so many riffs in my head, so as soon as I get back, I don’t even have time to think or sleep and I go straight into the studio and start making tunes. I’ll land at the airport, get a taxi straight back to my house and start making tunes. I won’t even unpack!

M: I’m surprised you don’t make music on the road.

B: Naw. It takes up a lot of time for me, but when I get home I make so much more, and I feel really comfortable at home.

M: Plus it leaves you more time for your rock star lifestyle on the road. I know there’s Benga groupies, for sure.

B: Ah, yep. (laughs) Most definitely!

M: How important has Big Apple Records been in your rise to Afro Warrior status?

B: It’s been major because if it weren’t for Big Apple, I probably wouldn’t have gone down that route. I don’t know what I would have been doing. I’m not even sure if I would have been making music.

M: Really?

B: Yeah. I’m actually 100 per cent sure I wouldn’t have been making music. I’d probably be playing football if I wasn’t doing this, but it’s hard to say. I probably would have made music too, but not to this extent. It would have been easier to choose football.

Stop the War on Vinyl, with Hatcha
and Benga, Sase One, Jack, Komodo,
Sweet Daddy Luv, Little Thunder, Rhys
Taylor and more, at Death of Vinyl
on Saturday, Oct. 27, 8 p.m., $12.50
in advance, more at the door