Hi DJ JDen, it’s a pleasure to have you here. Can you tell us about your journey into the world of music and how you got started as a DJ and producer?
I became interested in production back in the noughties as rapper/MC in South London, inspired by the likes of local producer Kodey J, and Dj’s Shinobe, AV and Adrian Dixon and world renowned producers Timbaland, Pharrell who I saw as visionaries in their field.
UK Garage and Dancehall Hip Hop flowed through me and was the soundtrack to my life.
I first fell in love with the studio after recording my 1st single at producer Big Shot’s Studio garnering the attention of various record labels at the time.
This brush with the studio ignited a fire witnessed the magic firsthand.I decided to built my own computer. I wanted to be the person creating the sounds Dj’s would be playing. After borrowing a copy of Reason 2 my journey into production started..
Fast forward to 2002 Coventry University halls became my laboratory, creating music with a young Ghost Poet amongst other artists creating a very raw abstract sound listening back but it was mine.
A few years later I attended the Urban music Seminar in ’05 and bought a book there was a section where legends Sly and Robbie spoke about producers having their own sound will pave the way for longevity in the industry, and looking to the people who had influenced me at that point they all have a very distinctive sound.
From that moment I was obsessed creating my own sound, what I would create had yet to come to fruition.
My production at the time opened fields into scores for animations as well as musical collaboration. Next the transition to Dj was on the horizon.
The transition to DJing was a natural evolution. Belt-drive turntables and a pivotal house party baptism of fire ignited a passion for connecting directly with audiences. This realisation became the weapon: “If I’m a DJ, they can’t stop me from playing my music.”
The single, “No Drama,” became my calling card, a fusion of UK culture, hip-hop. With a remix of Lil Kim’s Lighters up that caught the attention of local DJs. The plan worked, opening doors to collaborations and radio airplay.
Dirty with a bounce, a fusion of UK Dubstep and Southern hip-hop – became the foundation of”Bass&8s” the label born from this melting pot of influences I grew up with, became a platform for my sound. Jade Dragon, Troy Glasgow, and Xo Man joined the fold, pushing boundaries and spearheading a wave of alternative hip-hop in London. The anthem, “Redrum,” resonated with BBC Radio 1, Kiss Fm, opening gateways to work with Sony and Warner in UK and Australia working with artists Laura Mvula Ed Sheeran Thandi Phoenix and Dua Lipa solidifying my place on the map.
Your stage name, DJ JDen, is quite distinctive. What’s the story behind this name?
Sniper G was my original alias. Well, this MC/rapper just evolved into something fiercer. The beats called, the turntables sang, and JDen – a fusion of my middle names – rose from the ashes
Your latest EP “Hyperspeed at Midnight” has been making waves in the electronic music scene. What was the inspiration behind the title and concept of the EP?
The world hit pause, but my creativity did anything but. While the pandemic confined others, it unlocked a new door for me. A chance to break free from collaboration and dive into the uncharted territory of self-producing. This wasn’t just making music; it was a journey of self-discovery, a quest for your own artistic identity.
Enter “Hyperspeed at Midnight,” the electrifying soundtrack to my liberation. It allowed me to tap in to the unexplored dance music vein, Imagine a late-night drive, city lights blurring past, adrenaline pumping – that’s the energy I bottled into this project.
“Hyperspeed at Midnight” isn’t just a title; it’s a manifesto. It captures the frenetic pace of your life – juggling DJ gigs, producing events, constantly on the move. But beneath the surface lay a deeper meaning. The “midnight” signifies the solitary hours spent pouring my heart and soul into the project, a dedication fuelled by the quiet intensity of self-exploration.
This project isn’t just a collection of tracks. I say it’s a sonic odyssey mirroring my artistic evolution. Each song became a milestone, a checkpoint on my creative journey. Imagine transitioning from introspective melodies to pulsating beats on a party bus hurtling through time and space, a soundtrack to my own journey.
With “Hyperspeed at Midnight,” I saw it as an invitation to join me on a late-night adventure, to discover the power of tapping into your own unique rhythm. So buckle up, hit play, and prepare to be transported. The journey begins at midnight.
Could you walk us through the creative process behind “Hyperspeed at Midnight”? How did you come up with the ideas for the tracks?
Suddenly solo and embracing it, I poured my energy into “Hyperspeed at Midnight,” an electrifying dance trip fuelled by my own sound and the music I love.
Think of it like a party bus blasting through time and space, bumping with the infectious energy of Prodigy, the heavy bass of Benga & Coki, the playful electro grooves of Mr. Oizo, and the addictive rhythms of DJ Mujava. I took a wild ride through 15 potential tracks, eventually picking the 6 that felt like sonic portals to my world.
Forget just mixing genres, though. Inspired by “Love, Death & Robots,” I wanted “Hyperspeed at Midnight” to be an audio-visual feast. Titles like “Aurora” aren’t just labels, they’re keys unlocking emotional journeys within each meticulously crafted track. Forget strict genres, feel the vibe – this is my sound, unfiltered and born after midnight, when my creative flow hits hyperspeed.
