MC Profile – Natty D (UK)

Natty D! Welcome in!

We’ve been waiting for a Natty D MC profile for a while! You’re man of many talents and we have a lot to cover, so the first thing I want to talk about is your life as a lyricist. How and where do you draw your influences from when writing your bars?

I’ve always tried to bring something original when writing bars. Any influences I’ve had came early in my career, listening to Grime artists such as Kano, Rolldeep, NODB, Dizzee Rascal and Crazy Titch gave me a solid foundation for freestyling and writing. As I got older, I started listening to more drum and bass. Heavily influenced by my older brother, I’d listen to the sets he brought back from places like Custard Factory, Air and Pandemonium. That is where I first heard MC’S such as Ragga Twins, Juiceman, Shaydee and many more. I also took loads of inspiration from the Ragga Twins.

There was one mix I absolutely rinsed from Bassman’s birthday bash 2008, which was Kenny Ken with the Ragga Twins. I was about 15 when I heard the Twins. The patois, the flow and the energy was what attracted me to their style.

Oh yeah! Them boys are just wild when they let rip. Totally off the hook!

As I got older, I started chatting with more patois in my lyrics, I started slowing my flow down but all with a touch of my own signature skippy flow. Ever since my bars started to go down well with producers or with a crowd, I never really looked back. When I write bars today it feels very natural, drawing on my own Caribbean culture, as well as the rap and grime I loved when I was younger. Having said this, I’m always very open to trying out new styles and flows, hence why ravers, DJs, MCs and producers enjoy what I deliver, because it’s always fresh!

I instantly fell in love with the tone of your voice when I first heard you. Did you find that the tonality of your ‘sound’ developed naturally, or was it something you had to nurture?

This is a great question because it’s something I always try to be mindful of when performing or recording. Certain tracks I’ve released throughout my career I’ve never really thought about changing my tone. I’ve stuck with my own, and every time, the vocal on the track sounds great. There’s been a few occasions that I’ve really switched it up. One track is “Rise” with Jenks. Josh messaged me and gave me a brief, he said ‘could you do it in a ragga kind of style, but with a really low tone’. I instantly knew what kind of vibe he wanted, as I’d recorded vocals for someone else with a similar style. The track went down a treat and was pretty much the start of Jenks’ exciting and very promising career. Big up Josh every time!

One of my most recent and sought after tracks was my Allstars MIC for DNB Allstars. (hold tight R3idy who provided the amazing production). This vocal wasn’t altered in tone at all, so I feel my tone has developed naturally, however I’ve always been very mindful of it when performing or hitting the right key in the studio.

Funnily enough, this was the first time I really heard and saw you properly myself. I just loved the video concept up on the hill, and the way everything just blends together so well. It was my introduction to Natty D!

So, when did you even realise that being a vocalist was something you might be able pursue as a creative pathway?

I couldn’t pinpoint the exact time. At some point in 2018 I released a track with my good friend Jack ‘Arttu’ over on Chronos Records. I was so happy and proud that I’d finally got a release! I had already worked with other great producers like Slaine, who now runs Birmingham based jungle/drum and bass label Ghost Snares alongside two other great producers, Elkie and J Dok. I met Pete (Slaine) through Listening Sessions, a Birmingham based collective set up by Mat (Goosensei) and Tom (Elkie), who gave producers of all levels the opportunity to showcase their music in a real club atmosphere, on a real sound system!

Being surrounded by such like-minded artists and music lovers led me to network with many producers in Birmingham such as Goosensei, Skudkid, M:Pathy, Wooda, Itmek and many more. I then started doing more sets and networking with more DJs up and down the country in places like Bristol and Manchester. Before I knew it I was getting messages and emails from producers and DJs for vocal work or basic jingles, and when I started getting enquiries from people out of town I realised, ‘I can make something of this’!

There’s clearly a distinct difference between laying down vocals for a track and MCing, so firstly, how do you prepare for a track vocal? Do you jot down ideas and then improve on those, or is it a bit more spontaneous?

