Addict Volume II by Addict Clothing

GBP TWELVE NINETY NINE

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MASTER_DOC MAINYES.1 2 PG No. 88 - 89

INSIDE mr jago’S sketch book

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monster paint

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O.TWO INTERVIEW

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kenny dope’s TOP TENs!

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Matt beardmore interview

KARTA interview

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Mitch AW04 link t

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AIM’S TOP 10 HORROR MOVIES

Aim INTERVIEW

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STash AND FATS IN N.y.C

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StaSH SS05 GUEST T

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index

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PG No. 1

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gatefold Stash Graphic

INSIDE FRONT COVER

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london police interview

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steff’S work

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dj First rate’S TOP TEN

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flynn trotman

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SWIFTY INTERVIEW

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Soopa J INTERVIEW

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CASH MONEY AND AUL PURPIS

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mr jago SS05 armoured colour T

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mc wrec INTERVIEW

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u-dox toys

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Stalker AND FLYNN INTERVIEW

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mode 2

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BEN SWIFT ARTWORK

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CASH MONEy INTERVIEW

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rob mac & matt smooth interview

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she one interview

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U-dox thrown off balance

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Addict DEck GRAPHICS

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x-LArge INterview

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Mitch & Swifty AW04 typo T

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meric AW04 tee AND INTERVIEW

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kenny dope interview

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rodney p & skitz

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Claw interview

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MITCH INTERVIEW

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Roots MAnuva

ADDICT HOMAGE TO PANTONE

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ADDICT VOLUME TWO INDEX

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kid acne SS05 WOMENS T

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the nextmen INTERVIEW

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james zabelia INTERVIEW

kid acne interview

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factor of three

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WIll barras interview

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gripper INTERVIEW

mhi MAHATOYS

flying fortress interview

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two wheels 1

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vans TIMELINE

monsterism PLAYBEAST CARDBOY

TOP TEN CLASSIC arcade games

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chewy AND FATS

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ADDICT BEATS COLLECTIVE

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SINCRU

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cat ARTwork AND SS05 WOMENS T

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featurecast & the mixologists

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CD LISTING

CREDITS

INTERNATIONAL DEPLOYMENT

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THE specialist

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ADDICT DIY SERIES

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girls AW04 PHOTO shoot 4

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girls AW04 PHOTO shoot 2

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BIG BUD INTERVIEW BELIZE FEATURE

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two wheels 2

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blade INTERVIEW

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tokyo

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Hospital Records INTERVIEW

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THE PHILADELPHIA CONNECTION photos by Josh Cole Wide Angle

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photos by Josh Cole Wide Angle

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Roots is not only a super MC, producer and artist in his own right but also one of the domestic scene’s most original and innovative characters. He has released two landmark LP’s, ‘Brand new second Hand’ and ‘Run Come and Save Me’ plus a heap load of sought after collaborations with the likes of Leftfield and Ty. Look out for his third long player hitting the street this autumn on Big Dadda Records, which promises to further establish him as a credible international artist who continues to push the boundaries of hip hop.

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No.1 B Boy Addict. It makes you think !! but I aint going into that. Live now enjoy it.

in the 80s” . I remember one time we had a circle outside a club about 2am (we use to do that a lot cos the plaza had a black & I left school over ten years ago now it don’t seem white checked marble floor and it was open that long ago dough. In the school hall was were at night) most of us were to young to get in I use to try continuous backspin on my own most the clubs so we’d break where we could. the time cos this was a time when no one was We would always get trouble from groups of breakin ( I mean (berneys) blokes on the piss. The other day we if you were in the were breakin and someone through a potatoe street B boyin at us from a block of flats! I found that pretty amusing. Makes a people would be change from bottles; always some kinda shit happening. like “that went out B boyin is something I just cant get rid of I mean if I go somewhere in a new outfit or sneaks and chunes go off I cant help myself I have to get down (u don’t understand I love my trainers man! I like them

I was sittin here just smoking on my own when my phone rings. Its my answering machine; but of course I can t hear my messages cause I got no creds, so I call my phone to get to my mailbox, ive got a new message from Addict ( left on Friday and today is Tuesday ) telling me that my page is done lookin soup-a and shit. They’re waitin for me verbals. So if you re reading this I made it. Hope it makes sense , writing isn’t one of my favourite things to do, so bear with me and hope you like the pictures.

photos by Kats

Before I talk about anything I want too big up Tiny G who died a year ago, almost to the day as I write this , the last time I saw him alive was at 8 mile final at Elephant and Castle. I was thinking this kid is starting to get some serious shizzer and gunna be super good. A few days later I got a call telling me he was dead. I couldn’t believe it I thought G would be around for ever and had so much more potential too show the world. Rest in peace Tiny G.

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to look crisp). If I’m injured and I see someone breakin in front of me I have to break no matter the pain: I cant help myself . I like to freestyle its just the way I’ve always done it. No disrespect to set repeaters: a killa set is a killa set. But when ure around for a while u get bored of seeing the same faces in the same places, doing the same sets, its predictable and for the fashionable I mean u go in a battle and u end up losing to niggies who cant even do basic footwork but I don’t give a fuck, I do the gritty to the bone shit. Watch out! Soopa j video dvd out soon!!! Went to j day in Brixton we were Rolling like Kings cos were packin the

weed and got plenty of mouth to feed Its like an A team van mission im feelin like B A barackas cos I got on some new sneakers and alright my gold chains pretty skinny. Don’t know why I bothered: the women were minging . Got high, so high . I was breakin on the grass so hard I looked like a scarecrow, scuffed my shelltoe, ate some chicken and rice got more high. RLK Noodles Snake Eyes and G3 hijacked the stage so that they could mc. Saw Dolby; he did a crispy 199o, some south African crew tried to bite me. I said you can have a picture but then move along ,(politly). Ragas with big bags of weed r sliding past me the words singing from the bags r buy me I’ve got my own stash otherwise the guy woulda never got away without air tax. Then its home to the flat for a wash and to get my dosh then its off too the club step in the room watch Soops go off and when I’m done the floor got cracks…..

Big ups TO ADDICT, ACME, MY BROTHERS, STONE YOUTH, HIT’M, ABC CREW, FSA, SCARECROWS, DJ STIX, DJ, DANGERUSS@RLK, DJ PARANOIA, SPY, BENONE, YEAH MY MOM, TEAMRLK, KATS4PICS.X, ANDY@RLK 4CHARACTER, UKRSC, PUMA, SARAH. BENTLY,

DMAN SMOOTH, FEILUNG, LILTIM, SECOND2NONE, EVERYONEWHOCOMES 2CLASSINFULHAMFEEL LIKEIMSKANKINYOUCOS ITOUGHTMYSELFSOSHO ULDYOU, ALL THE PEEPS I FORGOT IN A RUSH YOU KNOW WHO YOU ARE…..

Fuck yous

photo Ophelia Wynne

ALL U WHO HOLD MY CHEQUES FOR 4 MONTHS THERELL BE NO MORE OF THAT. THE TEACHERS AT DANCE SCHOOL WHO TRIED TO STOP ME B BOYIN. THE FUNNY GUY WHO THREW THE POTATOE. AND ALL THE CHIEFS I FORGOT.

