The producer hailing from East London takes us on a mellow expedition from Basildon to Fenchurch street in his most recent ep ‘c2c’. 

This is his second project; the first, ‘Mellow EP’ holds a special place in the underground's heart. Nostalgic acapellas from the likes of Dizzee Rascal and Skepta were partnered with a fresh, unexplored realm of British Hip-Hop production that had never been heard before. It was an exciting, new sound that attracted a cult following, most of which came from the tight-knit community of Soundcloud.  

Fast forward three years and KwolleM sticks to the vibe that he predominantly brought into fruition in c2c. Named after the train line that serves Southend and London, each track focuses on a specific stop on the line, with the different locations having their own feel and vibe, allowing for a real narrative to be explored. Combine this story like feel with smooth, soul-infused grime beats plus bars from Joe James as well as multiple legends of grime and we’re left with a fluid, effortless head bopper of an EP.

We caught up with KwolleM prior to the release to gain some further insight into the project.

Hey KwolleM! Give us some back story to this most recent ep.

Conceptually the idea is the project is a train journey from Southend/ Seaside to West Ham/Newham to Inner-city London. Each stop represented by a track & an emotion/ memory/ vibe. 

Logistically the tape was born from the West Ham track, initially called Plaistow. I planned to release it as a single & then Covid happened & I literally forgot about it. Around July I rediscovered it - hit up joe like we need to do a two-part single & everything evolved from there.

What first inspired you to flip a genre with stereotypically aggressive, fast instrumentals into almost the complete opposite?

The SoundCloud/ Soulection era, Knxwledge & The Alchemist. 

How does this project differ from your first one- ‘mellow ep’?

There’s a greater emphasis on more original vocals, that way the narrative of the project is considerably easier to guide. 

The cover art for the ep is quite ambiguous- could you give us a personal insight into that?

The idea is to embody the wifey riddim energy. I’m indifferent/ mellow, whilst the woman is animated. The back cover is a nod to the streets album cover ‘a grand don’t come for free’.

 You grew up in the heart of East London, what impact does living in the area have on your sound?

I probably wouldn’t have focussed on grime if I wasn’t from here. Couldn’t easily take the same idea & run with UK rap or suttin.

How does working with brands such as Places + Faces influence your creative output?

What it helps is to provide access, for example, my 67 remix wouldn’t have come if they didn’t help bridge the gap.

Many people that listen to your music will appreciate your choice and use of sampling. What’s your process behind finding them? 

A lot of crate digging. I have to spend a long time just listening to music until I find something I like & think fits the mood.

What was the atmosphere like in the studio when you were working with people that feature on c2c?

Only managed to go studio with Joe & I due to Covid. But even with him, it just made the project feel legit & not something pieced together in my bedroom.

Would you ever consider mellow trap? Or is it strictly grime?

Of course, I did a mix for PlusSounds with Mellow Hip Hop/ Trap stuff.

What’s next for you from here?

Hmm, Mellow Drill tape?