Thinking outside the box usually represents a paradigm with the ability to slay with conformity all those who try to embrace it. Within the music industry, many feign standing out but instead, like lepers, swiftly jump into a box they cannot escape. Not so for Natty, whose acute understanding of diverse musical forms has him acting as welder, fusing the sounds with a fiery guitar strum.

Hailing from North London, the 24-year-old singer, songwriter and performer is prepped to deliver his signature blend of “mix up” music to the masses and so far, the response has been pretty good in his native UK. Without the ordinary boundaries of genre, Natty has room to do what he wants and what listeners get in the end are solid tunes that span the breadth of afrobeat, hip-hop, reggae, folk and rock.

Natty steps to the mic with a number of grievances about the realities of urban life; anger accompanied by a cool older brother’s sense of reflection and understanding. His star rose last year after quitting work as a studio engineer to pursue his own music. Since then, he signed to Atlantic Records and his “intelligent words on racial issues” have also led to involvement with Love Music Hate Racism and a track, “If Is” on their benefit album.

Working toward social change and setting up youth workshops, Natty hopes “will be something else to talk about when the music is done talking.”

I had a chance to speak with Natty on the day his “Cold Town” EP dropped and — even if he will hesitate to call himself a star — it is safe to say the charismatic performer has star power.

Natty’s full-length debut, “Man Like I” will be released on July 14. Until then, check him out on MySpace or at one of his many shows in the UK through the summer.

TRACE: You started out engineering at Sphere Studios in London’s Battersea; could you describe how you got from behind the production boards to creating your own music?
Natty: I was creating music while I was at Battersea. I was kind of working there to have free studio time. I’d just be there, trying to do what I could early in the morning or after everyone went home. Even before I got there, I was writing music. I didn’t make the transition by working behind the boards and then one day deciding to go into the booth. I just stopped working in the studio and started doing open mics and everything kind of went from there.

T: You have mentioned Lee “Scratch” Perry as one of your musical influences, who are some others?
N: Fela Kuti and Neil Young. Common is a big contemporary one too. I also like Miles Davis for the space he creates with his music.

T: Do you think these influences come out in your music?
N: They definitely come out in my music. I listen to a lot of reggae and African music. With African and reggae music, you can really dance to it and at the same time have some positive perspective coming out as well. The influences are all organic; I learned a lot just from listening.

T: So how did you choose reggae as the music to express yourself?
N: I wouldn’t classify myself as reggae. You might hear “Cold Town” [one of his first singles] and think my music’s reggae, but if you listen to the whole album, you would see that it isn’t.

When people think of what type of music I make, I say it’s mix-up, mix-up music.

A lot of the people that influence me are all in the music — from Neil Young to Van Morrison and the Black Poets. Reggae is in there for its groove and warmth, and a lot of African music. But it’s all there.

T: How would you classify Natty then?
N: A lot of journalists over here find it hard to pigeonhole me. It’s similar sounding to a lot of different things but then it’s mixed up, kind of, into a new style. I’m still coming up with a name for it.

T: What are you saying about London that other media isn’t saying or showing?
N: I’m not saying anything different but I’m coming from a different perspective. I talk about what all media groups do except they’ll write about us, urban youth, in statistics and then go back to their nice houses or to the country. We have this thing called “hoodie” culture, whatever that is, and it’s mainly teenagers, 13 – 14 years old. I’m just painting a picture of a place the media don’t really know about. It vexes me when they talk about youth culture and black culture. I’m not giving an opinion on anything. I just want to say what I want to say about how things are and then allow people to discuss.

I get some hate mail from certain sections that say, “you blacks or you immigrants should go home,” and stuff. But you know…it is what it is.

T: Would you say then that race relations are getting worse?
N: Race relations have actually gotten better — I think it’s in the best place it has ever been in terms of how people meet and treat each other on the street. However, institutional racism is worse. You don’t recognize it right away. Some people don’t get jobs because oh, the black quota is filled or something. Or in school, you might get kicked out before your parents are called in to discuss your behavior or an Asian would come into the tube with a backpack and people would move away from them, stuff like that.

These are the things you see when you’re older and you can reflect. You suddenly understand the reasons why your teachers, for instance, may have treated you the way they did.

I have a lot to talk about, a lot of grievances. But there are positive things to talk about too.

T: Okay, so let’s talk about some of the positives in your music.
N: In the mixture of social commentary are stories about other aspects of life, like family and love. I’m not writing about sex or how good someone looks, but the everyday aspects of real love encounters. I chronicle life’s good and bad times.

T: What do you think your music could say to people outside of London?
N: My music isn’t really London based. It was written about my life in London and it would be for London listeners, definitely. But, it’s really more about my generation.

I listen to old music and music from all over the world and feel my music is composed of global songs from a London perspective. The world is at a click of a button these days, so the music is there and good for everyone.

T: If you could collaborate with anyone, living or dead, who would it be and what would you do?
N: I would have a supergroup with Tony Allen on drums, James Jamieson on bass, Jimi Hendrix on guitar and Miles Davis on trumpet. I would sing the duet with Billie Holliday. I don’t know what we would do yet, we’d have to get down and jam on it so we won’t curb anyone’s creativity. But it would be jamming because Tony Allen would be on the drums!

T: What else is there about you that you want people to know before your album comes out?
N: This music, it’s all about the live show. I don’t want to blow my own trumpet but you’ll understand everything when you hear it.