Rude Jude: Bite Archive

This month, we’re talking to London-based Rude Jude about his latest mix for Bite Archive – his very own newsletter and mix series that explores the wider world of music, fashion, and culture.

For his third mix of the series, Jude takes us on a masterful journey through the rich realms of Funk, Soul, and Jazz. This set isn’t defined by flashy production or overt technical prowess; rather, it’s a thoughtful curation where every record contributes thoughtfully to the mix’s cohesive flow.

Opening with Art Tatum’s playful touch of the piano, we’re invited to unwind to the natural warmth of the vinyl, providing an authenticity that digital formats often lack, where each subtle crackle of sound adds to the experience.

Moving softly through tracks like Patti Austin’s Body Language and Jeff Beck’s Thelonius, we’re guided through an exploration of swinging bass lines, silky vocals, and mellow vocoder effects. This combination makes the selection a testament to the enduring appeal of these genres, evoking a nostalgia for the soul of the 20th century.

What makes this mix particularly compelling is its delicate balance: moments of deep introspection intersperse with bursts of rhythmic energy, guiding us through a landscape where the past and present converge. It’s a musical narrative that doesn’t rely on overt technical wizardry but on the thoughtful interplay of tracks that resonate on both an emotional and a cerebral level.

In an era dominated by digital precision, Rude Jude’s vinyl set stands as a reminder of the tangible, almost ritualistic pleasure of listening to music in its purest form. Whether you’re a long-time aficionado of Funk and Jazz, or simply in search of a refreshing auditory escape, this mix offers a nuanced and heartfelt exploration of sound that lingers long after the final track fades.

To kick us off, let’s go back in time. So, which early influences do you feel have most shaped your approach to mixing?

Well, although it hasn’t aged that well, my introduction to events and specifically DJs was in the era of Bassline & UK Garage. It was watching DJs like Skream and DJ EZ on YouTube, minimal subtlety in the mixing between tracks, harsh changes in beat, and keeping the crowd on their feet with the pace of Garage and the skill of the DJ.

It was at this time when I also first heard Herbie Hancock and The Headhunters. That album really changed the way I understood music. Combining Jazz and Funk with synthesisers was such an interesting fusion to me. It was hard to comprehend. I think this influenced how I tried to fuse tracks together when mixing and being open to drastic changes in tempo and rhythm. 

What other interests or influences outside of music have shaped your style as a DJ?

Fashion plays a role in the music I listen to, but I think that’s possibly more due to it reflecting the culture at the time. It was New York in the ‘90s, especially skating culture, that had quite a big resurgence during my teens. I was a product of Facebook groups like the Basement where any Supreme or Palace t-shirt was the ultimate grail, and so the rebelliousness of skaters possibly had an impact on the music I listened to and therefore the mixes at the time.

This was combined with quite a dedication towards Art at school. Due to the ties with skateboarding and graffiti, artists like KAWS and Banksy were so intriguing to me. KAWS’ influence on media and advertising in San Francisco, and Banksy in the UK, led me to groups like Massive Attack and finding Blue Lines in my dad’s CD collection.

This was all up until about 18 when the rebelliousness began to wear off a little and, naturally, Disco entered the room. This then opened a new era, where I became more interested in what influenced the ‘90s being pop culture, especially in New York, and Samo before that.

Another key influence is cinema and film. Speaking about pop culture, I became obsessed with The Boat That Rocked, which helped connect the dots between the ‘60s and films like Blow-Up, featuring a score by Herbie Hancock. I definitely took influence from the sharp, ‘mod’ look, which led me to The Ipcress File and Michael Caine.

Speaking of Michael Caine, Low Rider from The Italian Job is a track that often finds its way into my sets when the crowd needs a reset — Quincy’s Austin Powers theme works just as well. More recently, I’ve become a huge admirer of John Barry’s work, especially on films like Midnight Cowboy and the ones mentioned earlier.

And how have these influences evolved over time?

Naturally, the pool gets bigger and more eclectic. Back in the day, I might have crammed five songs into 10 minutes. But now, with somewhat less of an urge to twist a knob, I can step back and let a track play out for the full 10 minutes — something I think the crowd will appreciate more...although 17 year old me would definitely disagree.

