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8:00pm, Sun 13 March, 2016
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Listening to the way P Money’s flow subtly changes according to the beat he’s working with, it’s not hard to understand why he’s risen so swiftly from underground grime MC to near-household name.

His is an immediatelydistinctive voice: his bars run into one another with rough-edged, breakneck intensity, but never lose even a fraction of their clarity. Though he's able to turrinse logon on a sixpence from languid to rapid-fire, and from grittyto smooth, each word is picked out with surgical precision."I always had a really quick flow but you could still hear me," he says. "That's one thing I've always noticed -I'm always clear about what I'm saying. That helped me a lot. People love how fast you can go, but at the sametime, if they can understand you, it's even better.

Compare two of P's best-loved tracks to date: underground hit 'Slang Like This' and the fluorescent bounce of 'Boo You' (alongside Blacks and Slickman). Where over the former's halfstep beat his flow feels coiled andpredatory, shifting into swift attack formation before drawing backward again, the latter finds him aiming straight for the jugular, furiously trading lines with fellow MCs over deftly swung percussion. Hearing him adaptseamlessly to these different rhythms -from the staccato pulses of a grime beat to the loping gait of dubstep -it seems that, for P Money, MCing comes as naturally as breathing.

It's that versatility that's marked out his music so far, and it's taken him all the way from teenage MC to daytime radio airplay and stages across the globe. P Money's route in to music began as a garage and grime lovingteenager in South London, learning to MC alongside friends in the playground and slowly developing his abilities in the Fatal Assassins crew, onstage at local events and on pirate radio. Far from public preconceptionsaround grime as negative music, he explains, P was drawn to MCing because of the opportunity it provided for expression. "I'm a quiet person, I'm not loud, but I like to analyse stuff. Everyone's got their own opinionsabout what goes on in the world and wants to voice situations and experiences they've been through. I noticed that when youhave a mic -no matter who you are, no matter what you've got to say -people will listen."

His unique, swift flow and lyrical agility -able to blur serious subject matter with witty asides, day-to-day realism and surreal humour -swiftly caught the attention of grime DJ Logan Sama, who began regularly playing PMoney's tracks on his show. As well as being part of the grime collective OGs, he followed by releasing a series of mixtapes and tracks -his debut Coins2Notes, the blistering 'What Did He Say?' through No Hats NoHoods, and 2009 s widely praised Money Over Everyone. The latter in particular established him as someone to watch, and as well as regularly making appearances on Rinse FM, his tracks began getting regular play onmainstream radio stations.

t was in 2010 that attention began to focus even more squarely on his music, with the release of crossover hit 'Slang Like This' and guest appearances on Magnetic Man's single 'Anthemic' and Doctor P's dubstep club hit'Sweet Shop'. As well as bringing him a new level of recognition, they also established him as an MC equally skilled at adapting to the ebb and flow of a dubstep beat as to grime's more upfront energy. As a result, he foundhimself making appearances on massive stages and at festivals.

"I went on tour with Magnetic Man [after 'Anthemic' was released]," he remembers. "Because it wasn't announced that I was with them, I thought people wouldn't know who I was. But when I was in New Zealand, I was inFoot Locker and I could hear the tune, and the video was onscreen in the shop. And the girl who was serving me nearly fainted!

P Money's latest EP for RinseRound The Clockis a characteristically thrilling, sharp shock of a transmission from the South London-born MC.Title track 'Round The Clock' is a thrilling, metal-plated hip-hop beat produced by Loadstar, pairing P's warnings of "If you want it you can get it / But be careful when you get it" with brittle-edged percussion and kickdrumsEQ'd to rattle the ribcage.Following its success, filmmaker Chas Appeti -the manbehind the slickly playful 'Round The Clock' video -has now produced a second video for one of the EP's highlights, 'Mad'. The track itself is a blistering affair, with Swifter's rhythmically deadly trap-influenced beat -all boom-tick rhythms and grimey strings -playingperfect foil for P's distinctive, abrasive-yet-effortless flow. Appeti's video heightens the effect, cast in cooly stylised monochrome as if to further emphasise 'Mad's intrinsic drama: a portrait of an MC on firey and vital form.


As part of a wave of new producers devoting their attention to the art of the grime instrumental, Royal-T's sound is making bold leaps into the future. His production style melds the raw, rapid-fire energy of grime to the infectious flex of classic two-step. All wrapped in great, blocky hunks of melody, Royal-T tracks are immediately distinctive.

His breakthrough track "Inside The Ride" is a shapeshifter, bursting seamlessly from light-footed two-step skip into something darker and altogether grimier. Genre defying, "Inside The Ride" is receiving plays from a diverse range of DJ's, brought to you by the same camp as Magnetic Man, Zinc, Katy B, Skream, P Money, Roska, Magnetic Man, Zinc, Brackles and more.