If Misch seems surprised, it’s because his fanbase has developed naturally. He never set out with any grand plan when he began making beats, and uploading roughly three tracks a week to Soundcloud at 16. “ I prefer a more organic approach to making music, but also to building a fanbase,” he reflects. “I don’t want a big push on my music as I don’t want to be as big as possible.” And yet, he’s rapidly become one of the U.K.’s most exciting emerging new artists, gaining 1.1 million monthly listeners on Spotify and playing a sold-out tour of the U.K., U.S. and Europe in 2016. Collaborating with a clutch of fellow trailblazers like Novelist, Loyle Carner, and Zak Abel, he’s accumulated a total of 75 million streams across all platforms to date — and it all started in his bedroom.
Misch’s earliest introduction to music came via his artistic family, including his psychiatrist father, a passionate violinist, who would take him to concerts and the opera as a child. He sang in a choir at school, and picked up the violin himself at the age of four. When one of his older sisters took up guitar and later abandoned it, nine-year-old Misch inherited the instrument, and taught himself to play Red Hot Chilli Peppers and Nirvana songs. Today, he also plays bass, banjo, and a smattering of keys.
It was one of his sister’s boyfriends who introduced him to the music of J Dilla at 15, and from then on, Misch was hooked. He took up Music Technology at school the following year, and began learning how to create his own “really chilled out, boom-bap kind of ‘90s hip-hop” on Logic Pro. “When I wasn’t at school, I’d be making beats,” he says. “It was just what I did.” As he began sharing his tunes on Soundcloud, he found the response was overwhelming. “You put songs out and you build a fanbase — it’s kind of addictive.”
A collaboration with his sister Laura, on the jazz-inflected “Follow,” was a major turning point for both siblings after it was uploaded to influencer YouTube channel Majestic Casual. The track features Laura on sax and Tom on beats and vocals, intertwined to mesmeric effect. “That was the point where I was like, okay, maybe I could do this as a career,” Misch reflects. “Suddenly it had 100,000 plays.” Shortly afterward, Soulection co-founder Joe Kay commented on one of Misch’s productions on Soundcloud, asking the teenage prodigy to guest on his radio show.
Soon afterward, in 2014, Misch contributed to Soulection’s White Label series, weaving together obscure jazz samples, guitar, and vocals to create the perfect summer listen (including the dreamy fan favourite “The Journey”). His Beat Tape series collected the best of his hip-hop instrumentals, the 5 Day Mischon project featured collaborations with grime MC Novelist and singer-songwriter Zak Abel, and his 2016 Reverie EP brought the official release of Misch’s most sophisticated songs to date. As well as soulful singers Carmody and Jordan Rakei, he struck up a collaborative relationship with fellow south Londoner Loyle Carner, whose mellow bars flow over Misch’s productions like a breeze on a hot day. Both artists form part of the much-hyped scene of singer-songwriters emerging from south east London, including King Krule and Cosmo Pyke. Each has a DIY mindset and a brooding, poetic approach to lyricism that weaves them loosely together. “There’s definitely a certain sound,” reflects Misch. “Everyone’s music in south London is really chilled. It reflects the vibe of this part of London — it’s laid back.”
Misch has lived in south London all his life, and he loves it so much that his new single, “South of the River,” is dedicated to it. “I much prefer the general vibe of south London,” he says. “I love this area, Peckham, Dulwich, Forest Hill. Singing that line — You should come south of the river — it just felt really good.” With its string arrangements mirroring disco synth stabs and a funky bassline, it’s an irresistible bop that nods clearly to Misch’s danceable new direction.
One of the biggest influences on Misch’s sound has long been jazz. With a degree in jazz guitar, Misch is an avid listener of Robert Glasper, Roy Hargrove, Cory Henry, and jazz-influenced songwriters like D’Angelo and Erykah Badu. “It’s kind of a warm feeling, when you hear a certain chord progression,” he explains.
In the making of his debut album, he’s also been drawing on inspiration from disco, house, and techno, discovered through the portal of producers like Kaytranada and Motor City Drum Ensemble. The euphoric feel of 1970s and ‘80s disco (think Earth Wind and Fire or Gwen McCrae), and the thump of nightclubs like Fabric or Corsica, inspired him to bring more movement into his songs. “I want people to dance at my live shows, I want to bring more energy,” he says. “When you’re in a club and you can feel the bass...I want people to have that experience.”
Misch’s sound is true to its roots — he still makes his tracks in the same bedroom studio in his parents’ house, and his mum produces his artwork. (“ Her work is very DIY, just like my music, and feels homespun,” he explains.) But he’s never afraid to explore new territory. “I think it’s really important to make music that hasn’t been made before,” he says. “I’m trying to work out what my sound is, and pursuing that.” Fans might think they know his style, but Misch is a restless experimentalist, keen to spend endless hours honing his craft. One of his favorite new songs is a “Brazilian-sounding” jam that reflects how deeply he feels about his work. As he puts it: “It’s about how you can’t take away my love for music. I’ll always have that.”
Julie Mangos
Tom Misch Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bedford's gone off
Yeah
So, just give somebody-
Do you have a different kind, do you have a different kind of mangos?
Oh, no, I only sold one type of mangos, Julie mangos
What?
It's called Julie
Jamaican mango, Jason?
Well, it's not Jamaican, it's Caribbean
Okay, yeah, yeah
Caribbean, that, that, that, mango
I'm a big mango fan, I love a mango
Oh, then you must learn the difference
And I'll feed you a mango, a Julie mango
Later, man, save some
Nice one, man
So alright, see you in a couple days?