PEACE SOOPAJ

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Andy Turner, aka Aim, hails from Barrow In Furness, Cumbria. His father, Terry Turner of the ‘Terry Turner Jazz Quartet’, has been a major influence, both through his musical instrument shop in Barrow and through taking Andy to gigs when he was young, “As long as I can remember I’ve been in and around music. My earliest memory is sitting on the edge of a stage in some working men’s club watching my dad rehearse.” Last year’s ‘Hinterland’ LP followed in a similar vein to his widely acclaimed first album ‘Cold Water Music’. Guests included ‘Souls of Mischief’ on the old school hip hop stamped ‘No Restriction’, Kate Rogers on ‘The Girl Who Fell Through The Ice’, other artists on Hinterland include the legendary Diamond D who featured on ‘The Omen’. Aim considers Diamond D to be “one of the greatest hip hop producers of all time… his music is one of the biggest influences of mine”. One of the standout tracks on the album must be Stephen Jones singing on ‘Good Disease’ which Jones also wrote the lyrics to. Finally, ‘A Twilight Zone’ features Andy making his singing debut. In 1989 Andy was spinning up-tempo breakbeat, the same music he went on to sell when he set up his own store in Barrow. After the record shop and a brief flirtation as a drummer in an indie band, he made the break and signed to Grand Central Records in the summer of 1995. Andy first met Mark Rae through the Fat City record shop whilst digging in crates and buying records containing drum breaks. Intrigued, Mark asked him what he was working on, the result was ‘Concentrate’ a Hacienda basement classic from the ‘Pacific North West EP’ which was released in July ’95. Andy went on to become responsible for some of GC’s classics, The ‘Soul Dive’ 12” has become an essential part of most Mancunion DJ sets and the quirky sampling of Evil Kenievel in ‘Original Stuntmaster’ is still name-checked by countless DJs as a favourite. His signature tune though, is the rare ‘Loop Dreams’ 12”.

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director Herschell GordonLewis

most of those tracks were written before I had a deal, I’d spend months on one tune, as long as it took to get it perfect. Listening back now I can hear the amount of work that went into them and even I’m impressed!

and Moving Shadow. I’m also heavily influenced by bands like The Smiths and Nirvana, especially when it comes to writing lyrics, so I guess if you throw all these influences into a blender you won’t be far off my ‘musical style’.

To coincide with the recent tour, Grand Central released the compilation ‘Means Of Production’ a limited edition CD and double LP that for the first time brings together all Aim’s early 12” like ‘Loopdreams’ and ‘Original Stuntmaster’ – “… my personal favourite.” recalls Andy “It’s pretty simple really, just an old country loop with Evel Knievel doing his thing over the top, if ever a track encapsulated the vibe or sound I wanted to create when I started sampling, this is it. This compilation reminds me how much work used to go into the early GC releases, when we’d never released a record, when I was spending months on one track, when I was making tunes simply so I could play them out and give copies to friends.” Aim effortlessly proves that from these early 12’s, to his debut LP ‘Coldwater Music’ and then to his second album ‘Hinterland’ he continues to evolve both as a DJ/Producer and as a musician.

The Underground Crownholders is one of the best B-sides of any 12’’ I’ve bought, what does it feel like when you first drop a track like that to a full club crowd?

You are about to become a Dad, do you think being subjected to the Teletubbies 5 times a week could be detrimental to your future track making?

We caught up with the man from Barrow to find out what he’s up to and to talk classic gore... Apart from vinyl is there anything else you collect? Not so much now. I used to collect DC comics when I was a kid, I had shoe boxes full of them. I was also into horror films and have the first 70 issues of Fangoria magazine along with a nice collection of videos like Maniac and Blood Feast. I used to have to order them from dealers on barely watchable VHS bootlegs. Now I go into Tesco and they’ve got the digitally remastered version of Driller Killer on DVD! When I first discovered your music it was around 97/98 and tracks like Loop Dreams, Phantasm and Soul Dive had a massive effect on me and started my search for all your early 12’s and remixes. Recently a lot of younger people we know through the brand in their early 20’s, who were too young first time round, are getting heavily into all the same early Aim tracks and the first Grand Central albums like ‘Central Heating’. Does it surprise you how much impact these tracks still have today?

Aim first found hip hop at a golden age: “It was the best time to get into it. Showbiz, AG, Pete Rock, Lord Finesse… It’s this period of good, jazz-styled hip hop that still affects what I do.” And bitten by the bug “I immersed myself in hip hop for two years and didn’t listen to anything else… It’s only the last couple of years that I’ve been listening to music as a whole again. I don’t see any problem listening to the Beta Band or Diamond D. It’s all good music to me.” Andy cites musical influences including The Smiths, being the first band he went out and collected. “I’ve heard all the hip hop now that’s going to influence me. I’m into different stuff now – everything from Pet Sounds to Lone Pigeon.” director Sean Cunningham

His latest venture is the Aim Live band, a 10 piece collective who have recently played at venues such as Cargo, The Big Chill and a packed Ritz nightclub in Manchester on a rainy Sunday night in order to celebrate eight years of Grand Central.

At the time I made those old records, there really wasn’t much like them around and I never knew whether anyone outside my circle would be feeling them. I was making them for me and my friends and that was it. I wasn’t trying to fit into whatever was musically fashionable at the time and as such, I think there is a timeless quality about them. Also,

director Herschell GordonLewis

Thanks a lot! Tracks like Underground Crownholders are made specifically for the dancefloor so when you first get to play them out and you see people are into them it’s a great feeling. “Job done.” as they say. Demonique on Cold Water Music features dialogue from Donald Pleasance in the film Halloween, did the sample match the tune or did you set out to make a track in homage to the film? The track is a homage to 80’s slasher films, in particular Friday 13th and Halloween. I love the scene at the end of Friday 13th when the killer has been killed and the last remaining survivor is drifting in a canoe on a still lake in the morning. The soundtrack changes from a heavy, ominous feel to an eerily optimistic one and that’s what I tried to emulate at the end of Demonique. Once I’d finished the instrumental I went through all my videos to try and find some dialogue that would suit the feel of it and ended up at Halloween. The words and the way Donald Pleasance delivers them fit perfectly with the music. The title of the track comes from and old American magazine I used to buy called ‘Demonique – The Journal Of Obscure Horror’. Where did the name Hinterland come from? It comes from a line in a poem by a writer called Charles Bukowski. I think it’s a German word. Literally, it means land between cities, a no man’s land or the land behind a coastal settlement. It kind of describes where I grew up and to some extent the music I make. Most of all, I just thought it was a cool word, it looked good written down… How would you define your musical style? Ahhh, the eternal question. The eternal answer, I don’t know! I love hip hop from the late 80’s through to the mid nineties (in particular, music by producers like Pete Rock, Diamond D and Showbiz) and it’s still the biggest influence on what I do now. I’m into old jazz stuff, people like Thad Jones and Buddy Rich and when I started DJ’ing I was playing underground US house and early breakbeat stuff on labels like Shut Up & Dance

