I can spend hours upon hours in studios, working on expensive equipment, using complex software, working into the early hours of the morning refining sounds to create the perfect track, while without fail the songs that always seem to prove strongest are the ideas created the quickest. That is what 'Shotta' is. I have had the concept in my head for creating a song using the sound effects of gunshots and guncocks as percussion for so long, so sitting down and creating it was like being in cruise control. With softer and robotic 4x4 formations taking over the clubs across the country I wanted to create an alternative. I have been deeply associated with the 2-step & 4x4 formula over the years, so while that is the sound of today, I thought it was time to take a different approach. While the charts and radio are currently flooded with soft organs and silky vocals, I want to remind everyone of the other side of the spectrum with gunshots and harsh violins. I spent the first couple of years in the early 2000s listening to music via pirate radio and tape packs unfamiliar with the names of songs and artists but feeling in unison with them when they reloaded a big tune. There was this music I was listening to that wasn't like anything else being played on radio or that the kids at my school were into that spoke to me more than any pop record could. Hearing Wiley's 'Eskimo' for the first time in my early teens confused me. How could something with this groove that Garage taught me to skank and vibes to make me feel so cold and dark at the same time. That is the same feeling I wanted to carry with 'Glacier'. I noticed the trend of sampling old school Grime which has never spoken to me as a listener, so I wanted to take it that step further, grab my Triton and pay homage to the Eski sound and create something blindly using my own style. 'Limbo' has a familiar skeleton in it's 4x4 drum pattern but on top carries a melancholic feel. Writing it was, at the time, therapy for me while I dealt with life outside of music. I needed somewhere to channel and express my emotions and manifest it into sound. Moving into the fifth year of Butterz and it being 4 years since my last solo release on the label, I think this record defines where I stand as an artist and where we stand as a label today.