Getting to know UK producer Scott Diaz, who has come out of nowhere to release four smokin’ hot EPs in the last four months (two of them reviewed by our staff: Press Play and Beg Steal and Borrow). Where did he come from and will he give us a big snog now that we’ve found him?

Scott, where the hell did you come from? You’ve released four EPs in a row that are fucking awesome and everyone’s asking me, who the hell is this guy?

I’ve been around for awhile making music, but I guess I’m an accidental expert in limelight avoidance! I suppose I’ve been trying to find my own sound and find a place where I fit in. I’ve been working with Matt Jam Lamont since about 2006-ish and we’ve done a few things in that time, but Matt is such a huge name over here in the UK with what he’s achieved that it was always going to be hard to step out of his shadow. Matt and I are still good friends, and we have some cool projects in the pipeline, so we’ll still be working together in the future.

How does it feel to be the new It Dude?

I don’t know that I am. I always feel that’s for others to judge, but if people are excited about my releases and hearing the music I’m putting out, then I’m very happy with that. There seems to be a buzz around me and I am very grateful. However, in my view to be considered a serious producer you have to do it consistently over a number of years which is what I plan to do.

I don’t find making music easy at all. It’s something I have to work really hard at, and it’s definitely something I feel I’ve grown into, rather than having a natural talent. I didn’t touch a piano or keyboard, or know anything about music theory, until I was 23. I’m 29 now and just starting to get the recognition so I really appreciate the kind words and support.

You’ve released 11 new tracks – an album’s worth – in the last two and a half months. How long do you expect to keep up this pace?

Erm, not much longer! I currently am in the process of moving from the studio I’ve been in for the last three years, plus I’m trying to take care of some business things – collecting royalties, etc. I’ve got loads of ideas; it’s just getting them down. In terms of output, there are a few good remixes coming for Sonny Fodera’s Beatdown, DeepCitySoul, The Sound Diggers and Christian Alvarez’s Delecto – that one is out on Traxsource now.

You have some kind of a background in UK Garage, right?

I grew up with UK Garage from the age of about 16 upwards. When I left school I would go to my local record shop, Urban Records, and the owner in there was a guy called Mick Fuller, who was lover of all things soulful. I was into the soulful 2Step stuff (MJ Cole, Grant Nelson, etc.) and while he was selling me all the vinyl I could afford, he would educate me on the House side of things. I was always hanging out in the shop and I’d hear old Disco and Rare Groove records too. I eventually started buying the current House records and the mid-’90s US stuff (Todd Edwards, MAW, Tuff Jam) that I’d initially missed because I was too young.
Fast forward a few years, and I was lucky enough to be involved in what was left of a small Garage scene, getting to remix MJ Cole and going on to work with Matt Jam Lamont, from Tuff Jam.

Insert pointless description of tracks here. Be sure to include ambitious and foolish claims such as: ‘These tracks will change the way you listen to music’ and ‘These will be in your bag for years to come’ and so on.

You have written perhaps the funniest one sheet for a release in history. Please explain!

This is just my way of not taking thing too seriously. It seems like these days, making good music isn’t enough. Hell, it isn’t even a prerequisite judging by some of the mindless music out there. So I feel like in order to stand out, it’s great to have some personality and let people know you can laugh at yourself. Music is about having a good time and having fun, and ultimately your job when producing and DJ’ing is to make people happy. There are too many artists out there who think that they’re rock stars, and have totally abandoned the spirit of House Music and why they started doing it in the first place. I don’t intend to be one of those people. So if you see me at a gig, come over and say hi, and if you’re good looking (or even if you’re not), I’ll give you a big snog.


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