Duke has already received many plaudits as he continues to keep a level head in the game by keeping the consistency high and shelling down radio sets. As for Beanzo, the 21-year-old has already gained a substantial following online by releasing cold riddims in abundance, with his Focus EP has been spun endlessly online. Whilst making ties with other 140 producers surrounding grime and dubstep, the sky is the limit for the young soundboy.
The least you can expect when you hear this project is big bars and thumping basslines, which includes three striking tracks that all have the power to light up any radio set or rave.
The title track 'Musashi' kicks things off and leaves you in awe right from the first drop. Duke attacks Beanzo's weighty riddim with full force and a skippy flow that more than completes the opening track. This one's huge!
2) Midas Mind
Next is 'Midas Mind'. Duke rides the darkest of instrumentals, bringing deeper barring around an inviting hook, keeping the levels high throughout the 4-minute-masterpiece. This one is very much an insight into Duke's journey to the top and how he's keeping a level head in the music business whilst paying homage to the culture.
3) Get It Today
Finally, 'Get It Today' rounds off the project. The track is captivating from the outset, with an oriental-inspired sound immersing into a thumping beat before Duke brings his skippy and dominant flow to the forefront. Not to mention his inventive wordplay such as "tyrannical mic man, dead 'em all, when I've got the pen I'm a general" encapsulating the catchy hook.
We caught up with the duo to get a deeper insight into 'Musashi' and asked Duke a few other meaningful questions.
Yes Duke! First of all, thanks for letting us premiere one of the tracks from the EP ‘Get It Today’, it’s definitely a weighty one!
Thank you sir, I’m glad you’re feeling it!
So then, to start things off, what is the reasoning behind the whole name ‘Musashi’ and was it influenced by the oriental sounds of grime?
It first began in early 2015 when I read ‘The Book of Five Rings’, an ancient Japanese text on strategy and the martial arts, written by master samurai Myamoto Musashi. A lot of influences I’ve taken from his teachings are reflected in my music and wider aspects of my life which is why I felt it necessary to pay homage. My hope is that with this, followed by my previous EP ‘Niten Ichi-Ryu’, there will be some fresh interest drawn to the subject.
Is this the best sounding project you’ve dropped to date?
I’d say this is the most hard-hitting project I’ve done so far, I’m confident each of the three tracks could hold their own either on radio or in a rave. I think that’s a testament to Beanzo’s production style though. He executed the through balls and I just tried to hit the target.
A question for Beanzo; what made you start your independent label ‘Siege Collective’?
I started Siege Collective to create a platform for up and coming producers with a darker sound. Somewhere for us to easily showcase the sound we love!
Duke, Beanzo is no doubt a skengman producer - was it a no brainer for you to link up with him?
I’ve rated Beanzo for a long time so it was definitely a no brainer for me. He comes with that bass-heavy, dubstep-infused sound which is pretty much what I grew up on. We had initially intended to do just a single track but our styles blended together so well that it naturally developed into the Musashi EP.
How did you start your journey on the mic?
My first experiences on mic were hosting local radio shows (which lead to raves) when I first came down to Brighton. I had a few friends from London also at uni down here - shout out PVC - that really helped introduce me to the local scene. From there it was probably about six months before I found my way to a recording studio - shout out KXVU. It was a really organic progression.
We see Southpoint Music doing their part for the scene, how did you come about joining the label?
Southpoint and I were already familiar with each other through my association with a few of their artists. KXVU needed some dubs for a sounclash competition (Dubplate Dons) and obviously I was more than happy to oblige. Then, after a series of rigorous tests at the STPT training facility in the Outer Hebrides, I was brought on board as an official artist. As mentioned before, it progressed organically into what it is today.
What is your current stance on the grime scene and certain people in particular saying it’s dead?
First off I’d really like to know where this ‘Grime is dead’ narrative has sprung up from - it can’t just be that one post from Complex? Read articles not headlines: that article had zero substance to it. Today’s internet seems to be built on unfounded, controversial opinions and then backlash against those unfounded, controversial opinions. If that’s you then that’s you, but I’m good. People forget how young a genre Grime actually is - the closest in age would be Hip Hop and that is literally only just reaching its peak now. Genre’s don’t die they just adapt and evolve.. How could I be so pessimistic when we’ve got all this future ahead of us?
Finally, where do you see yourself in five years time? Selling out shows maybe or performing at festivals?
In five years time I’ll be happy if I’m just making a living doing what I love, whether that’s making music or elsewhere. My only real plan is to carry on making the music I want to make and we’ll see where we end up. I know I have a better pen than most so I guess it’s up to me how far I can take it. Stay tuned, that’s all I can say!
Big up Duke and Beanzo for allowing us to premiere 'Get It Today' and taking the time to answer a few questions. Listen to the EP in full now via SoundCloud below: