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I was making these tunes, I didn’t know if they made sense or not or if they were working or not, it was fresh. The thing is for me, I never studied music technology to deeply before I got into it. I didnt want to get my hopes up so i always kept it trill. Then it hit me when we was in Subdub that this could be big. I was there vibing but watching the time thinking ‘rah I gotta go to work tomorrow!’ I remember Mary Ann Hobbs advertising Subdub Leeds/DMZ. But Dubstep Warz, for instance, was a highlight around that time. After work i would build tunes, meet up with the boys on the weekend to watch them play – Mala, Loefah, Hatcha, Skream, Benga all those cats. You know what? I was working the whole time as a civil servant. I imagine your feet didn’t touch the ground…
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Take me back to those years when everything kicked off and dubstep took off and everything blew up. I guess you don’t think about it when you’re making it. SKisM and them only came a few years later but to know my music was part of that is pretty crazy. All that lot are huge and they still remember that! It’s heart-warming to know your work is respected by the people who came after. I remember speaking to SKisM once and he said ‘Coki you don’t know – Spongebob was one of the tunes that put me on this path.’ That spun me a bit. That’s the blueprint for the wubs that powered our channel for a very long time! We’re all hermits at the moment! I think there’s only place an interview with Coki on UKF can start. I’m just not used to talking to people in this type of context. It put a spring in my step! This Coki interview is too. I’m glad it had a positive effect on you though. But truthfully? I had no shows, I had no income, I needed to put a record out. I do hear that from people a lot – people making links with things that are significant to them. I don’t think about releasing tunes in time with how things are going in life. Very coincidental! Originally it was meant to come out in 2019 but because of manufacturing problems and the pandemic it was delayed.
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That sweet spot between the lockdowns, you dropped one of your vibiest releases. You had a very well timed vinyl release last year. Read on and listen to Coki’s Spotify playlist of early influences right here:
#How to set up midi madness in reason 9.5 plus
While we wait patiently for them to drop – plus more on labels like Darkzy’s Gottingham and his own Don’t Get It Twisted imprint – we called him up to find out more. His, Mala and Loefah’s DMZ event was one of the key dances that helped incubate and cultivate the dubstep movement while his track Night with Benga was one of the earliest mainstream crossover records in the genre.īack to the future, he’s recently collaborated with Nottingham MC Vandull and, all going well, has more releases to drop than he has in the last few years put together – including the long awaited release of dubs like the Capleton-sampling Not Today and the John Peel-supported Crystal Lake. These are the contrasts he’s thrived off since the genre’s primordial days, and the contrasts he’s taken to incredible places over the years. Last year’s Dub Grinder / Winter Is Coming was a great snapshot of his range. With heavy harmonics, consistent crisp dub flavours and bare-bones minimal ingredients comprising his signature, Coki has remained one of the movement’s most fierce loyalists… And you can spot his tunes a mile off. Tracks like Tortured, Haunted and, of course, Spongebob were bassline blueprints that set the foundations for the epic drop-dominated wave of dubstep that followed and continues to this day. Since his earliest wax outings 16 years ago, he’s been one of the key protagonists in dubstep’s aggy, wub-woven bassline aesthetic.
#How to set up midi madness in reason 9.5 series
A Digital Mystik, a dubstep pioneer, a grafter Coki steps up to our Origins series with his first interview in almost 10 years.Ĭoki – AKA Dean Harris – is a man who lets the music do the talking.