MAGIC MIX

hip hop . wonky-hop . breaks

WEEK STARTING 22 Jul

Genre pick of the week Cover of Sativa Edits Vol 1 by Inxxxwel.
The second release on Red Rack'em's sample heavy, 'from the vaults' imprint Nettles comes from Australian B-boy house-head Jules Inkswel. Nettles is all about releasing the CDR specials that Red Rack'em has been dropping in his club sets over the years and he first heard the tracks on this release in 2012 when staying in Melbourne with Jules while on tour in Australia. Music was shared, drunken fights ensued and donuts were thrown in faces. The tracks lay forgotten for quite a while in a folder called 'Inkswel Stuff' until recently when Rack'em began to play them out and the response was totally off the chain. So in the spirit of getting the good shit onto the streets again - here's Inxxxwels "Sativa Edits Vol. 1"! "Lipstick N Blushin" is the audio encapsulation of Desperately Seeking Susan being trapped in an elevator with Mesopotamia era B52s sound tracked with strictly analogue gear. Weirdo synth bass underpins oddball fx and sassy spoken vocals as we experience proper coked out, doe eyed NYC vibes. Sticking with the whiter than white NYC styling for the time being, "Bed Sores" sees Inxxxwel chop and drop a little old school disco rap, putting maximum emphasis on the kitsch lyricism and cock-rock guitar solo, while the groove rolls on and on. The B-side opens with the big room boogie of "Alicia Love James", a filter heavy banger complete with sunblushed bass, gliding keys and soulful vocals. If you've heard Red Rack'em, Inxxxwel or Benny Badge out in the field of late, chances are you've lost your shit to this dancefloor sureshot. Last but not least, "For Taki 183" is a rough and tough trip back to a time when the streets were paved with cardboard and boomboxes blasted out of every corner. Heavy beats and rhymes combine to give your dancefloor some shine. 

Piccadilly Records

Slipmat - Cityscape

    Piccadilly Records logo and white 'Cityscape' print on black felt slipmat. Designed by Mark Brown (markbrownstudio.co.uk), the design is a features a graphic representation of the Manchester cityscape, which also looks like an electronic waveform created by music.

    Piccadilly Records

    Slipmat - Cityscape / Half Record

      A pair of Piccadilly Records slipmats including one each of the 'Cityscape' and 'Half Record' designs.

      Slipmat 1: Piccadilly Records logo and white 'Cityscape' print on black felt slipmat. Designed by Mark Brown (markbrownstudio.co.uk), the design is a features a graphic image of the Manchester cityscape, which also looks like an electronic waveform created by music.

      Slipmat 2: Piccadilly Records logo and white 'Half Record' print on black felt slipmat. Designed by Mark Brown (markbrownstudio.co.uk), the design is a features a graphic representation of the Manchester G-MEX Centre combined with half a vinyl record.

      Piccadilly Records

      Slipmat - Half Record

        Piccadilly Records logo and white 'Half Record' print on black felt slipmat. Designed by Mark Brown (markbrownstudio.co.uk), the design is a features a graphic representation of the Manchester G-MEX Centre combined with half a vinyl record.

        Starship Commander Wooooo Wooooo

        Mastership

        Truly nuts and really kind of essential... the Starship Commander had his whole approach to the synthesiser voice technique. A B-boys / B-girls delight. Check the instrumental cut, 'Mastership' - a head nod synth voyage of the highest order. Limited copies. 
        .
        “How are you doing, Earthling?” That’s how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

        Left Ear Records went back to Coleman’s original master tapes for their vinyl reissue of the Commander’s 1981 private press album 'Mastership', a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, “Laugh and Dance.” It’s an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

        Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn’t afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late ‘70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

        The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman’s sister, a seamstress, created his outfits.

        Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

        Now 62, he’s currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he’s using metal ceiling tiles to line his walls. It’s starting to look like a spaceship. Coleman promises, “There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo! - Pat Padua

        'Lost Stories' is a collection of 18 beats from the archives of UK producer Jim Coles, best known today as Om Unit, and released by Justin “Kutmah” McNulty’s IZWID label. The album is both a portrait of the artist as a young man, and the completion of a circle, ten years in the making, that stretches from London to Los Angeles. Before he became Om Unit, Coles was working under the name 2tall. Throughout the 2000s he lived in and around London, lodging in various smoky flats where he would set up an always shifting home studio. Days were spent studying music, meditating, and learning the ropes of electronic music production while also honing sharp turntablist skills. Between 2005 and 2008, Coles made a lot of beats, part and parcel of his artistic growth. Lost Stories collects eighteen of the best, unearthed from old hard drives and Cubase sessions and never heard until now. Influence came from American labels such as Plug Research, Ghostly International, Poobah, and Stones Throw where a new generation of artists worked in a middle ground between hiphop and electronic, a place of infinite possibilities. The album shows a maturing 2tall sound while sketching out the outlines of what would become Om Unit: you can hear it all in the swing of "Potholes", the confident chug of "Timeless World", the hypnotic bass of "The Roller", the awkward loop of "30 mins", the strut of "Night Vision", and the uplifting vibes of "Over The Clouds". Kutmah first discovered 2tall’s music after Ras G had ordered copies of his last album into Poobah Records. Years before they ever set eyes on each other, the two were connected through a mutual appreciation of their respective work. 'Lost Stories' came together during a joint Australian tour in spring 2014. Featuring artwork by Kutmah, it captures a moment in time when experimentation mattered above all else, when possibilities felt abundant, and when a beat could be a doorway into infinity. And it also reminds us that you must remember where you came from in order to understand where you’re going. 

        FORMAT INFORMATION

        LP Info: Limited green and black marbled vinyl pressing.


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