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There’ll be no Teletubbies for my kid, he or she’s gonna be force fed a diet of Charlie Brown cartoons! Whats it like on the road with Aim live? Tiring! It’s a lot of fun though. One thing about making music the way I do is that more often than not you’re working alone, whereas with the live thing I get to work with a load of my mates for a few weeks. At first I wasn’t sure how my music would translate live. As it turned out, the fact that I use a lot of jazz samples, flutes, horns etc. and always try to produce my drums as if a real drummer was playing them meant that it translated surprisingly well. The fact that I was lucky enough to know some amazing musicians also helped a lot! The last tour we did was a great experience, we played Shepherd’s Bush Empire and Manchester Academy and filled them both. Having said that, I was always aware that the material we were playing was pretty old so we won’t be going out again until my next LP is released and we’ve got some new stuff to play. What material have you got in the pipeline? I have just finished working on an LP called ‘Life On Earth’ by Niko, a new signing to Grand Central Records. She’s half Japanese, half Spanish and moved to the UK from Brooklyn NYC. I produced 4 tracks on the album and helped with the beats on a couple of others. It turned out really nice, I reckon she’s going to be huge. Also, I just finished a mix CD for Fabric in London. It contains loads of my favourite music from artists like Tom Scott and The Village Callers through to Ed O.G. and INI. They did a great job clearing all the tracks as there’s some pretty obscure stuff on there. Finally, I’ve just started work on my next LP, my studio is set up at home and running nicely so hopefully I can get it finished and released sometime next year. Finally Andy, I know you’re well into your classic 80’s slasher movies, what’s your top ten horror movies of all time and can you throw in your Summer vinyl top ten too? No Problem…

Interview by Chris Carden-Jones

01. Psychotropic – ‘Hypnosis’ 02 Records 02. Diverse – ‘Jus Biz’ Chocolate Industries 03. Beastie Boys – ‘Ch-Check It Out’ Capitol 04. SWV – ‘Right Here’ (Lord Finesse Remix) RCA 05. Niko – ‘Life On Earth’ LP Grand Central 06. InI – ‘Fakin Jax’ (Rude Youth Mix) Elektra 07. Eumir Deodato – ‘Arranha Ceu’ (Skyscrapers)’ Equipe 08. Diamond D – ‘Best Kept Secret’ (45 King Remix) Chemistry 09. Dr Dre feat. Snoop Dogg – ‘Still Dre’

Aftermath 10. Sisters Love – ‘Now Is The Time’ A&M

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Friday 13th (1980)

My favourite horror film. Against an idyllic backdrop of summer camp countryside, Jason’s mom exacts bloody revenge on the camp councillors who let her only son drown. The ingenious kills, including an arrow through the neck from under the bed, were designed and executed by legendary make-up artist Tom Savini. A classic.

Two Thousand Maniacs (1964)

Directed by ‘the godfather of gore’, Herschell Gordon Lewis, this tells the story of a proud Southern town settling old scores with unsuspecting North American visitors. They think they’re guests of honour at centenary celebrations of the American civil war yet it’s their own violent deaths which provide the entertainment. Watch out for the ‘barrel roll’ in which one guy is persuaded to lie in a wooden barrel as 9 inch nails are hammered through the sides, it’s then sent hurtling down a hillside with obvious results.

Maniac (1980)

Unlike many exploitation films around at the time, Maniac attempted to get into the head of its killer rather than present him as a lifeless, zombie-like presence. Joe Spinnel, as the maniac, is a photographer by day and a serial killer by night who has sex with low rent hookers before slowly and graphically scalping them. Like Friday 13th, the special effects in Maniac are handled by Tom Savini and are arguably his best work. Especially gruesome is the moment where the maniac jumps onto the hood of some guy’s car and, through the windscreen, blows his head apart – with multiple camera angles and in slow motion!

The Texas Chainsaw Massacre (1974)

Forget the recent remake, this is the real deal. Unrelenting and claustrophobic, The Texas Chainsaw Massacre is an exercise in terror. The lead actress, and the film’s only survivor, was cast due to her ability to scream violently for sustained periods and once she’s captured that’s basically all she does. Athough made on an incredibly low budget, the film boasts some of the best sets ever designed (whole interiors created from different animal and human bones) and, in Leatherface, one of the ultimate modern horror icons.

Halloween (1978)

Often cited as the original ‘slasher’ film, Halloween laid out the blueprint for countless inferior imitations. Directed by John Carpenter (who also created the classic score), the film introduces Michael Myers, a psychopathic escapee from a mental institution in which he’s been held since a young child for murder with a carving knife. Lent an air of quality and authority by the casting of Donald Pleasance as the psychiatrist on the trail of Myers, Halloween remains a benchmark horror film.

Motel Hell (1980)

As movie studios tried to cash in on the slasher craze, British director Kevin Connor was given a relatively big budget to make a no-brain gore fest. Instead he came up with an intelligent black comedy and an unsung classic. Based very loosely on the story of Sweeny Todd, Motel Hell sees Farmer Vince making good money from his ‘special meats’. Filled with surreal characters and plot-lines, the films climax presents one of the most remarkable images in horror history as Farmer Vince dons a pigs head and goes on the attack with a chainsaw.

The Omen (1976)

Big budget and at times a little overblown, this is still a great movie. The basic plot involves a US ambassador and his wife whose still born child is switched at birth with the devil incarnate. A few years later he makes his move… Throughout the film there are some genuinely unsettling moments such as the grave of Damiens ‘mother’ being prised open to reveal a decomposed goat, and his birthday party where, in front of loads of little kids eating cake, his nanny jumps from the roof of the house and hangs herself with a dirty rope. Heavy.

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Friday 13th

2000 Maniacs

Maniac

The Texas Chainsaw Massacre

Halloween

Motel Hell

The Omen

Phantasm

The Fog

director Sean Cunningham director Herschell Gordon Lewis director William Lustig director Tobe Hooper

director John Carpenter director Kevin Connor director Richard Donner director Don Coscarelli

director John Carpenter 10. The Incredible Melting director William Sachs

Man

Phantasm (1979)

Truly bizarre, Phantasm is the tale of Jody, a teenage boy who notices strange goings on at his local mortuary. On further investigation it becomes apparent that beings from another dimension are harvesting humans, shrinking them down to half size and sending them through a portal to work as slaves on some distant red planet. Brilliantly written and realised, Phantasm is an example of what can be achieved with a small budget and a big imagination.

The Fog (1979)

Another great film by John Carpenter. Set in fictional Antonio Bay, it opens at night around a glowing campfire where an old sailor is spinning a tale of terror and revenge. As the fog rolls slowly into the bay it brings with it vengeful ghosts, indignant victims of a century-old shipwreck who have come for what is rightfully theirsâ&#x20AC;Ś Beautifully shot and boasting great special effects, I love this film. Whilst Halloween gets all the applause, I think The Fog is even better.

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The Incredible Melting Man (1977)

On a mission to explore the rings of Saturn, an astronaut is contaminated with some weird solar virus which, on his return to Earth, causes his body to slowly melt. Only by eating the flesh of other human beings can he prevent his complete disintegration. With the exception of the stunning, state-of-the-art make-up effects, this may not be the most accomplished movie on the list but it brings back great memories for me and was one of my favourites as a kid.

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MITCH & SWIFTY Wild Styles Tee SS05

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It all began in November 1991. A place not so far away from the center of Hollywood, on Vermont Avenue, the very first X-Large store opened. The scene had already been developed around the store. It was a combination of skateboarding, rave, hip hop and whatever was happening then. At the same time, on Melrose Avenue, a huge ‘Grunge Movement’ was exploding to its maximum height.

time when other cultures – such as hip hop, rave, jazz-funk and club scene – sought to expand their influence and power in the world. It was the time when The Beastie Boys captured a brand new legend with a release of ‘Check Your Head’. It was also the time when rockhip hop cross-over bands like Cypress Hill and House of Pain began to gain popularity in the L.A. area. X-Large had it all – a shop with its own concept and its own line of clothes.

On Vermont Avenue a new thing was happening. There were a few other shops that sold similar products, but it was only the X-Large store that had everything: Ben Davis to Carhartt, Adidas to Puma – and an original line of clothing with utilitarian flavour.

