For those who aren’t familiar with your journey, how did you get into producing and sound designing?

I first started taking music production seriously when I wanted to make tunes for myself for vocals. At the time I used to MC and I wanted to work on my first EP as a vocal artist. But I got so sucked into the process I just dropped rapping and focused on making beats.

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One thing I’ve noticed in your productions is your wide use of samples and incredible sound design, how do you approach creating your signature 140 sound?

To me, the drums are the most important part of my productions, and it's the bit I have the most fun making. I try to use elements that aren't typical in music production to add ear candy and interest. 

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Your singles Money Trees & Jellyfish draw from elements of grime, drill and dubstep in a way that packs a punch but is still subtle. How do you balance producing dancefloor forward tracks whilst maintaining a sonic narrative?

Knowing how a typical sound system is set up I try to mix my elements to work for that environment. I had a tutor years ago that spoke about treating a mix as if you're a conductor to an orchestra. Every sound has its space on the stage and it's time to be front and centre. This perspective has helped loads with my arrangement and mixing. 

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You’re associated with the Grime 3.0 sound of recent years, what 5 tracks define the sound for you?

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• Jammz - The World
• Bok Bok - Silo Pass (Jook refix)
• Kahn and Neek - Thief In The Law
• Boofy - Since When
• Asa and Sorrow - Knights Of Ren (Hi5Ghost and Lemzly Dale remix)

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You’ve released on seminal labels Bandulu, Hotline Records, TwentyTwenty and of course, Sector 7, what’s in store for you this 2023?

I give thanks that I've been able to share music via these labels. This year I'm focusing on my new alias and aiming to work with more artists. I'm enjoying making music again and want to maintain the productivity I have at the moment. 

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Your alias Yuseemi marks a new chapter for your productions, when looking back at Nook Shot released on Sector 7, how was your sound changed and developed?

I think between then and now I’ve had various phases in my production style, I used different software since then, and now I’m trying to not over complicate the process. Vibes over sound design flexing.

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Talk us through the track you last [cmd] ‘S’d ? ([ctrl] ‘S’ to PC users)?

The last track is a composition for an art installation using field recordings and modular elements. 

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What can the CDR audiences expect from your time with us?

I hope an opportunity to find something that can help them in their journey. I'll be totally honest about my experiences and what I’ve learned over the years. 

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And finally, for those just getting to grips with producing and keen to get their Works In Progress out there, what advice do you have for them?

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Be open to learning new things, no one genre is the answer to your inspiration, invest in yourself when you can, whether it’s via equipment or education.

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