A mix of both. Initially I’ll get a feel of the track by completely freestyling off the top of the head. That’s how I’d naturally get an idea for it. It’s almost as if I let my musical mind take control, if you know what I mean. If something fits, I’ll keep it, and if certain bits of nonsense are in the freestyle (which there are bound to be) then I’ll improve on it by tidying it up, or writing a whole new lyric in which it can join and make sense, however, this isn’t how I always write.

If I’ve been given a brief for example; ‘Hi Natty I’ve made this track entitled “Flowers” could you write a 16 bar all about flowers but make it quite skippy’” then I’ll have to work differently. I’ll think of the variety of flowers, where they grow, what they like, are they for medicine or can you eat them etc. I write in many ways, sometimes I may even get a cool idea in my head and build on the three or four bars that have just come to me.

And what about guest vocal features and jingles? I’m interested to know how you picture those in the first place? Do you have a regular backing track that you use and just let rip across the top, or do you make certain parts style specific, or what?

It all depends on what I’ve been commissioned to do. I’ll rarely have full reign of an idea as DJs, Producers or Promoters usually want something specific, which I’m totally fine with. I’ll usually find something to rhyme with the DJs name if it’s a jingle, or a mix intro. It’s the same with Dubs. If someone wants a custom dub then I’ll work similar in the way I do my jingles, like rhyme something with their name, or if they would like one of my original releases dubbed, then all I do is change around ten, to twenty words with their name. It can be difficult if the DJ has many syllables in their name but we always find a way to work round it so it can fit nicely. If the producer has a track in mind, I’ll do it over that, however some producers like to work with a raw vocal, so I’ll just use one of many DNB tracks providing it’s easy to spit over, then send over the vocal without the backing track.

This is all so interesting, mostly because I can picture it all happening. As a person who also loves words, these processes make so much sense!

What about the quality of the recording itself though? How do you maximise that? Is there much technology involved in that process at your end, for instance, do vocals need mastering in the same way as a complete track?

It all depends on who has purchased the vocals. If a good producer wants to work, chances are nine times out of ten they will want to process/master the vocal themselves. I’m fine with that if the producer keeps me in the loop on how it’s sounding. I’ve had many a producer release tracks with my vocals on, and my vocals aren’t cutting through like they could, or they’re simply too quiet.

I’ve also worked with DJ’s or producers who aren’t too confident in processing vocals, in which case I’ll tell them I can clean up the vocal, so it will pass in a club environment on a proper sound system. I’ll do that free of charge and It’s optional. Some DJs like my mixing and others don’t. It’s understandable. If they would prefer another audio engineer to master the vocal that’s fine.

It must be quite weird laying down some vocals and hearing them surface on another person’s work months later?

Yeah it can be, especially if I haven’t heard the vocals in a few months, it’s like hearing them for the first time. One example of this was when Juiceman got in touch with me about some vocals. He asked if there was anything that he could build a tune around. I was excited for this project as Juice was someone I looked up to from day dot, little did I know he produced as well. I had a decent vocal I sent to a producer, however nothing really came of it. I sent this vocal to Juice, and he put together a stinker of a track. That one is still in the works but expect to hear it soon. It’s a great example of why you shouldn’t feel disheartened if a collaboration falls through. You can always work on it with someone else.

It’s Interesting to see the way they interpreted the initial recording, I guess?

Very interesting. Some producers have done some amazing work with my vocals. The vocal always needs a good instrumental to sit on, so I’d say that’s the first step. If I’m feeling the track that’s been produced, then I’m listening to how well and clear the vocal is. Everybody works different so it’s interesting (and exciting) to hear the outcome. The vocal I mentioned in the previous question sounded completely different when Juice worked on it. He used a lot of the vocal throughout the track, and made it sound like a whole new track.

As far as vocal work goes then, there’s the MC aspect too. How did this journey start, and how has it developed over the years? You’ve featured on quite a lot of tracks!