Ever since then the store has been a leader in the L.A. scene. The biggest hit of the early days was definitely an X-Large original check shirt. A pair of baggy pants that went with this check shirt was truly a baggy one. Among the other items that were popular were XLarge baseball caps and original T-shirts.

The line was named X-Large – a combination of Gen X and Living Large – and a descriptive term for the oversized baggy jeans they made. While merchandising all of these products together, the store began to present a unique style and perspective – a representation of utilitarian-wear as fashion as opposed to everyday wear.

Of course, you can’t talk about the early days of X-Large without talking about Mike D of The Beastie Boys – one of the original investors and still a shareholder today. Mike helped Eli and Adam to

Soon it became a ‘look’. It was also the

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better create a unique concept for X-Large. Blending skateboarding and hip hop culture XLarge made an original style fashion out of the mix. Skatemaster Tate, the No. 1 DJ in the L.A. club scene in the early ’90s (and widely recognized among all skaters in the area), was another person who helped X-Large. And at the same time skater Billy Valdez worked as a staff member for the company. In December 1992, just 13 months after Vermont Avenue first opened, X-Large went international, opening a store in Tokyo. In 1993, the New York store opened. In 1994, x-girl was born, and in December of the same year, The Beastie Boys were called out from their own Japanese tour to make a guest appearance on X-Large night held at Club Citta. In September 1999, X-Large launched its web store. And in March 2004, X-Large brings the Xlarge-nation an enhanced online experience with the new www.xlarge.com In August 2004 the Addict and X-Large guest artist ‘Joints’ tee hits the streets…

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01 02 03 04 05 06 07 08 09 10 11 12 13 14

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Fluff Power I heart Wrinkled Xlr8r Advert Destroy Resist Countdown Lil Pup Alcohol X-Cloud Sangre Violent OG

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X-LARGE Guest Tee ‘Joints’ Tee AW04

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Underwor D: So Paul, are you still stoked on ld tour of Canada, w a fugitive? ev hi er ch yb D od C y’ K: K: Chillin! is funding s help. H a ha , sh ut up yourse for me. I’m D: The Unde getting my Been to see cent lf, can’t talk rworld tour about that! D: What do After spea shit ready for th re distribution in ! When is it? K: I have to with people you miss about En springs. king with you we’e Underworld tour ofVancouver re driving gl ? le an av Ca d e na ar an ar da ound th d do you ke ound Ca . 5 hours to ep in touch the hot plenty, sk nada for 61 dayse 23rd June. We ar K: Yeah m D: That’s a long ole dr some Britisate with some of thdoing 31 demos. eI’ltravelling all get nuff vian! I do miss the UK ive just to si e h l , ts bu sh ge be ge th it! t t st t m ou to a in Canada ost of all I soak on? from Side gh, Tom M K: Yeah man see and bust ou miss my kr , its real go D: You’re sk come visitwalk rocked out hereurray has visited m relax the bo t od to chill me! ating hard e d Horslu! I . It’s alway nes you kn by the hot go t no a ey ow. s good toan pro model w, more th springs, ni see kru, yo an ever – w out on Bluep ce to D D: So Paul, : It ’s go hy have yo od ri nt to w ? e he m ar et u not K: I know is that impo yo kid weari back arou rtant to youu?have not lost your Maybe afteman! Everyone I sk sick lip tricng a shinny shell sund 1988, I remembe Swindon ac ate with as r the Bluep it, styling it r this little ks on the m cent Paul, K: shop in Sw ri ks Ye in nt up ah i ramp m video is dr , bust g so , ve indon UK. opped. e that question. D: There ar me into my rootry important. I’m En So Karta wat the back of our loin e gl s ca lo is yo ha ad l h u sk t bo s yo kn Ca at of K: Ha ha! rn and bred u wearing ow. e nada. Has now? this helpedskate parks and go and heavily weari Add D: Good to no bullshiI’m od you improv ict t man! Seng hear that! e your skat street spots in K: The park ou riously! I lojeans and a Guest Art you and Ch So t to Paul, who ? eb oa ve s is ri rd s t in th Tin fir do is Canada ar shirt, g? st started shit! I rem I’m surrou you want to day one. e A ber whe give a shou got shit liknded by 30 differensome of the best K: My Mum ups from mFor that I’m stokedddict, you hooked em t me up fromn in the wor e that arou , and it’s he t skate pa and fam, th y current sp yo B lu ur ld nd rk eprint skat e Addict fa . lped me ge tricks. onsors. s yo m u an ha ! ve W mily, hold it eboards. Fi hen you t hook no excuse R D: So how lk , Ir ie fty/fifty kru. do n and he not to train come you st thanks D: What tric Peace and ights, UK and Canada Claire, I lowve up arted skateb love 2 you ks are you . you babes!! oarding? all. Rock on K: I was ar working on ou !! ! right now? K: Kickflipb and started nd 7-8 years old, acksidenos Lillie doin skating. I remem I just picked up a sk ebluntslidek ateboard ickflipback D: What the in our streg an ollie up onto a wber one of your mat tailbigspin fucks that? . ruled back et. I guess that’s m all and then doing es – Tom INTERVIEW Have you la a boneless then! y early mem WITH KART nd ed K: H an a A by David y? ha! Yeah, qu ories. Tom Jefferies (J Lillie ite a few Ja D: Who are aff) ff ! your curren D: I remem t sponsors ber the big ? graff? K: Addict, B dubs you us lueprint, DC ed to do, ar and 50/50. e you still K: Of course into D: Do they look out fo br o! Th tr er ains have e’ r you? s a co ol but these dapieces on and ther graff scene in Vanc K: Yeah man done a piec ys I’m so concen e’s nuff sick street ouver, all the always he ! They all look ou trating on e in over productions bust outline big help fr lped me out 100%t for me. You and Chri s everyday4 years. Now I takemy skating, I haven’ om 50/50 Blueprint . and now ,I’m lots of phot t the same.s have os and I I get just about to go on th e D: So Paul,

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what have

you been up

to today?

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Jefferies (J

aff)

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K: So Matt, what are you doing right now? M: Well, right now I am healing a fractured kneecap and couch surfing. K: Thatâ&#x20AC;&#x2122;s a bitch, how did you do that to yourself? M: Well, when Blackcomb closed, they pushed up a big step up jump that launched you to the top of a cliff. I messed off the takeoff and piled my legs into the rocks. I almost fell back down to the bottom of the cliff after impact but a cameraman saved me. I felt lucky â&#x20AC;&#x2122;cause it could have easily been way worse. K: What are you going to do when you are all healed? M: I think I will head down to Mt. Hood for some camping, fishing and some summertime shredding. K: So where did you grow up and what did you do to make it happen? M: I grew up in Revelstoke, which is located in the interior of B.C., kind of a small town, 7500 people, in the middle of nowhere. I used to work in the forest industry, with my chainsaw

