Born from malleable periods of experimentation, the possibilities in newly-formed genres can be thrilling. Later on, though, a clearly defined sound—and the purists who come with it—can stifle creativity. Mr. Mitch (aka Miles Mitchell), has faced this issue head-on—coming through the grime scene formed in London’s early ‘00s, he’s consistently tried to find his own particular take on the music. Part of a younger crop of DJs and producers on labels like Local Action, Butterz, and Different Circles, looking to widen grime’s horizons, he’s long nudged the scene’s boundaries outward.
His first album, Parallel Memories, dove into the softer side of his preceding EPs. Released in 2014, he tapped into the same slowed-down, melodic approach in evidence previously; most notably, on the Peace Edits—a series of serene, meditative remixes intended as antidote to 2012’s then-trend for aggressive war dubs—released on his own Gobstopper label. Combining glassy, pliable synths with sharp, drum machine cracks, pitched down from grime’s rapid-fire, eight-bar norm, it was an engrossing debut built on a warm, endearing feeling of melancholy.
His new album, Devout, sees big, emotive melodies splashed brighter than before. Bringing several collaborators on board (including vocal spots from his two kids), it sees Mitchell expanding his palette. Sketching a vision for a bigger, grime-influenced spectrum of pop, it’s an atmospheric remodeling of his R&B and synth-pop influences. We spoke to Mitchell about positive images of fatherhood, establishing recognition for grime producers, and the ever-evolving future he sees for the music.