The journey started around 2015 when I went to a Break Thru night at The Custard Factory (Med Bar) with some friends of mine. DJ Marky was headlining the main room, Listening Sessions hosted room 2. All kinds of music from 130bpm breaks and UKG, to 140 grime, up to high tempo DNB. I managed to touch mic there. That was when my now good friend Mat Goosensei approached me and asked if I wanted to host his set, as he was feeling my style. I was so excited and happy, I was itching to get on that mic! This led me to get more bookings with Listening Sessions, and eventually be a regular feature in their events. I had some great opportunities with Listening Sessions and will forever be grateful for what Mat and Tom have done for not just myself, but for the community of producers in Birmingham.

I still maintain that it must take a lot of guts to get up in front of a crowd and perform front of stage. How did you find getting past that barrier, if it was one, and do you still get nervous?

When I first started out I struggled a lot with my confidence. I almost didn’t want to face the crowd head on and would angle my body away from the dancefloor and more towards the speaker. As you get older and get more sets under your belt, you naturally build your confidence up though, and before I knew it I was head on towards the crowd, looking for the call and response! I got through the barrier by having a lot of support around me, whether it be other MCs or DJs telling me they were enjoying my hosting skills.

Eventually when you get the nod of approval from your peers and ravers, you can then learn to enjoy your set more, free of worry, and free from fear of saying the wrong thing down the mic!

That would be me!

I don’t get as nervous these days but there are still nerves there. I’d be worried if there wasn’t, as nerves are a sign that it means something to you. It’s just how you control them. If I was to give any pointers to MCs just starting out, they would be; let the mixes flow and start MCing when there is room to MC, big up the DJ as you are working together, and my main point is enjoying your set. If you enjoy it, the crowd does too.

Tell us about some of the events you’ve played at? Being a Birmingham resident, and with a scene that suits the size of the city, you’re probably involved with quite of the main crews?

There’s been some great clubs and events that have come and gone which I’ve been fortunate to play at. I played at Valefest in Edgbaston – A festival set up by students from UoB, which helped with spreading my name throughout the student scene. I’ve played for Sum Cellar, another prestigious Birmingham brand that have been putting events on for a while now. I’ve performed at my own events for 0121 Recordings, Sisterhood Birmingham, Weird Science twice at MADE festival and have supported brands such as, Break Thru, Into the Jungle, Bigfoot BHX, Broken Minds, Dubgasm, Listening Sessions, Mainline 147, UP4it? Tektu, Deep Tempo and many more.

Quite a list Natty! Birmingham itself has a very distinguished musical history anyway doesn’t it, from the earliest seeds of heavy metal via Black Sabbath, and then of course Steel Pulse, UB40 and a whole host of other bands and artists, never mind the DNB! Your city has some musical heritage!

That’s one reason I’m proud to be a Brummie. Salt of the earth as my partner would say. I’m a big fan of all the bands you just mentioned. I feel that certain cities push out a certain sound and Birmingham has always had a different kind of sound and I love that! We have some great exports in the DNB scene too, like Hazard, Kut D (RIP), GE Real, DJ Devize, K Jah, Escape, Vytol, Ranski, Harvest, PA, MC Biggie plus all the younger generation coming through. And we can’t forget the great music producers who have studied at Brum Uni’s like Disrupta, Posk and R3idy!

How has this influenced you and what you do? Do you find yourself looking back at what’s gone before?

Yeah I get nostalgic at times. It’s good to look back on stuff, just to see how far you’ve come! Music has now become my job, so I’d say it’s influenced me a lot! Coming from a City that’s full of musical history inspired me for sure. When I was younger my dad would play music from Steel Pulse, Ocean Colour Scene, The Beat and other Brum bands. I always thought Birmingham artists sounded different, that made me want to maintain that, and make my own sound.

You DJ too though, so tell us a bit about that?

When I moved to Edgbaston with Ant (Skant) and Lottie (Frenetic) it was inevitable I’d have a go on the decks. I got myself a USB and laptop, found some free downloads (bought some tunes too) and away I went. I’d come home from work and jump on Lotties CDJ 2000’s and practice there. Skant had a set of Gemini turntables, so I’d have a go at mixing with both Skant and Lottie’s vinyl’s, it was so addictive, I was hooked!

