Paul Robinson AKA DJ Maniphest

This interview with Paul Robinson, also known as DJ Maniphest, traces his deep involvement in the early development of hip-hop culture in Milton Keynes, from his teenage beginnings as a fan and rapper to becoming an influential DJ, producer and turntablist. Born in Bristol in 1974 and moving to Milton Keynes around 1984, his earliest exposure to hip-hop came through his older brother’s love of electro and breakdance music. Tracks like The Message, Rockit and early rap compilations sparked a fascination that soon turned into a lifelong passion for collecting records and learning the culture.

He first experimented with performance as a teenager, rapping over instrumentals at family parties before gradually shifting toward DJing. Inspired by the scratching styles of pioneers like Jazzy Jeff, Cash Money and Grandmaster Flash, he began teaching himself using basic belt-drive turntables, learning techniques through trial and error. Youth clubs, radio shows and pirate broadcasts introduced him to other local enthusiasts, and connections formed through CRMK community radio became a central gateway into the Milton Keynes hip-hop scene.

During the early 1990s he began creating music using early sampling software and home recording equipment, forming groups such as Overnight Citizens and later becoming involved with True Element. These collaborations helped shape his production skills and gave him opportunities to perform at local nights and events. He also contributed scratches to releases by groups such as Environmental Science, performing at major venues and festivals including Glastonbury and the Radio 1 Essential Festival.

By the late 1990s and early 2000s, Robinson’s work gained wider recognition. His track Unorthodox Turntabular Angles appeared on the international compilation Return of the DJ Volume 3, and his own EP Manifestations was released on vinyl and distributed across the UK, Europe and Japan. He also created remixes for established artists and worked with names connected to the Scratch Perverts and DMC, marking a period when turntablism was becoming a respected art form in its own right.

Alongside recording, he helped build Milton Keynes’ club culture through events such as Project B and Escapology, bringing well-known DJs and artists to the city and helping grow a local audience for hip-hop. He later remained active through collaborations and reunion-style events, including contributing to the 32 Troop Mayday release.

Reflecting on the scene, Robinson describes Milton Keynes as a creative hub driven by passionate individuals, though historically limited by its distance from London and the challenges of promoting music before the internet. For him, hip-hop has been a lifelong source of friendship, expression and community, built on shared enthusiasm, independence and the drive to create something from the ground up.