Tomorrow
Thanks for comin'
See you
No, I think it's, um
I think it's better than Geography
It's better than Geography?
How does it- how
I mean it's pretty different, obviously
But um, I mean, I think Geography's great
And it's a different, it's a different genre
But I, I think, musically
Yeah
I think it's better than Geography
I think, musically, it's pretty interesting
Yeah, how does it make you feel?
Um, am I being taped?
No
Am I being recorded?
Nah, no you're not
Um
You know, I think that's, in a sense
I think that's where it's
It's much more profound
You know it's hard, true, interesting
It takes you into all sorts of places and journeys
That, um, sound massive
The lyrics of "Julie Mangos" by Tom Misch and Yussef Dayes are a mix of conversation and musings between two individuals. It starts with a man urging someone to act fast and buy some mangos before they run out. And while the second person is interested, they inquire about different types of mangos available. The first person states that they only sell one type, and that's Julie mangos. The conversation then shifts towards an assertion that the Caribbean mango is the best, and the first person promises to feed the second person some Julie mango later.
The second part of the lyrics in "Julie Mangos" discusses the quality of the music and how it makes them feel. One person talks about how the music is better than Geography, an album by Misch that was released in 2018. They also mention how the music takes them on a journey and is profound and interesting. However, they seem wary of being recorded while expressing their thoughts on the music.
Overall, the lyrics of "Julie Mangos" are reflective of a casual conversation between two people, with topics ranging from mangoes to music and the emotions it invokes.
Line by Line Meaning
He's not gonna wait 'til tomorrow 'cause by tomorrow
He won't wait until the next day because no one will be around.
Bedford's gone off
Bedford has left.
Yeah
An affirmation
So, just give somebody-
Just give someone else a chance.
Do you have a different kind, do you have a different kind of mangos?
Do you sell other varieties of mangoes?
Oh, no, I only sold one type of mangos, Julie mangos
No, I only sell one type of mangoes, Julie mangoes.
What?
An expression of surprise.
It's called Julie
The mango is specifically called Julie.
The best mango is Jamaican
The best mango is the Jamaican type.
Jamaican mango, Jason?
You mean Jamaican types of mangoes, Jason?
Well, it's not Jamaican, it's Caribbean
It's not specifically Jamaican but rather from the Caribbean.
Okay, yeah, yeah
An affirmative response.
Caribbean, that, that, that, mango
This mango is specifically from the Caribbean.
I'm a big mango fan, I love a mango
I love mangoes a lot.
Oh, then you must learn the difference
Then, you should learn to distinguish between different types of mangoes.
And I'll feed you a mango, a Julie mango
And, I will give you a Julie mango to try.
Later, man, save some
See you later and save some for me.
Nice one, man
Good one, man.
So alright, see you in a couple days?
So, I'll see you in a few days?
Tomorrow
Actually, tomorrow.
Thanks for comin'
Thank you for coming.
No, I think it's, um
No, I think it's...
I think it's better than Geography
I think it's better than Geography, a previous work.
It's better than Geography?
Is it really better than Geography?
How does it- how
How does it compare.. like, musically?
I mean it's pretty different, obviously
It's quite different from Geography.
But um, I mean, I think Geography's great
Even so, I think Geography is great.
And it's a different, it's a different genre
They are different genres.
But I, I think, musically
But I think, musically...
Yeah
An affirmative response.
I think it's better than Geography
I think it's better than his previous work - Geography.
I think, musically, it's pretty interesting
I think, musically, it's quite captivating.
Yeah, how does it make you feel?
Yeah, what's your emotional reaction to it?
Um, am I being taped?
Wait, is this being recorded?
No
No, it's not.
Am I being recorded?
Am I actually being recorded?
Nah, no you're not
No, you're not recorded.
Um
An expression of uncertainty.
You know, I think that's, in a sense
I mean, I think that's true, in a way.
I think that's where it's
I think that's where the value lies.
It's much more profound
It has much greater depth.
You know it's hard, true, interesting
You know, it's hard to pin down exactly, but it's true and interesting.
It takes you into all sorts of places and journeys
It takes you to many different places and emotions.
That, um, sound massive
It has a sound that feels huge and expansive.
Lyrics © Universal Music Publishing Group, Kobalt Music Publishing Ltd.
Written by: Rocco Palladino, Thomas Abraham Misch, Thomas Manfred Driessler, Yussef Kwame Dayes
Lyrics Licensed & Provided by LyricFind
@agreatwhite
My favorite on the album. I love the beat flip. My only complaint is I wish it was longer.
@wesleihuppes2197
That’s what she said
@alexjones4679
Mmm, 100%. I LOVE that beat flip. I've learnt it on the drums myself, and I only wish it was longer so there's more room for improv, and to just savour it tbh.
@carlosrivera5155
"Am I being taped?"
"...No"
@RHCP08
0:22 - Funky Chill
0:52 - Head Bob Chill
2:01 - Final Level Chill
@shababshams4545
Swear to god, I want this man's whole discography played at my fucking wedding
@SattiWorld
Talk about chill, laidback, mellow vibes....
@K-R-O-L
2:00 to the end, i need a full 5m track of this :O
@ReinSteep
Yes, I have also fallen in love with this part, yet I think it's magic is that is not that long.
@jamesbessey-saldanha140
"Am I being taped?"
"Noo...haha.. No you're not 👀👀"