Skant moved to Australia around 2018/2019 so me and Lottie moved out of Edgbaston and into our friend’s house in Kings Heath. During this time, I mixed more, started to get promo off artists I’d worked with and started to mix at other people’s houses like K Jah and Becky G, all this was building up my confidence as a DJ. My first live set was in Bristol during Covid. It was a sit-down rave (Insane I know) I went B2B with Trafic and we smashed it. It was a shame people couldn’t let themselves loose like you’d see in a club every weekend.

And you run events too, I think? How do you find time to do all of this stuff!!!!!!

I left my job at the start of 2022. It’s been an arduous and stressful journey, but the good times make it worthwhile. I salute anybody who works a full-time job and puts effort into pushing their brand, label, DJ or MC career or any other creative outlet they have. I have had a lot of support from my partner and family!

For our first event we put on a launch party for our label. I hosted throughout the night, then me and my good friend Skinner went B2B for the last set of the night. It was a buzz. DJ Tempa reloaded my first track; the crowd loved it! Me and Skinner was on a high. It felt great to bring my friend in as he not long started mixing and you could see he had a real passion for it. That was back in 2021. We then put on an Xmas party. It wasn’t as busy as our launch night but that’s the nature of putting events on. In 2022 We invited Indika down to play on an all-female line up. This night was busy! It was at this time when my partner had an idea to promote and nurture females who DJ in a predominantly male dominated scene.

A few months later we decided to throw a birthday bash for myself at Club PST. This was 2 rooms of Jungle Drum and Bass of the highest quality. This ended up being our best night to date! We had Aries, Margaman and me on the headline slot, plus big names like Dazee, Juiceman, Devize, K Jah, Banner, Spartanz plus great support. After the hype of the birthday bash subsided, it was back to work. We had to cancel a night due to us both being ill, and not having anybody to rely on to run the event. This set us back a bit, however Cam’s initial idea to start up a collective was coming to fruition and before we knew it, it was born!

What about gigs outside of the Midlands, either as a DJ or MC? How has that been?

It’s been great. I’ve had a lot of support from promoters in other cities, I feel I have more support outside of the Midlands than I do at home.. No idea why but it’s always been like that! Gotta big up Jack Banner and the Bloc2Bloc crew for the constant support and also Kodiak sounds, both collectives have supported me up Manchester. I have a great following in Bristol! I have held down a residency with Rumble In The Jungle and have played for various different brands such as Wide Eyes, Ruffneck Ting, Born On Road, Bris-Tek and many more. I have a solid fan base in London! Big up all the junglist down south and younger brands like S Dubz, Scandal Sounds and locked off crew who I’ve worked with on dubs. I haven’t really had the chance to DJ in other cities but I would love to take the 0121 sound around the UK for sure!

You also have very strong links with The Sisterhood Birmingham, an organisation we’ve had our eye on for a while now? I love everything this unit stands for, so please, tell us all about this fantastic collective!

This is the idea that my partner, Cam Edge, had which started off as a seedling. Sisterhood Birmingham has come on leaps and bounds in such a short period of time. With SB turning 2 in August, I’d like to draw on a few things the collective has achieved. Sisterhood has brought a mighty selection of world class DJs to The Dark Horse, Moseley since Aug 22’ including DJ Storm, Indika, DJ Wisk, Jinx, Jungle Citizens, Kaz, Diligent Fingers, Just Jane, Jasmine Rowland and many more upcoming stars.

They have played at one the biggest daytime events in Birmingham called ‘Invasion’ hosted by DNB Collective. Cam and SB have worked with UKF, supplying interviews and mixes, and finally Cam has taken Sisterhood to a panel at BCU, discussing diversity within the music scene. This is just a few things Sisterhood Birmingham and Cam have achieved within 2 years! I have played an integral part in hosting for the resident nights each month but ill slowly start leaving that to the new MC’s that are starting to appear.

And this brings us on to your label, 0121 Recordings. How did the idea for a label come about, and how are you finding it? I imagine there are lots of complexities attached to the business end of this?