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and brushsaw – every summer since grade 8, to save up for snowboard gear, a couple trips, and enough beer to drown the sorrows of a shitty, labour intensive job at the local sand pit, for the weekly Bush party where everyone sits around a huge fire on the tailgates of their truck and kills boredom with beer. K: Were you born into the lifestyle? M: You could say yes because I lived in the middle of the most epic mountain range, but you could say no, because I had no way to access them other than by foot. The local ski hill

was a joke because it was built at the very, very bottom of the valley and went less than a quarter of the way up the mountain, so all you got was snow with rain soon after a snowfall. If it dropped to below 0º it turned to ice, so this lead me to seek for higher grounds, which made me buy a pair of snowshoes. My posse and I hiked our way up to sweet powder and epic backcountry jumps on weekends and during the week we always had our close, after school launches. So to answer your question, through hard work and determination I was able to conjure up enough shred time to keep myself content. K: It seems that to get anywhere in snowboarding you need filmers, photographers, contests or some sort of snowboarding program of any type… M: The Revelstoke scene was lacking all of those. It seemed that I was destined to become a logger or a hockey player. K: How did you connect with the Addict guys? M: When I first left Revelstoke for Whistler, I didn’t know anyone there. The first person that I befriended was an English snowboarder by the name of Steve Wood. Steve was sponsored by Addict and had all the Addict gear. It seemed that everything that I saw said Addict was all dope shit, and I was always wishing that I had some dope Addict shit of my own. I remember the day that Steve told me that Addict David was coming for a visit, I asked if I could hold them up for awhile cause Steve lived in the Boonies and I was closer to the action. That was one week I will always remember. Addict David is one guy you will meet and always remember. The guy is walking advertisement cause he is such a crazy dude. That is the main reason I am so pumped on Addict, it’s cause the brand is run by the same philosophy that David lives by “It’s all about the lifestyle man”. That is why David and I got along so well, because I believe that as well. After I showed David all my video segments and magazine press David said he would send me over an Addict box and get me involved in the Addict scene. Obviously I was stoked. K: Last season was a strong one for you – tell us about it. M: Well, I worked super hard and went filming almost every sunny day and managed to get two video parts done. I will have a full part with Absinthe films new release ‘Pop’, and in Alterna action films new release ‘Fast Food’. I will also have a part in our friends video ‘Shoot the ones you love’ by Gnarcore video play. It’s a fun project that we have all the creative control over. I also got a lot of good pictures that will get me some good mag coverage. K: So I heard that you’re also quite the sled neck, was that a good purchase for you? M: Ya, totally, besides it being fun as hell, it’s also a vital tool to find new jumps and it also shuttles riders to the top of the runway. Whistler/Blackcomb jumps have been seen in too many movies, so in order to find new jumps and terrain the snowmobile becomes quite handy. K: Who do you ride for? M: Addict, Atomic, Section outerwear, Globe shoes, Drake, Northwave, Bakota, and Von Zipper. K: Well, do you have anything smart to say or any parting words? M: Ya, I do. I would like to thank everyone who has helped me along the way and to say something smart; well, life is not fair so don’t compare yourself to other people. Try to be your own person, and it is life’s hurdles and roller coasters that shape you and make you the person you are today. Being able to get up from all of life’s hits will only make you stronger. Interview with Matt Beardmore by Keith in Whistler

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Flynn Trotman and Matt Keale, aka Stalker, are the Bristol based duo that form the backbone of the UK section of the Addict skate team. I spoke to them when they had just got to Bulgaria and seemed pretty happy despite the fact that the airport had left their baggage in Vienna and they hadn’t put enough pizzas in the oven for both of them. Here is what they had to say about each other: Flynn on Stalker: The Prince of Lloyds The Maybe Kid Young Hippie Stoner Living the bedsit dream at his mum’s house And a really, really nice, sincere, young man, a good pedigree breed. Stalker on Flynn: Flynn Deisel Mr Ex-Vex now married A torture taker, the Torturous Master And have you ever seen him with hair longer than a half an inch?

So what have you two been up to this year then? Flynn: There was the win at Urban Games which meant that Addict took over with SoppaJay winning the break dancing, got my Pro board with Crème, still sponsored by you guys, 50:50, Globe and Rolling Like KIngs, just basically skating every day and having fun, same as always. Stalker: Been travelling as often as possible, skating as much as I can and trying to relax all the time. Just done an interview with Document and the next few months I will be busy touring Europe. Picked up Rasa Libre as a board sponsor and am moving up the ranks with them and just trying to hopefully make it one day as a skateboarder. Matt how did you get the nickname Stalker? Stalker: I was at Skate and Ride in Bristol when I was about 12 and I met this guy and he gave me a free t-shirt and it had Stalker written across it and I wore it all the time and the nickname just stuck. Flynn: He never took it off. Finally Flynn, how many times do you get mistaken for Vin Diesel nowadays? Flynn: Everyday, a lot, its tramline.

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CHRIS LAW UNORTHODOX STYLES I had a love of art and graphics at school, but we never had any Macs or anything. I studied graphic communication, but that never lead to anything more than drawing GT Performers and Haro Masters with a pencil, ruler and compass. I got back into design after 5 years of dead-end jobs, and this is my twelfth year down the line. I put myself through 6 years of college, studying Graphic and Media Design at LCP, as well as taking a London Society of Typographic Designers course. I combine this traditional classic training with a love of hip-hop and funk-influenced graphics with a touch of darkness to achieve my style. I’m influenced by many things; 80s90s bboy / hip-hop culture, hardcore punk rock, 60s-70s iconography and typography, 60s and 70s cars and my early days of going drag racing with my dad (he still races), Sabbath, London’s grimey architecture, greenery, my girl and my daughters Shyla and Roxy. Currently the Creative Director / Designer of Unorthodox Styles. Along with Rick, Col, Metal and Tek, I’m responsible for the visual side of what we do. Previous to the creation of Unorthodox Styles, I was partner with Ben Swift in Nonsinthetik, and was also one third of Lewis Sterling.

URLS www.crookedtongues.com www.spinemagazine.com www.foot-patrol.com www.suspect-packages.com www.kungfu-london.com

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UNORTHODOX STYLES Claw Tee “Close your eyes” SS05

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SIC!! E ’ MU LKIN A L L T I M . A T T 5 ’ F E AIN I L M S O ar virgin 0 g W D in t F N ZZ A 0 P O R N ck 06. S 2. Any th A J 0 la 1 GS THIN ’ S T O P Big and b volume 1 L L OF A T R AT E rth 07. action LOVE a! IRS ard r No R HIS E , D J F g by Pete . Reargu ar!) ha h O F e N 3 Z I y in 0 O B h t t ) x O y ! E e n T d H n A n T N . e g IN in W 08 leg OWN T E N D O arcelona e living ce – com h a S KN ATE’ S ! F R O M an does B eremy (T h this sp R T FIRS E I T S I . Butt m h Ron J es watc 09 irli ER wit S O H in Spain Anything movie (g y y . d M 4 a 0 L . 10. eaches ! 01 h in it yP Prett atha Cas o.uk b tek.c Ta e: lowith it s b e te’s w st Ra k Fir ladies! c e h C fo ore in for m

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DADDY SKITZ PRESENTS ‘THE GOOD LIVING GUIDE’ 1. Keep all basslines heavy, dirty grimy and low-down. 2. Don’t spend too much time cussing or being cynical... it just eats up time you could be utilising doing something worthwhile. Just do your thing to the best of your ability. 3. Be true to yourself... don’t fake the funk, copy others too closely or imitate without adding aspects of your own personality. 4. Enjoy what you do… otherwise there’s no point in doing it. It’s gotta be fun… You’ve gotta love it. What’s the point breaking your back for something when you ain’t enjoying it. Trust me, breaking backs can be fun… but that’s a different story! (See 15.) 5. Don’t put out mediocre records. One good tune is better than five average ones. Take your time and get it right (although you’re never gonna be 100% happy) try not to cut corners on mastering or mixing the tune. Beg borrow or steal to get it done right. 6. Try and be proactive and do a few things to help the bigger picture. March for what you believe. Kick over a statue or just vote. Try and push things your way. Remember… it’s bigger than hip hop baby!

