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Neffa T 04/09/2018


Our next podcast installment comes from the Reprezent Radio host, Grime DJ and producer, Neffa T.

Tell us what we can expect from your biweekly show on Reprezent Radio and are there any future plans for other shows?

I try to use my show on Reprezent as a means of sharing music that I love. For the most part this spans across Grime, Dubstep and 140 oriented tracks, both new and old. The first hour usually covers a selection of standout instrumentals I’ve recently been sent or received via promo / mailouts. The second hour is set aside for special guests passing through, including live sets from upcoming or renowned MCs, producers / DJs. I’m currently looking to do more live sets with only one MC, as I think it offers a different context within radio – allowing for a singular spotlight to be placed on a guest’s ability and talent.


Describing your sound as somewhere between Grime & Dubstep, which specific genre really got you behind the decks to start with?

Hard to say! Between the two, Grime got me hooked on underground music. However, I started mixing Drum and Bass and Dubstep first. I think the truth is that Drum and Bass was the initial genre that pushed me to start DJ’ing. I would always listen to the Fabriclive series, specifically taking inspiration from Commix, High Contrast, Andy C and DJ Hype.

Neffa T Grime DJ

What else is going down for Neffa-T for the remainder of 2018?

I’m currently working on a new EP, which will hopefully be a clear representation of my sound as a producer. As far as DJ’ing goes my aim is to continue playing events and radio. In particular, I’d like to branch out and learn more about turntablism. In the long run, I’m interested in the idea of applying three / four decks to certain techniques and practices. Looking to the future, I think the main objectives are to keep doing what I love, do the best that I can and most importantly continue to learn.


What’s your personal favourite mixing / production kit and why?

The Roland 808 / 909 Kits. I like the idea that the sounds were in many senses far removed from the aesthetic of acoustic drum kits, yet still became pivotal and timeless – kinda like an accidental and unintentional rebellion.


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