SUNRISE BANG UR HEAD AGAINST THA WALL: RED LP

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NiaArchives:‘Baianá’ is from another EP, which is going to have a really different feeling to the last one. That was a club record; the next one is going to be the sameNiaArchives, but a lot more refined, a lot more focused on the songs. Half of them, I’m like, “Oh my gosh, I can’t believe this is jungle.” And it is! It’s still 170bpm, but there’s just a lot of musical elements to it. I want the first album to be really special; Lauryn Hill only made one, but it was so iconic! I’m aiming for that level of musicality. Maybe next year. That’d be amazing. In This Article: Haha, yeah! My nanna influenced a lot of my early music because I spent a lot of time with her. I used to go to her house and she would have a big sound system. In Caribbean culture everyone has a sound system in their house. My nanna would always show me tunes. She put me onto bare disco, rare groove, soul and funk. It’s mad how all these little influences changed the way I listen to and write music. Goods that are faulty or sent in error must be returned to Crash Records Limited, 35 The Headrow, Leeds, LS1 6PU within 7 working days of the item being received by the customer. NiaArchives:Yeah. I loved music from when I was a kid; my family used to go to Pentecostal church, so that exposed me to choirs, and I taught myself to play instruments when I was younger, just following along on YouTube. My ex-stepdad was a producer, too, so that was a lot of exposure to music when I was younger. It wasn’t until I moved to Manchester that I started thinking about really writing. NiaArchives:Yeah, I think so. I’m half-Jamaican, so I’ve grown up with sound system culture, with dancehall and jungle. I grew up loving the basslines in dancehall tunes, and I found that jungle tends to have similar rhythms; plus, there’s a lot of sampling of reggae in jungle, especially on stuff out of London like Saxon, and those sound clashes. There’s a lot of crossover between Britain and Jamaica there, and I’m proud of my dual heritage. I feel like it’s something I didn’t get the opportunity to express when I was younger.

Was there a moment in time when you felt like you’d made a breakthrough with the kind of sound you wanted to achieve? Haha, yeah! My nanna influenced a lot of my early music because I spent a lot of time with her. I used to go to her house and she would have a big sound system. In Caribbean culture everyone has a sound system in their house. My nanna would always show me tunes. She put me onto bare disco, rare groove, soul and funk. It’s mad how all these little influences changed the way I listen to and write music.

I’ve got a couple of remixes coming up and I’m working on my next EP. After that, I’d love to start looking towards an album. Next year, I want to really delve into gigging and continue creating. I’ve got so much music in the archives ready to go, it’s just a case of working out how I want to present it. I see each music project like an art piece. It’s not just the music, it’s also the visuals complimenting it. Here’s what went down at the after party of the Rolling Stone UK Awards in collaboration with Rémy Martin

Erraticism meets composure on Robbie & Mona’s sophomore album, Tusky . Crafted out of disparate samples connected during post-production, Tusky treads a world of dark jazz experimentalism and finds solace in the abstract. It’s a release filled with grandeur, but knows its limits as glitching electronica unites sultry piano harmonies, vocal etherealism and improvised saxophone parts. It’s an intense listen, but an exciting journey into the unknown.–BR Speaking of improvements, it seems like EQ50 was the big moment helping you to reach the next level.

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It’s a side project I started before I put any music out. HIJINXX was the name for my visual archive. My ex-step dad used to love a skater called Beagle, who did this thing called Hijinx. It’s basically documenting the good side of life, but also the chaotic. I created that name because I wanted somewhere for visual work and music. In future, I would love to put together my own mini documentary and release it under HIJINXX. If you haven’t heard anything about Nia Archives then the question has got to be asked – where have you been? Arguably one of the most talked about newcomers breaking onto the jungle scene right now, at 21-years-old Nia is an exciting prospect on her way to big things.

Definitely. I never want to force anything. When I’m not feeling productive I will go and do something else that’s not music because I want my music to be authentic. I don’t want to force a beat out. I feel like you should always vibe to your music. With my debut EP, I listened to it for a whole year without anyone else hearing it. Making sure I love my music is the most important thing to me. Hot on the heels of her latest US ‘Up Ya Archives’ tour, Nia shared a special remix EP to celebrate the success release of Sunrise Bang Ur Head Against Tha Wall. The critically acclaimed original EP was given electrifying reinterpretations spanning every corner of electronic music from some of the scene’s like Mall Grab, Mount Kimbie, Breakage, Special Request, and Bakey. NiaArchives:Yeah! I think I kind of manifested that. My friend Delphino, who I’ve made a few videos with, he’s Brazilian, and I said to him last year, “We’re going to go to Brazil together one day.” I didn’t know it’d be this soon, but I was so drawn to it — it seemed inevitable. We went into a favela community to film, and meeting the locals, playing football with the kids who dance in the video, that was such an experience. People seemed to appreciate that I’d paid homage to their culture with ‘Baianá’, even though I’d made it into something so different. Nia Archives (Picture: Cosmo Webber) Yeah. I wrote Crossroads when I was 17-years-old. I’m not sure what was going on at the time, but somehow I wrote enough tunes for a whole album. I’m slowly trying rework all those old lyrics. Crossroads was originally written over a boom bap beat. It was one of the first beats I started, but the final beat I made last year.I’m glad! I always loved singing as a kid. I only started making beats because I was singing for other producers and they were messing me about. I thought I might as well do it myself. That’s when I started singing over my productions. I love harmonies and layers, so I try to use my voice as an instrument – chopping it up and manipulating it. I started doing it for fun a couple of years ago. I got this Sony Handycam and began filming everything. My memory is really bad, so I like to capture moments on video. I’ve loved making videos since I was a kid. I started adding my own music onto the videos and that allowed me to show everyone what I’ve been producing. That’s how I got the archives name. I love ‘90s VHS and rave documentaries, so I was trying to emulate that.