10. Don’t suffer fools. They kill your spirit and bring you down. Destroy your time and talk negativity. 11. Read a book occasionally. 12. Know your business. Whether a DJ, rapper or a producer – get to know the ins and outs of the business. Lots of it’ll do ya head in but you gotta know it otherwise you’ll get fucked over. Most people are in it for personal gain and not too help you… Remember Jaws. Nuff sharks. Industry rule number 4080… 13. Support your local cottage industry – Titan Sounds, Riddim Killa, Addict Clothing, Suspect Packages to name a few. People you know trying to get ahead... doing what they do well and with a passion. Support the people that support you and we can all build together. It’s important… in fact it’s vital for the longevity and strength of whatever scene you’re in. 14. If you get a minute... ring ya mum. 15. If you’re breaking someone’s back… make sure jimmy’s wearing a hat.

7. Treat people as you wanna be treated yourself (yeah… obvious one).

16. Can’t re-iterate this enough… keep the bassline buff!

8. Respect everyone’s own right to be who he or she wants to be and believe in what they want to believe in (saying that… fuck the BNP).

Catch Skitz with his wingman Rodney P live and direct on BBC 1xtra every Monday evening 7 – 10pm for the baddest beats from both sides of the pond. His mix LP ‘Homegrown vol. 1’ is out now, get ready for vol. 2 dropping very soon. Also look out for his follow up to his last artist album ‘The Countryman’. ‘The Styxman’ will be out when it’s finish and ready!

9. Know your history… Whether its Kool Herc, King Tubby or Duke Wellington. The roots of the music are important, then you can twist it, fuck with it, and merge it with others. The world’s your

photo Ophelia Wynne stylist Steff Wilson

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oyster… Use your imagination and push the boundaries. Then push it some more. Just remember where it is from.

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STEFF PLEATZ Map Maker Tee AW04

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STEFF PLEATZ Blade Tee SS05

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Steff Pleatz interview by Will Barras ok Steff, lets cut to the chase, why won’t you let me use lime green and pink together in paintings? sp – pink is amazing but that combo hurts my eyes! wb – fair enough… we are in the studio and i see you’ve been painting a lot recently… what are you up to at the moment? sp – i’ve been asked to do quite a few canvases for different shows and individuals and that’s really great to spend time doing that as a kind of job – and i’m trying to plan some good stuff for the future – planning a good group show for about a year from now… wb – i know there are a few celebs who’ve got paintings of yours? sp – yeh proud to say that ian Brown, Michael Stipe and David Holmes all have one. wb – wow! i sold one to Cab last year, but my mum buys most of them. So we’ve been doing this for about 5 or 6 years now, what do you think has been a

highlight so far, or, what do you think is one of the best things that has come out of doing all this stuff? sp – i mean the first trip to Tokyo was amazing.. wb – which one?

sb – the Parco exhibition in 2002 – i guess just feeling that you might slowly be getting better at what you do or at least nearer the idea of where you want to take your work.. it’s great and reassuring having made friends who do similar kinds of work. wb – i agree, its great to meet and work with artists from different countries. What sort of things are you looking at on a daily basis, where is it all coming from?

sp – i do get pretty inspired looking at other people’s work and by all the other stuff you see on sites like rift-trooper (rthq.com ) and being hunted ( beinghunted.com ) and i do take time to try and track down new work by people like kaws, Futura, Banksy etc. – really like checking that stuff… wb – yeah, your our agent in the field… anything else to add? sp – just working on a small site of my own – should be done soon… it’s gonna be highplanedrifting.com

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��

[ I met She in the early eighties riding up and down my street on a gloss black 5 speed. I’d hang out out at his house and listen to him drumming at weekends. He was supposed to be in a rock band with a couple of good boys from Richmond, but I know he spent more time drawing out band logos and painting up his jacket than actually playing. Around this time we became aware of a really exciting thing happening in New York, where kids were painting up their names onto the subway cars and watching them travel all over the city. The nearest thing to that in our neighbourhood was the name ‘Fonzy’ painted in an alley in six foot stick letters. Anyway, I guess writing names is what inspired him to make art, be cool if he set up a drumkit at his house again though. ] james choules 2004

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SHE ONE Taste Shifter Tee SS05 MASTER_DOC MAINYES.1

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O.Two

Nothing to rebel against but myself...

Choosing the route I did, following my artistic urges to their ends led me to the O.Two cloak. An assumed identity, designed to carry a style. It’s an identity that was adopted, rather than born of a nickname, or concept. It doesn’t sound like a traditional tag, because I didn’t want it to. I took to O.Two because it meant less than the style it was written in. It had no bearing on my personality or social being. When I began writing graffiti, the individual style meant more to me than anything, to me this was the most vital aspect of graffiti. It didn’t matter whether an onlooker could read what I’d written or not, or whether they knew that O.Two had painted it. If they could de-cipher the camouflaged letters and uncover the culprit’s I.D., lucky them, they could join the fan-club and start collecting the set...

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MR JAGO Camobot Tee AW04

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Influenced by the legendary marvel comics, graffiti and b-boy culture, Duncan Jago’s work stands out through his unique freehand style, detail and superb eye for colour. The Bristol based artist has gained worldwide recognition with his work and the concepts behind each project have established him as an individual tour de force and as a key member of the Scrawl Collective. We caught up with the mind behind the robots and endless supply of fat doodles! What have you been up to over the last year? Doodling, painting and working hard You designed a bespoke camouflage pattern for addict recently, how did you research and develop this idea? I followed people in camouflage coats and looked at lots of books, it was like doing a project at school aged 10. How do you see the current graffiti and street art movement? Bigger and better.lots of people everywhere doing nice stuff boundaries getting chubbier n chubbier Which artists have or continue to influence you and your work? Futura, She 1,Delta, Dalek, Evan Hecox, Pete Fowler, Kami, Eco,the list could go on forever and ever.... Travelling around, which location really stands out as the hot bed for new talent? Bristol. Theres alot of peeps doing really original stuff. Would you like to see you work taken into other mediums, such as animation or even vinyl models? I would really like to see some of my freaks moving its something that l daydream about quite often (although I don’t think I have the patience to animate them myself). Figures would be the ultimate though - the idea of a character that started in a sketchbook invading peoples homes is exciting. Your have just finished the third t-shirt project with Addict, how will develop your ideas and take it to the next level for number 4 in the series? Improve the drawing n explore lots of new favourite colours What’s in store for the future? Who knows, hopefully the opportunity to lots more collaborations. Hopefully more chances to develop my style and progress. I would like to think there will be... MR JAGO Armoured Colour Tee SS05

And finally just to clear up on Will and Steff’s current debate on colour co-ordination…Do you think that lime green and pink go together? Like cheese and mayonnaise in a sandwich my answer is yes. Thanks for clearing that one up Duncan. No problem. Interview by Chris Carden-Jones and Hugo Toland.

