Elijah and Skilliam barely register we’re here. They’re sitting on their sofa, playing Pro-Evo, a raggedy grime pirate signal blaring into the attic bedroom. MCs names are chalked up on the walls, pending release on their label, Butterz, joining the tacked-up posters of their sets. The venues catch my eye – Corsica Studios, Old Blue Last – grime has come a long way since the under-18 Eskimo Dances in Ealing. E&J are part of the reason – the intelligent producer-led curative to a scene too raw to go global.

Maybe it still is: too parochial? I ask: “We’re happy with that” says Skilliam, a softly-spoken guy who still plays guitar in his Ghanaian church. Elijah is a sometime journalist, who has now shelved “chatting shit about how the scene should improve” to concentrate on his label, his influential Rinse FM slot [with Skilliam] and touring.

 I ask him about purple, a g-funky, dubsteppy grime sound to emerge from the south west: “Purple! You’d have to ask Joker [a grime producer from Bristol purportedly behind purple alongside Guido and Gemmy].  Joker is removed from here, so he’s got his own take on grime.”

“Funny thing is, people say that what we release isn’t grime, they’re saying it’s just Butterz. It’s a funny one. There’s also the type of grime coming off the Bok Bok label, that’s a different thing too.”

I ask him about what it’s like to sift through all the dross now it’s so easy to put out grime: “That’s the fun of it – the barrier for us is to work onto vinyl. We have to spend £800 to put out a tune on vinyl, while a digital release costs £140, it makes you decide which ones to release and which ones not to, naturally.”

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