Mr.Mitch talks about his Gobstopper imprint

First, can you introduce yourself and say a little about how you got into music? I'm Mr. Mitch, a producer from South East London. I've always had a big interest in music, my dad was a guitarist for Ariwa records back in the 80's/early 90's which meant he toured around the world with some of the UK's biggest reggae acts. I never got to see him play live, but the pictures and stories always intrigued me as a child. As I got older (around the age of 12) I got a copy of Fruity Loops and started to experiment with electronic music, inspired a lot by the UK garage/grime movement at the time. How would you describe your relationship to the grime scene, and to other music genres? I've always considered myself a grime producer but not necessarily part of the "scene". I find a lot of grime's original fans only want to hear one style of grime, whereas it has always been my intention to push the genres boundaries and open its doors to new listeners. I take inspiration from a lot of genres, I have always been a big fan of producers like Timbaland and The Neptunes but also like a lot of electronic indie music; bands like Hot Chip and Metronomy. What are you setting out to do with Gobstopper? My aims with Gobstopper have been very simple from day one. To put out good grime music. Every aspect of it, the hype, dark and angry beats of it's origin but also any other variant that I discover. There are producers who are pushing the boundaries with the music they make and I want them to be heard. Gobstopper seems to have a nice visual identity, and with Beatfighter you provided another demonstration of how simple design could make a concept work; what are your influences on the visual side, and what opportunities do you see for grime-related music to embrace good design? I have been experimenting with design since an early teen when I would design myspace layouts and other weird pictures for people. These would all be ridiculously crowded and over designed. As I progressed I realised that the more I left out the better the work looked. I think many people look at grime as being an unprofessional genre and looking over the artwork of many of it's releases I can see why. People judge books by their covers so why not make the cover look good? I can't think of any direct influences but minimalist design is always what stands out to me the most, whether it is in a house or on a cd cover. Tell us about Moony... this is the second EP you've put out, and it's certainly different to what a lot of people might expect from grime, right? Moony has been making amazing music for years, anyone who hears his music asks "why is he not bigger?". I signed him to Gobstopper because I think all he needs is a bit of exposure and then the music will do the talking. He's one of those producers pushing the boundaries of the grime sound, he takes influences from a lot of old garage and house music and creates something fresh and new with it. It's been a decade since grime emerged, and it's yet to sell like, say, dubstep or drum'n'bass - do you think there's a chance for this to change? I think it's definitely possible as long as there are people pushing the sound forward and in different directions. Dubstep would not have been as popular if it wasn't for the Caspa's and Rusko's changing its sound, but people people like Mala are just as important to keeping a deep and diverse genre. I think as long as there are people challenging the sound of grime, I think there is a good chance of it selling on a bigger scale. - What would your dream project be at this point? I would love to work with some real creative artists. I've worked with Trim before but I would love to get in the studio with him and create something together. AlunaGeorge are really doing it for me, I would love to work with Aluna her voice is very unique and almost mesmerising. -Interview by Joe Muggs-

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