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SCRAWL COLLECTIVE Copter Tee AW04

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KENNY “DOPE” GONZALEZ

Break beats, House, Hip-Hop, Soul and Latin music provide just some of the foundations for the recordings of celebrated DJ, remixer and producer, Kenny ‘Dope’ Gonzalez. Whilst he received acclaim with ‘Salsa House’ and ‘The Bomb (These Sounds Fall Into My Mind)”, produced under the pseudonym The Bucketheads, Gonzalez has made the biggest impact as one half of Masters At Work; a ‘marriage’ he shares with fellow producer/DJ the legendary ‘Little’ Louis Vega. Born to Puerto Rican parents in the Sunset Park district of Brooklyn, New York, Gonzalez started his musical career as a buyer for a local record shop, WNR Music. Together with Mike Delgado, he organized neighborhood parties under the Masters At Work pseudonym. When the parties acquired a reputation for violence, Gonzalez and Masters At Work moved to the recording studio. Using a drum machine borrowed from a friend, Todd Terry, Gonzalez began recording breaks and beats for DJs, releasing several underground hits on his own independent label, Dope Wax, before branching out to produce tracks for Strictly Rhythm, Cutting, Nervous and Big Beat. Over the years he has worked on a huge array of artists as diverse as George Benson and Shirley Bassey to Janet Jackson and the Spice Girls to name but a very, very few! We caught up with Kenny whilst he was in London about to play The Ministry… What was the best gig you’ve played in the last year and why? Would have been in Scotland at the beginning of the year. It was good ’cos I got to play a lot of different music and they really know how to enjoy it! If Kenny Dope threw a party, then where would be the first choice venue? Funnily enough, I’m tryin’ to put a party together at the moment in NYC – it’s gonna be reminiscent of the old Soul parties, you know, a lot of Rare Groove and that kinda stuff, the problem is there’s so little time! And where in the world do they know how to rock the party the most? Like I said before, Scotland always does it, as does the North of England, To the Manor Born is always a good party. Aside from your production and DJ exploits, you are known and envied (particularly amongst the hip-hop fraternity) for being a fierce breaks collector. How long have you been collecting and have you any idea how big your collection is? Yeah, for sure, I started collecting back in 1985 but been collecting hardcore now since ’90. I got well over 30,000 across all different genres. I got stuff collected over the last 4/5 years that I still ain’t had the chance to listen to. I guess with a collection that size it’s got to be covered separately on your insurance? You know what, there ain’t no point doing separate insurance, ’cos the companies don’t understand the value of some of the discs, they just think each piece of vinyl costs $10 – so I don’t bother! I just got to look after them. In fact it got so bad about 3 or 4 years ago that I stopped DJing abroad ’cos records were just going missing all the time, you know after 9/11 happened you couldn’t lock up your luggage and it just wasn’t safe!! Nowadays it’s a lot easier ’cos with CDs I can burn off what I want to take and replace it if I lose it (they also travel with me on the plane) – it also means I can take a lot more with me! Are you able to make time in your hectic schedule to go digging for tunes? And when was the last time you suffered from seriously dusty fingers? Yeah, for sure! Sometimes you get a feeling you’re going to find something special and you gotta go! There’s a couple of places in NYC, also in Phillie, D.C., New Jersey. Where would be your first choice to go and find some seriously good tunes? I just brought a few house tunes whilst in the UK from Vinyl Junkies, going to the mid 90’s I would say about 40% of my tunes were brought in the UK… Back at home in New York, I mostly go to The Sound Library, they’re great for Hip-Hop and Disco. What is the most that you have paid for a tune before? I’ve paid $500/600 a few times for records. There’re some tunes out there, when you see it you have to get it – no question. Are there any records out there that you would love to get hold on but never been able to get hold of? Yeah, a 7” called ‘Chick a Boom’ by The Pazant Brothers, so any yo’all got it then get in touch! You have had a tremendously successful relationship with Louis as MAW. How would you say that you compliment each other? Do you find a different level of inspiration when you are working together as opposed to on your own? Yeah, definitely, it’s like we got a special marriage! You know, we are like two completely different people

INTERVIEW: PIERS ‘THE COUNT’ KANNANGARA

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on every front. We’ve been together for so many years but occasionally you do wanna do other things but sometimes when we do, then people say that we’re splittin – it’s just gossip, they just wanna have something to talk about. We hear you are a trainer freak! About how many pairs do you own? 500 or 600 pairs, you come into my house and it’s all sneakers and records – nothing else! When I’m back at home I’ll wear a different pair every day, on tour I’ll probably take about four pairs. What was the first pair that you remember getting? For sure I remember that, when I was a teenager it was hard for my mom – she used to work so hard and I remember she saved up and she brought me these Pumas. Do you have a particular favourite pair? It’s all Air Force 1s, Dunks and Jordans. You are obviously into and willing to play from a very broad cross section of music, most notably house and hip-hop, do you sometimes get frustrated with some peoples’ unwillingness to broaden their own horizons and listen to other genres? That’s the main problem, there’s not enough people willing to listen across the board. It’s very different now to what it used to be like, you know, everyone’s just into their own thing. It’s a bit like the way everyone wants convenience, say like the eBay thing – it’s kinda good and it’s bad, there’s people out there that have spent years building their collections and now, if you have the money you can just buy the whole thing in one go… With a work load as busy as yours, what do you like to do when you get some time off? Would you go to a club/party or is that the last thing you would like to do? I don’t go out so much, I’m always working so it doesn’t happen a lot but when it does I’ll get back to the neighborhood and catch up with my friends… I’ll also be lucky if I get one vacation a year. So who was the last DJ that you went to a club (you weren’t playing at) to listen to? Bismarkee – He’s a comedian man! We were together at the WMC he was playin all sorts of different stuff. Do you feel that the Global popularity of hip-hop on a commercial scale is a positive thing, or does the constant media attention on the US hip-hop fraternity detract from the fundamentals of the culture? There’s definitely good and bad, it’s amazing how it’s grown from bein’ in the neighborhood on the mike to the fact that it is the mainstream now. I don’t agree with certain records but everybody’s got the right to voice their own opinions. It’s just the music from the ghetto that’s gone worldwide. The whole thing needs to go back again, it needs to be fresh again, go full circle. There’s people like Just Blaze and Conde West out there that’s makin’ that happen… Individually and together as part of MAW you are known for not only pioneering, but moreover supporting all kinds of world music. Do you have a formula for working with/producing such varied sounds/artists or do you just go on instinct? Definitely instinct – nothing is planned, you just go in there and do it, if it’s no good then it just gets erased. We’re all human and sometimes we make mistakes but you would never release anything that you don’t like – there’s no reason to. We turn down at least 60/70% of approaches; the Spice Girls approached us four times to do something! I’m fortunate now that I’m in a position that I can say I never do it for money. I’m doin’ a project at the moment for a really small budget – if I like the tune and I feel I can add to it then I will do it. Are there any genres that you haven’t worked with that you would like a crack at? I’m doin’ a lot of urban stuff at the moment but I really wanna do some Rock but from a funk angle. What like the RUN DMC thing? Even deeper than that… Have you ever missed the chance to work with somebody and later regretted it? It only normally happens ’cos of scheduling problems, but eventually it always happens. Is there anyone that you would say you are most proud to have worked with? Yeah, my friend Raheem DeVaughn, he’s 27 and he’s simply amazing. He sings his soul like Marvin Gaye or Stevie Wonder. He’s definitely one to watch for the future, just so happy to be involved! What does the future sound like/hold for Mr Dope? I’d like to do a lot more projects and touch genres I haven’t done yet, at the same time MAW will always be there, in fact we got the MAWlectronic comin’ out soon. Finally Kenny, we know you’ve got some Addict gear, what are you feeling about the stuff? Yeah man, the stuff is slammin!! And the recordpak? Yes for sure, and Louis’ usin’ it too and he’s the picky one! You know you’re lucky if you get him… And his bag is overflowin’!!