The idea for 0121 came around in the winter of 2020, coming into the new year of 2021. Me and Cam were talking about underground music in Birmingham, and this led us on to speaking about how there isn’t really a hub, and nobody is flying the flag for musicians, DJs or MCs in Brum. We thought we would try and set up a label considering I have some recognition as an artist. Plus, it’s a good way to get heard in your city. We lay down the foundations with marketing, artwork, sending mailouts and sorting accounts etc. That is the side which is the most tedious and time consuming.

There are some complexities when running a business and the only advice I could give is be organised! Organisation in business is KEY! I do enjoy running my label however not only is it time consuming, it’s also expensive if you are not getting back what you put in. I love working on my label and with artists, I think the most rewarding thing is seeing the joy in inexperienced artists when we release their music, and the support of various other DJs when we send out promo. That’s priceless.

Oh yeah. Be nice and get back nice is one of my mantras. In terms of musical output, the label vibes are STRONG. Like, as in excellent! So, what are you looking for as a label owner in terms of style and content. There’s quite varied range in the back catalogue?

When we came up with the label, one of the things we spoke about was a sound. Nearly every well-known label has a sound – V Recordings, Metalheadz, Playaz the list goes on. Our initial idea was to seek out music from Birmingham based producers which was heavy-hitting, wonky but with an industrial sound to it, like how Birmingham is today. Our first release from Jack ‘Arttu’ was exactly that. It set the tone for the rest of the music that followed. Not all our music has that feel to it, some of it is proper Brum style jump up, some more stripped back, but after releasing so many tracks, producers start to hear your label has a sound, whatever that sound may be!

For sure. There is an 0121 sound, without a doubt. Running a label is something we’re looking at too, and I imagine the buzz running up to release day is pretty infectious?

Very exciting! It comes with a lot of organising in my opinion. These days with social media being your best source of promoting, you must think of exciting, varied and encapsulating videos/content to keep yourself current and make sure your music gets heard! There is a sense of proudness when you see the label on streaming sites, and especially if your release gets featured on their main homepage! One thing though, never let it stress you. Sometimes the release may not do as well as you want it to, however with such a high number of record labels to date, It’s no surprise! Just keep at it, be resilient and you WILL get heard. Just make sure it’s for all the right reasons.

One thing that really caught my attention was the fact that you’ve collaborated on a track with your old college tutor. I’m one of those, so this caught my attention immediately! Fill me in on the details!

Yeah, Me and Kieran ‘K Jah’ have made not one but four tracks! He is a true legend of DNB! He was a great tutor back at SBC. I was around 17-18 when I studied there. I left because I thought I could make DNB and knew what LFO meant. Honestly, I wish I’d stayed! I’ve worked with K Jah on quite a few projects. He has ALWAYS given me great advice regarding music and the industry. He gave me tips when I launched my label, he’s basically been my tutor, just not at college! Many sets we’ve done together up and down the country. I can’t praise him enough.

I never knew he was a tutor, and I’ve flippin interviewed him! Ha! BIG UP K Jah. This is the problem with email interviews! We must talk lesson plans sometime!

Fill us in on the next few things in the pipeline for Natty D and 0121 then. What you bringing to the table for the last half of 2024?

Finishing off an album for myself. Mixed genres featuring DNB, Grime, UKG, Rap and I think that’s it, unless I add some more. I’m still collaborating with various artists.

There’s a whole heap of 0121 Recordings music to drop. EP’s from Chazwav, David Bradley, Manifold and this banging EP from DJ Komatoze, released on the 6th August, a track from which which you’re premiering for us!

You know we’re gonna bring you across to Wales, right?

Ready and waiting 😉

Well all I can say is, it’s been a pleasure to do this interview and reach out a little further into the Midlands scene. KEEP MAKING BANGERS!

Thank you it’s been a pleasure! I appreciate the support INSIDE DNB does for us artists. Bless and love.

FIND OUT MORE HERE:

Natty (@nattyd93) • Instagram photos and videos

Stream NATTY D music | Listen to songs, albums, playlists for free on SoundCloud

Music | Natty D (bandcamp.com)