The final touches came under the vast, magical canvas of a starlit sky. I took my metaphorical “Hyperspeed at Midnight” bus to the park, listening, sculpting, and refining. Each transition became a smooth bridge, guiding you deeper into my sonic world. By the end, I want you to feel complete, transformed, like you’ve traversed a journey and emerged into a whole new realm of sound.
“Hyperspeed at Midnight” seems to have a unique blend of genres. Can you describe the musical influences that shaped the EP?
Club kid for life, remember the late 90s club scene? Yeah, that’s where my story starts. London’s always been a musically magic city, and I soaked it all in – hip-hop and dancehall in my veins, UK dance music exploding around me. So my sound? It’s a reflection of that – a melting pot of influences, from hip-hop’s bravado to Dancehalls simple undeniable ridders, spiced with the frenetic energy of UKG, the infectious thump of Gqom, and the driving rhythms of house. But one thing binds them all: bass so deep it’ll rattle your ribs and leave you with a permanent lemon-face.
Each track on the EP has its distinctive atmosphere and mood. How did you approach creating a cohesive narrative while allowing each track to shine individually?
Each track isn’t just a song; it’s a portal to a different sonic dimension, a snapshot of my dance music odyssey. Remember Prodigy melting my mind as a kid on The Box? Now fast forward to the bass-thumping chaos of Plastic People, Ibiza’s sun-drenched euphoria, and the legendary Blue Orchid, all mashed up into one electrifying journey.
“Meteor Showers” as your pre-Ibiza jitters, heart pounding with anticipation. Then, “Hyperspeed” and “Bass Keeps Knocking” hit you like a Plastic People anthem, leaving you with that signature lemon-face grin. Need a reality check? “Vortex” throws you back to Prodigy’s era, all distorted rave glory. Craving something different? “Aurora” shimmers with Gqom and tech house, while “Drivin’… No Wipers” takes you back to the UKG roots where it all began.
I kept this crazy train of sound stay on track reoccurring effects act as invisible threads, weaving the tracks together, guiding you deeper into the sonic experience. By the end, you’ll emerge, transformed, having conquered a rollercoaster of emotions without ever leaving your seat.
Can you share any memorable or challenging moments from the recording or production of “Hyperspeed at Midnight”?
My creative compass went wonky. Carving a new sonic path for “Hyperspeed at Midnight” meant leaving familiar hip-hop territory. Would my audience come along? That fear almost derailed everything. But then, inspiration struck.
“Hyperspeed” became a soundtrack to my artistic evolution, a multiverse of sound. Familiar hip-hop pulses still throbbed, infused with the electrifying energy of Plastic People, sun-soaked Ibiza vibes, and Gqom’s futuristic textures.
One night, crafting “Aurora’s” intro hit a wall. Frustrated, I gazed at the starlit sky, and inspiration surged. The result? A shimmering, otherworldly soundscape that transports you to a new sonic dimension.
“Hyperspeed at Midnight” is more than an EP; it’s my testament to embracing the unknown.
Are there any specific tracks on the EP that hold a more personal or emotional significance to you, and if so, which ones and why?
Every track on “Hyperspeed at Midnight” carries a piece of me, but two in particular hold a deeper significance:
Aurora
“Aurora” wasn’t just a track; it was a moment of creative clarity. Lost in the studio, frustration gnawed at me. Stepping outside, I gazed at the vast, starlit canvas above, and inspiration struck. The shimmering intro sequence was born, transporting you to a new sonic galaxy with every listen. It’s a testament to the power of stepping outside your comfort zone and embracing the unexpected.
Bass Keeps Knocking:
This track is pure, unadulterated filth. It throws you back to the electrifying nights at FWD, the pounding basslines a visceral memory. More than just nostalgia, it’s a reminder of the electrifying energy that first drew me to dance music. “Bass Keeps Knocking” isn’t just about reliving the past; it’s about channeling that raw energy into creating something new and exhilarating.
Both “Aurora” and “Bass Keeps Knocking” represent different facets of my creative journey. One, a testament to finding inspiration in the unknown, the other, a tribute to the roots that fuel my passion. But the true magic lies in the entire “Hyperspeed at Midnight” experience.
Can you tell us about any hidden or subtle details in the music or production of “Hyperspeed at Midnight” that your fans might not have noticed yet?
If your a fan of Bass&8s Sound you’ll notice something from Redrum in Hyperspeed at Midnight 😉
Finally, could you give us a glimpse into your plans for the future, including any upcoming projects or new directions you plan to explore in your music career?
I’m riding the “Hyperspeed” wave! New sonic missiles enroute, while collaborations I feel like jamming with a dream team of artists. That Bass&8s album? Might just become a low-end earthquake waiting to erupt.
But I’m not stuck in one lane. Maybe I’ll dive deeper into the interstellar vibes of “Aurora” or turn “Bass Keeps Knocking” into a full-blown bass monster. One thing’s for sure: the music never sleeps.
Every track, every collab, every experiment is a jump into the unknown, a chance to shake things up and explore new sonic landscapes. For now crank up “Hyperspeed,” and join the ride! The future’s wide open, and the only limit is our imagination. Let’s get lost.
