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Last week I appeared on @skysports News: Good Morning Sports Fans programme to discuss ‘A New Formation: How Black Players Shaped The Modern Game’.⁣
⁣
“A New Formation…” is available in paperback on April 6th. You can pre-order it anywhere books are sold.

I’m very grateful to the @guardian for featuring “A New Formation: How Black Footballers Shaped The Modern Game” in their ‘Five of the Best Sports Books of 2022’ last weekend.⁣
⁣
“A New Formation…” is available to buy in many of the larger book retailers – on and offline – right now.

I’m very grateful to the @guardian for featuring “A New Formation: How Black Footballers Shaped The Modern Game” in their ‘Five of the Best Sports Books of 2022’ last weekend.⁣
⁣
“A New Formation…” is available to buy in many of the larger book retailers – on and offline – right now.

I’m very grateful to the @guardian for featuring “A New Formation: How Black Footballers Shaped The Modern Game” in their ‘Five of the Best Sports Books of 2022’ last weekend.⁣
⁣
“A New Formation…” is available to buy in many of the larger book retailers – on and offline – right now.

I’m very grateful to the @guardian for featuring “A New Formation: How Black Footballers Shaped The Modern Game” in their ‘Five of the Best Sports Books of 2022’ last weekend.⁣
⁣
“A New Formation…” is available to buy in many of the larger book retailers – on and offline – right now.

In this clip of our conversation at @britishgq’s #GQHeroes event, @okwonga and I talk about how Dominic Calvert-Lewin’s choice to be his authentic self is both challenging and redefining the hyper-masculine world of men’s football and echoing out into wider society, thereby making it easier for all men to cast off the constraints of performative maleness that are detrimental to mental well-being. ⁣
⁣
“A New Formation: How Black Footballers Shaped The Modern Game” – published by @penguinbooks – is available in all the the large book retailers and many independent shops both on and offline.

Happy Birthday to me ➕1️⃣

Taken after a turgid Arsenal performance against Wolves last year that I attended with my brother @conductauk – shot by @_houseofmistry_

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) P Chin working in his home studio (2) Big sisters (3) in the soi at 7am (4) CM University campus at dusk (5) Walking the campus (6) Wat Pongnoi Market on a Saturday (7) Mother and P Chin after shopping at the market (8) Me (8) Moving with Nanthiya (9) In the soi in the afternoon (10) Home 220 (11) Me, for the last time

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

1) A picture of me that I trained Khing to take (2) My house and my bike (3) An Araguaney tree planted by Nanthiya 15 years ago (4) Mae Kham resting in Khing’s courtyard (5) Khing in front of her concrete house (6) P Sake under Khing’s concrete house (7) The view from my kitchen (8) Delivery (9) Writing

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

(1) Pha Dok Siew trail (2) Doi Doi (3) Khing’s house (4) Royal Project gardeners (5) Cloud forest (6) Plumeria (7) Chinese Wool Flower (8) Lao (9) Mimosa tree

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

One last time.

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I’ve come to understand my music career as something that ran parallel, or even counter, to other work that I’ve produced. I’ve done this for so long that I’ve begun to feel alienated from that part of myself, but that part is hugely formative and fundamental.
I’ve written and produced music – for myself and for others – for longer than I’ve done anything else. I’ve spent a considerable chunk of my life in studios channeling, studying (everything Ty made, Wiley, The Hitmen production team, The Foreign Exchange, Phoenix etc) developing – trying to get better at the one thing that makes me feel most like myself.
Given that context, the fact I don’t acknowledge or reference its influence on all of my work is something I want to put right.
I’m starting to appreciate that it isn’t a contained, historical period of my life. It sits on a continuum of all the things I’ve produced, from @caricomweb, “A New Formation…” The Island – if you engaged with The Island you’ll have noticed how grounded in sound design that entire project was – and even work I’ve done for @nike, @arsenal et al. My approach to all of these things – including the collaboration and experimentation they call for – is grounded in the same diligence that good music production [automatically] asks of you.
My first draft of this post led with the validation music has brought me (songs I’ve written and produced have been placed on @Spotify’s Alternative Hip Hop playlist, been playlisted by @bbcradio1, spun on @bbc1xtra and appeared on a lot of random, regional @bbc stations too. I’ve also gotten playlist support from @xlrecordings ‘XL Play’ playlist, @young_, @colorsxstudios ‘Releases’ playlist, and @dazed. In 2020, @netflix synced another song for @topboynetflix’s third series. I still receive mechanical royalties for that song – alongside PRS performance payments for radio useage of other songs – today) but sharing this is about repairing the through-line I severed, and ultimately uniting all of the different elements of myself.

The above press shot is by @danikm, the fourth was taken in @storymfg’s Hackney Dye House by Monwar Hussein. EP cover by @stuartruel. ‘Fall’ single cover by @joyyamusangie

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.

I made fish and triple-cooked chips by following Heston Blumenthal’s recipe and technique to the letter (more or less). If you Google it you’ll find it. The tartare sauce – including the mayo making part – was all muscle memory.

Swipe for some one-hand-camera-capture of the cooking process, including a video of the glassiest, crispiest batter I’ve ever made.

I don’t cook as often as this page suggests (and I’m now going on hiatus) but of all the meals I’ve posted here, this has been my favourite to both make and eat by a distance.