Greymatter

The debut album from this English producer has so many different flavours running through it in such an accomplished way that it’s hard to believe it’s really his first opus. Dubstep, hip-hop, broken beat, house, jazz, baile funk and soul all get a look-in on Mind Over Matter, and it’s one seriously cool little collection. Currently getting love from every one from Will Saul to Zed Bias to Laurent Garnier, the man otherwise known as Graham ‘Greymatter’ Luckhurt has come a long way since being a lone dance music lover at school. Released on his own Unique Uncut Recordings label, we think it’s well worth a look in.
 
 
How and when were you first infected by dance music?
It started with commercial dance when I was 11 or 12 – NOW compilations, Dance Mania etc. I liked piano breakdowns, particularly fast ones - dirty I know. That led me to hardcore and jungle around 1993/4 onto happy hardcore then trance, funky house, big beat, electronica, all forms of soul and jazz, Brazilian, African…over 15 years. Now literally anything gets a run. I went through a stage of listening to music I didn't like just to create reference points and a fuller musical landscape – knowing what something sounds like has always been more important to me than knowing the name of the artist/track/label.
 
I started messing with DJing at 15 after a moment of clarity whilst listening to a United Dance 1 compilation I think; realising it was two records playing at the same time was pretty special.  I went straight out and bought a 12”, modded a broken turntable I found in my loft and mixed to radio for a few months until I got some belt drives. The rest was step-by-step.
 
I grew up in Maidstone, which had a lot to offer in terms of dance music at the time – ClubClass was rammed every Friday and live on Radio 1 a fair bit. There were also some good hip-hop and drum & bass sessions around town. The big events were at Atomics, which was a 1000 capacity square room, face the front, elevated booth, big system. Influence-wise that place is second only to Plastic People for me. It used to go off.  We also had a couple of good record shops and there were a lot of raves in and around Kent so there was a decent scene.
 
When did you start making music / producing, and how long was it before you started making tracks that you were really happy with?
I’m late to the game. I didn't pick up any production software until 2005 as I didn't have access to a decent enough PC and none of my mates made music - so there was no one to advise. Eventually it was wide experimentation with hardware and software until I got into a groove, which wasn't really until the middle of last year. This is where the album titles comes from – I always knew I wanted to produce and had the ideas, I just had to make it happen.
 
I’m never happy with anything I release. I don’t listen to my own music and 95% of it I don't spin out.
 
What have been your personal favourite tracks / productions so far?
The ones that have come most naturally – When I Was Lost and Eu Fumo. And I really like the intro on the album, I’m working on some more beat-less stuff at the moment.
My involvement in Terry Callier’s Welcome Home album (Mr Bongo) recorded at The Jazz Café was my proudest musical moment to date. He is a heavy dude.
 
Where does your name come from?
I needed a DJ name for a gig back in the late ‘90s. It sounded a bit like Graham. It stuck. I attached some meaning to it in due course. Unfortunately that's all there is to it.
 
Who would you most like to work with?
Falty DL would be my first choice now. His programming skills are bonkers good and he never looses the groove to them. Domu was always at the top of my list; honored to have had the chance before he sadly quit. Gutted. Aside from no more musical output from him, we had some fire under construction that will never see the light of day. Jazz players with an ear for electronics are always interesting to work with. Got a few projects lined up this year.
 
What have you got in store for the coming months?
A disco (ish) track on the forthcoming Wolf Music Back From The Future EP alongside Illja Rudman, Cottam, KRL and Eddie C mid-February. I’m working on some remixes I cant mention, collaborations with Klic, an interesting jazz project in the pipeline and some other collabs that aren’t 100% nailed down yet.
 
I need a rest, so I’m getting out of the UK for a few weeks in March. When I get back I’ll be finishing the next album for a winter release.
 
What can we expect from one of your DJ sets or live sets?
DJ-wise I tend to move from 110 – 140BPM, from boogie and beat down up to 2-step/bruk/dubstep/garage; across the board electronics. I’ve been spinning for over 12 years now, still love it as much as I did on day one. I’m working on a live set at the moment. Should be ready for the summer.
 
If you weren’t a DJ/producer/artists, what would you be?
My careers advisor at school recommended Stage Prop Designer but given the choice I’d be a ‘baller. Shallow I know.
 
Which other producers and DJs and artists do you really rate?
DJs…Theo Parrish – number one. Not always the best technically but vibe-wise you can’t get near him. Domu is a badman, his sets at Coop were legendary. Mr. Thing is crazy good technically and has a huge musical knowledge to back it. Without doubt the best hip-hop DJ in the world for me.
 
In terms of newer guys I rate Brackles and Illum Sphere, quick and diverse on the mix. Stu Clark and Matt Neale (aka Wolf Music) are world class but haven’t yet got the love they deserve. Benji B and Moodymann are always solid selectors in clubs.
 
Artists…too many to list. This week I’ve been listening to Jay Electronica, FaltyDL, Actress, Ras G, Eliphino, Scuba, Roof Light, Robert Glasper, Dilla, SBTRKT, Floating Points, Mark Pritchard, Zed Bias, KRL, Debruit, Subeena, Vijay Iyer, Joy Orbison, Pangaea, Blue Daisy, MCDE, Illum Sphere, 2562, Martyn, Metro Area, Drexciya, Tipper, Add (n) To (x), Jorge Ben, Squarepusher, Luke Vibert, Dave Clarke, Shafiq Husayn, Dabrye to name a few