Looking back on your career, can you pinpoint any pivotal moments or encounters that significantly altered your musical perspective or style?

Tough! Hopefully, the best is yet to come. But some key milestones stand out. One of them has to be the very spontaneous, and, probably naïve, release of my single Aquatic Sunrise in 2020. My friend Rafe (on the saxophone) and I recorded him on my iPhone under the duvet, thinking it might help isolate the sound. At the time, I was strictly a SoundCloud artist, partly out of some youthful resentment toward major platforms, but I decided to put it out as my first release on Spotify. Surprisingly, it took off, got playlisted, and suddenly people were listening to it in New Zealand and Venezuela — quite far from the Buckinghamshire countryside.

Less of an encounter and more of a realisation that shifted my perspective on music was being at school with someone who is now a globally touring DJ and artist with 4 million monthly listeners on Spotify. Back then, I’d listen to his tracks on SoundCloud, and it was pretty eye-opening. Before that, making and producing music felt like an alien process to me. I had very little understanding of how or where it was made. I guess I assumed it all happened in big studios in LA or New York. But learning that you could just open an HP laptop and get a 30-day trial of FL Studio? That’s where it all began…

What do you consider when structuring a mix so that it remains engaging for both experienced listeners and those who might not be as familiar with DJing techniques?

Good question! I guess it’s more important to challenge the experienced listeners ;) 

Having a ‘sound’ is great for establishing an identity which people can familiarise themselves with. I think that is often captured in playing specific genres, which is important. That being said, if all I played was Herbie Hancock (although every track/album in isolation is brilliant) it might start to all sound the same, and that would be a shame.

What’s your approach to discovering new tracks?

It’s probably changed a bit over time. YouTube is still the library for most of my music. SoundCloud used to be where you’d find all these bootlegs and remixes, now it’s mainly mixes. That’s fun, but it can be time-consuming.

I would say I don’t discover that many tracks ‘on the go’. When I have a gig or a mix to prepare for, I’ll dedicate an extended period of time to navigate Bandcamp and Juno.

My advice to others would be to go to shops. Buying records online is hard, I find. It’s cliché, but don’t get a record for its cover. Unless it would make some appealing wall art, then great, frame it.

And how do you decide which ones make the cut for a mix?

Some great tracks just don’t work in a mix. Either you accept that or orientate around that song. I do like a challenge so I will often try and fit them in somehow.

I definitely leave a lot of it up to instinct. Obviously when creating a mix, you’re not reacting to a crowd but rather showcasing your music. I will pick a few that I am excited by or may have just bought - it’s nice to limit yourself not only with the number of tracks your working with but also the time you leave, I don’t think I have ever found that preparing for a mix a week in advance has led to an outcome I’m happy with. Enjoy listening to music new and old, then when it feels like you’ve got a few tracks you’re listening to regularly, jump in.

When curating a mix, what are some of the challenges you face?

The start! It’s always the hardest part for me and ironically, probably, the least important. I often spend ages trying to think of the perfect song to kick off a mix, especially in a live context. Obviously as soon as you arrive that goes out the window and you start with a completely different track, but that’s okay.

What can we expect next from the Bite Archive series? Are there any upcoming projects or experiments you’re excited to share?

Experiments is a great word for it! I’m tremendously excited about Bite Archive. Having been quite high on the ‘gatekeeper’ spectrum throughout university and the competitive Leeds circuit, I’m now shifting focus, digging back into the ‘Archive’ (I know, bit of a buzzword) to promote the music I love in different formats. 

As you may know, it’s a mix series, newsletter, and podcast centred around music, fashion, and culture. Being based in London this past year has been great for discovering new music live and curating a soundtrack from those experiences. I also ask podcast guests to pick tracks that mark key milestones in their careers, so the music isn’t just coming from me. 

As for what’s next, I’ve got a million ideas in my head. A big priority is connecting more with the people engaging in the newsletter and mix series. There are definitely plans to spotlight and collaborate with more artists in all forms, so plenty to come…

Sign up to Bite Archive here, and catch Jude’s Spotify here.