YUSHH


NSMA-MIX-014




Pressure Dome head honcho Yushh pops by for a chat and to deliver NSMA-MIX-014, having become one of the most inspiring new forces in the UK Underground with her intricate brand of low-end electronics and ear for refreshing production talents.

Yushh dropped a lethal weapon in ‘Team Boot’ earlier this year via Dublin’s Woozy crew and continues to fight on the frontline in Bristol, as her collaborations with Syz begin to see the light of day and following a brilliant recent release on her imprint from Delay Grounds (featuring a rude Suze remix).

Brollys at the ready ☔️



Yes now Jen!  We've been chatting about doing a mix on and off for a hot minute now, so absolutely thrilled to welcome you to the NSMA mix series, thanks for being a part of it! We actually found out about you through a guestmix you did on NTS so let’s start off with DJ-ing then… when did you start and what do you enjoy about it?

It’s great to be part of the series - thanks for having me on! I was so nervous for that NTS show. Livity Sound are just such a big influence, shouts to Pev for the ask - I had a lot of fun. Really happy I got to play in the OG booth before they moved too.

I started DJing a lot more about 3 or 4 years ago. I’d messed about before then but that’s when I got my 1210’s and started picking up a lot more vinyl. I thought it would be just something I’d do for fun and see what happened, was just into finding tunes and mixing with mates, then one friend egged me onto a radio show and it sort of went from there. I’m missing playing out, it does motivate you a lot, but I’ve been doing a few radio and mix series bits over the past few months. It’s been fun playing all sorts and trying some wonkier combos that I maybe wouldn’t try in the club. I’ve also just started a residency on SWU.FM so it’s been great getting back in the studio and doing some shows live.

I’m always curious as to a person’s musical timeline, especially people who make music – how much it’s changed and developed over the years or whether they have always had a more singular vision and sound throughout. Has this been the case with your productions?

I still haven’t made anything that I’m 100% happy with. I think part of producing is learning to know when to let go. I’ve been lucky to have some great opportunities over the last year and having some deadlines has definitely helped me get stuff finished. I used to give up a lot on tracks if I got bored or lost in it but I’ve definitely learned to take a break then keep going.

The track I did for Woozy took a lot of perseverance, but I’m really pleased with how that one turned out in the end and the reception has been great.
Cheers EMA and Sputnik One for getting me involved with that one.


    
Team Boot - Yushh | Woozy

It could be said there’s a clear influence of the “Bristol” UK underground scene within your musical output, as an artist yourself and via Pressure Dome.  I’m keen to hear your thoughts on generalisations like that, where influences are categorised collectively.

There are so many different crews and individuals exploring so many different corners of electronic music that the Bristol UK Underground scene can probably mean a lot of different things to different people. You can get lost in your thoughts trying to understand why you like the music you like or why you make the music you make.

I think it’s good to think about it and I think context is really important but so much influence is subconscious so sometimes you just have to go with it.  

We read that you studied music production at BIMM (British and Irish Modern Music Institute).
What value do you see in courses for studying music, oppposed to say trial & error of learning online etc. and did your opinion shift at all whilst studying?


Just like any course it’s what you take out of it and how you apply it to your own practice. When I started uni, I had less of a clear idea of the style of music I wanted to make and I’d picked the course because I wasn’t going to just learn about how to make dance music. I thought that writing music for video games and recording bands, would give me different workflows and perspectives when writing music, which it definitely has.

I think maybe this could be frustrating for people who just want to learn a particular style or technique. Before uni I taught myself through trial and error but I had played piano since I was young so had a bit of a leg up. Personally, I’ve never really got along with youtube tutorials about how to EQ your kick drum or whatever. Some people swear by them but I try to avoid being taught in a way that is too prescriptive because I feel like it doesn’t encourage me to think outside the box. I’m sure there are a lot of really great tutorials out there though and know a lot of friends who have learnt a lot this way.

For me, hearing producers talk about their overall approach rather than particular techniques has been very insightful but actually getting in the studio and collaborating with other artists has to be the most fun and quickest way to learn.




Clatter (Suze’s Heeley Mix) - Delay Grounds | Pressure Dome

Your recent contribution to the Woozy comp was easily one of our favourites on there, amongst a whole host of low frequency vanguard and we've just seen the announcement of a remix for a long-term affiliate Syz on Control Freak Recordings - congrats!

What's next for you personally and do you have any particular career benchmarks/targets in your head that you are always working towards or do you take each day as it comes a little more carefree and enjoy the ride with the wind in your hair haha?


Ollie and I (Syz) are working on some other stuff together which is fun and I’ve also got some solo projects in the pipelines.

I’m keeping them hush for now as they probably won’t be out for a little while. Not been able to get as much as I wanted done during lockdown 😕 I think the lack of dancefloor has definitely affected my creativity, but I’d rather take my time and release stuff I’m happy with.

Soon come.