Words: James Keith

When is a grime producer not a grime producer?

While Mr. Mitch may have first made his name as a purveyor of choppy grime riddims with chrome-covered synths and clicking drums, the decade that followed his self-titled debut EP in 2010 has seen the South Londoner venture farther and farther from those origins, yet somehow always retaining the spirit of those days.

Owner of Gobstopper, central figure in the Boxed crew and one half of Yaroze Dream Suite alongside Yamaneko (all three of which are worth celebrating in their own right), Mr. Mitch’s role in sculpting the face of UK underground club music is undeniable and few come close to matching his influence.

One release that doesn’t get talked about enough is 2013’s Suave EP, five tracks that bridged the gaps between dubstep and grime while setting out the blueprint for what would become the nameless, instrumental-post-grime-whatever that involved a lot of the Boxed/Local Action/Oil Gang/Goon Club Allstars lot. It wasn’t an isolated example of his ability to see connections where others can’t, either. Last year’s Not Modular EP on The Bug’s Pressure label (and its accompanying remixes) found threads that connected acid techno with dubstep and dancehall.

Just as worthy of mention is the absolute goldmine on Mr. Mitch’s SoundCloud page. Notable remixes and bootlegs like that of Trim’s “I Am”, Wiley’s “Born In The Cold”, or more recently RMR’s viral hit “Rascal” have found at least as much longevity in their new forms as their originals. What’s more is his juxtaposition of rowdy lyrics against cerebral electronics has turned out to be another recurring theme in his music.

At any one time, dancehall, UK garage, ambient, trap, grime and more can be heard swirling and intertwining in each of Mr. Mitch’s atmospheric, complex and invigorating productions. While his more current releases are more fluid than ever—recent albums like Devout and Parallel Memories can’t scarcely be described with fewer than seven or eight loosely-applicable genre names, and even that feels reductionist—those myriad influences are still audible.

Here are 20 reasons to love Mr. Mitch.