Moxie Interview: Locked In

Image: Moxie

Moxie is undoubtedly one of the contemporary voices of London. A dedicated regular host on the city's underground, diverse radio station, NTS, she's a taste maker in the classic vein of Giles Peterson, Mary Anne Hobbes or Tim Sweeney.

Her evolving tastes and crate digging ability (listen to her Radio 1 residency mix above) marks her out equally as a fantastic club DJ and unpredictable party starter.

Ahead of her debut performance at Chibuku in Liverpool, we caught up with Moxie to discuss being a lifelong Londonder, responsibilities in music and the different paths for today's selectors.

You recently had your first experience of ADE Festival in Amsterdam, which is something of a behemoth for the dance music industry. How did it go?

It was pretty good fun, I did a talk on the art of curation. Those events are great as people can go out and meet and network, and it was nice to be able to go out and talk about my journey.

The word curation or curator seems really prominent over the past few years, and it feels like people are once again turning to curated platforms once again, be it your show on NTS (above), or something more corporate, like Beats 1? Why do you think that is?

I think there's an overwhelming amount of music, even for someone like myself, whose job it is to sift through and find the gems. I think that's why these platforms are really great; to have an extra hand to guide you. I guess even podcasts are extending on the original ethos of radio, putting your trust in someone to build it into something. 

It's a way to open people up to something, or to another avenue. And it's a crazy time, because the way the music industry has changed means there's much more access, which is amazing, as a lot of new artists anywhere around the world are able to make music. It also means that there's a massive influx of stuff to get through.

Generally speaking the whole music industry has changed massively over the years and if you’re an artist who wants your music to be heard or even signed you don’t necessarily have to go to the majors, you can make your own path.

How far do you think you can get to curate your own career, if you're not releasing music, or working through predominantly underground channels?

If you're not a producer and your sound is curating other sounds, then you can do it, it's just going to take more time. You really have to put the effort in, and you really have to love it. Obviously you can do it as a hobby, but to make something of it, you have to be 110%.

When did you realise the moment had arrived for you that music was the way forward?

Music wasn't the plan, it just sort of happened. I got my first decks when I was 14, and then it didn't seem attainable. You were either DJing in bars, or you were Pete Tong. But then the industry changed and there seemed to be options. 

When I was 18 I began to DJ here and there in bars but it was nothing serious.  In my summers I would find work experience with music Pr companies to try and learn about the industry and understand it all.  Shortly after that I went to university in London and did an art degree and around that time got in touch with Benji B to help out on his night Deviation which turned into 5 years of me working with him.  I was actually doing all of that alongside my degree which at times was pretty full on but I learned so much along the way.  It was only from last year that I went full time with what I'm doing and before that I was working for the label Hyperdub.

I think people often think music is an easy industry to get into and make money from but depending on what angle you’re coming from it can take years to carve it into a real job.  I’m definitely not someone who could work in an office or do a 9-5 as my brain doesn’t work in that way, I would begin the switch off.  I make up my own hours and sometimes get up late but i’ll be working through the night.  I feel incredibly lucky to be able to do all the things I do which consists of finding new music, prepping radio shows, DJing all over and doing Voiceovers.  I sometimes find it hard to switch off because I am my job, but I wouldn’t want it any other way.

As somebody who actively listens to an enormous amount of music, and presumably feels a pressure to do right by a lot of new artists, what is your system for sifting through music?

If I’m honest sometimes it feels near impossible as there is so much out there not to mention what I have sent to me direct but I try to stay on top of it as much as possible. I’m always popping into my local record shops to check physical releases only out on wax, also online sites such as Pitchfork's Best New Music, or FACT's Singles Club can be great as there might be some great crossover stuff I want to play. 

Also Soundcloud and Bandcamp are good for unsigned artists and I have certain music PR companies & labels that send me a lot of stuff direct. Generally speaking I try to split my time evenly across all platforms to stay on top as much as possible.

When people are sending you records, on email or via Soundcloud, what's the biggest faux pas they can make that makes your life harder?

You wouldn’t believe the amount of big labels that send me tracks that aren't labeled properly! I lose it instantly as I download it in a chunk. Definitely the most infuriating thing as there will be a track I want to talk about but I have absolutely no idea who it’s by and then it often gets lost.

You're a key figure in London clubbing these days. What do you make of all the talk and speculation of 'The Death of London Clubbing'?

It's just the way it is at the moment. London is such a popular place for people to come and live in, so people get pushed out. But I like to imagine there are kids putting on some amazing rave that I don't know about, as I'm not in that age bracket anymore.

You were playing among the first wave of artists when dubstep was really bubbling and evolving. Your sound has undoubtedly naturally developed since, but with retrospect, what was it like to be involved in all of that?

It was a lot of fun! So obviously you had Plastic People, and nights like FWD and Rinse coming up. A lot of dubstep parties, a lot of warehouse parties in East London. A lot on Commercial Road. Sick little raves in the basement of old fashion shops. Pretty raw, pretty grimey.

You'd put your jacket in the corner and there'd be no light, you'd just have to hope you could find it at the end. And there was a night callers House Party, where Geneeus would play, alongside Alexander Nut and Katy B when she was listed as Baby Katy. I've still got all the flyers for those parties. You'd need to call a number to find out where it is. 

Given the effort nowadays to create inclusive atmospheres where both male and female DJs and producers are represented, the dubstep and early bass scene was always seen as a very masculine, almost aggressive environment. It however produced talent such as yourself, as well as Cooly G, Ikonika and so on. What made that possible?

There weren't a lot girls at those parties but when you did see another girl it was a very cool thing and even more so when another girl was DJing.  I’ll always remember the time I saw Ikonika play for the first time at FWD in Plastic People and it was really inspiring. Everyone has their own path and I suppose it depends what kind of person you are.

There are definitely more girls coming through now which is great as I think the more girls that are up there showing it can be done hopefully that will inspire a new generation.

Although I will say that if you want to get into DJing you have to be confident about what you do and stand your ground. In any industry there will always be arseholes and I've heard some pretty shocking comments made, but you can’t let all those things get to you and have to laugh it off and make you stronger.  Whenever I hear someone say something sexist, I just think that’s a shame you’re not very well educated are you?

Owing to rising rents, London seems increasingly unattainable for more and more young, creative people. As a lifelong resident, can you characterise the appeal? Is it hard for you?

It is tough. You have to work really hard here. But that's the great thing about this city, it's really competitive. And you can look at that two ways. You can either see it as really ruthless, or that it keeps you on your toes. And I see it that way. 

Finally, what have been your recent highlights in terms of labels?

There's so many labels from all over. Rhythm Section, they've had some amazing records this year, such as Chaos In The CBD. And Wolf have been doing some good stuff. And Running Back. Gerd Janson is the best.

Like this? Try Bombed Out Beats with Gerd Janson

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