LATIN TOP TEN

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DEEP FUNK TOP TEN

Puerto Rico - Eddie Palmieri The Hustler - Willie Colon(45) Coro Miyare - Fania All Stars El Galleton - Tempo 70(45) Tito on Percussion - Tito Puente Boss tres bien - Quartette tres bien Bongo-Bongo - Impacto Crea In orbit - Ricardo Ray Palo Congo - Sabu Siembra - Willie colon

Coco Fania Columbia Mericana Tico Decca Vaya Alegre Bluenote Fania

SOUL TOP TEN

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Tell me - Rickey Calloway Hung up - Salt Forty First Street Breakdown - Naomi Davis Stay in the groove - Soul Dynamics Right on - Carleen & the Groovers Do the dap dip(lp) - S.Jones & The Dap-Kings Organized - Mugo Humpty Dump - Vibrettes Nervous like me - The Dap-Kings The sad chicken - Leroy and the drivers

Jayville Choctaw Desco Wand Music World Daptone United World Lujon Kay-Dee Duo

BREAK BEAT TOP TEN

Is it me - Barbara Acklin For real pt.1 & 2 - Flowers Off - Hodges,James Smith Keep it up - Milton Wright What about You - Carl Hall Contradiction - Total Experience Welcome to my door - Spaceark Born to live with a heartache - Mary Love Right on for darkness - Willie Wright Color blind - Frankie Beverly

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TRUE SCHOOL HIP-HOP

Brunswick La Xpresso London Alston Columbia LTE Color World Elco Hotel Gregor

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Nautilus - Bob James Sexy coffie pot - Tony Alvon & The Bel Airs UFO - ESG Midnight them - Manzel Assembly line - Commodors Ego trippin - Boobie Knight Knock em out sugar ray - Experience Baby don’t cry - third guitar Funky music i.A.T pt.1 & 2 - Dynamic Corvettes Bouncy lady - Pleasure

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Eric B for President - Eric B & Rakim The bridge - MC Shan Make the music with your mouth - Biz Markie Do the James - Superlover C & Casanova Rud It’s my turn - Stezo Wrath of Kane - Big Daddy Kane Ego trippin - Ultramagnetic MCs I need a beat - LL Cool J PSK - Schooly D A touch of jazz - Jazzy Jeff & The Fresh Prince

Zakia Bridge Prizm Citibeat Fresh Cold Chillin Next Plataeu Def Jam Schooly D Jive

OLD SCHOOL HIP-HOP

CTI Atlantic 99 Dopebrother Motown RCA Unlimited Rojac Abet Fantasy

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Rockin’ it - Fearless Four It’s your rock - Fantasy 3 Big apple rappin - Spyder d Do ya like scratchin - W . F supreme team High power rap - Disco Dave & The Crash Crew Love rap - Spoonie G Hip-Hop on wax - Chuck chill out 2,3 break - The b boys Suicide - Busy B King of the beats - Mantronix

Enjoy Specific New Port Island Mike & Dave Enjoy Vintertainment Vintertainment Strong City Capitol

KENNY “DOPE” GONZALEZ MASTER AT WORK

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BLANK WALLS IN CITIES ACROSS EUROPE AND BEYOND ARE UNDER CONSTANT SURVEILLANCE. FROM THEIR HEADQUARTERS IN HAZY AMSTERDAM ‘THE LONDON POLICE’ HAVE BEEN AN INFLUENTIAL FORCE IN THE NOW INTERNATIONALLY RECOGNISED STREET ART MOVEMENT. OPERATING FOR THE LAST FOUR YEARS, THE THREE-MAN TEAM WORK UNDER A SIMPLE MISSION STATEMENT. “TO GET UP WHEREVER AND WHENEVER POSSIBLE.” USING AN ARRAY OF TOOLS AND MEDIA THE LP MAINTAIN DEDICATION TO THEIR WORK AND IDEALS. THE COVERT MILITARY PRECISION OF EACH MISSION IS KEY TO THE CONTINUING INFILTRATION OF CITIES ACROSS THE GLOBE. THEY HAVE HIT JAPAN, USA AND EUROPE, DISPLAYING ‘THE LADS’ ON THE CANVAS CREATED WITHIN THE UNIQUE CITY LANDSCAPES AS WELL AS PRIVATE AND PUBLIC COMMISSIONS AND EXHIBITIONS. WE CAUGHT UP WITH THE LADS ON LIFE ON THE STREET AND WHAT’S IN STORE FOR THE LP… TAKE US THROUGH YOUR LAST MISSION. A GREAT RECENT MISSION WAS A MEETING OF ARTISTS IN BARCELONA THIS SPRING. ABOUT 50 ARTISTS FROM LOADS OF DIFFERENT COUNTRIES JOINED FORCES AND TURNED THE AREA AROUND THE MODERN ART MUSEUM INTO AN OUTDOOR

MODERN ART MUSEUM. EVERYONE HAD 5 OR 6 DAYS TO GET TO KNOW EACH OTHER AND WORK ON COLLABORATIONS. MUCH STICKER SWAPPING AND BLACK BOOK EXCHANGE DRAWING. SO MANY GOOD ARTISTS CAME AND A LOT OF GOOD WORK WAS MADE ON THE STREET. HOW DO YOU PLAN ON THE LOCATION, SIZE, TIME ETC? A GOOD WALK ROUND A NEW PLACE CAN ALWAYS HELP. THERE’S USUALLY AREAS IN EVERY CITY WHERE YOU CAN FIND WORK BY THE LOCALS OR VISITING ARTISTS. SOMETIMES GALLERIES HAVE FORMED WHERE PEOPLE PUT WORK TOGETHER. IT’S NICE TO ADD TO THOSE. A BIG POSTER IN A PRIME LOCATION IS IDEAL BUT A SMALL HAND DRAWING OR A STICKER IN THE RIGHT PLACE IS JUST AS VALID. BIG POSTERS GENERALLY WORK BETTER IF THE SURROUNDING STREETS HAVE SOME HAND DRAWINGS AND STICKERS DOTTED AROUND TO SUPPORT THE IMAGE. BY DAY AND BY NIGHT ARE BOTH GOOD TIMES TO PUT STUFF UP BUT, OF COURSE, BY NIGHT YOU HAVE TO EXERCISE SOME CAUTION AND BY DAY ITS BEST TO LOOK LIKE YOU’RE SUPPOSED TO BE DOING IT. HAVE YOU ENCOUNTERED ANY NEAR MISSES ON YOUR TRAVELS?

YEAH, WE’VE ESCAPED A FEW MUGGINGS IN DIFFERENT CITIES. THERE’RE SOME REAL WEIRDOS OUT LATE AT NIGHT. THEY CAN BE MORE HASSLE THAN THE POLICE. WITH THE COPS IT’S GENERALLY HOW YOU ACT WHEN THEY ARRIVE. YOU HAVE TO CONVINCE THEM THAT WHAT YOU’RE DOING IS A GOOD THING AND NOT WRONG. IT’S POSSIBLE TO TALK YOUR WAY OUT OF IT BUT ITS BETTER TO JUST NOT GET CAUGHT! ESPECIALLY IF IT’S A COP WITH ATTITUDE. I HAD ONE COP TAKE MY PEN ONCE AND WRITE ON ME. BASICALLY A COP TAGGED MY FACE! DO YOU AIM FOR AN EVEN BALANCE BETWEEN STREET BASED ARTWORK AND COMMISSIONED WORK? YES THE LADS CERTAINLY GET AROUND, WHERE IS THE SCENE REALLY TAKING OFF? . THE LAST FEW YEARS, FROM THE PLACES I’VE BEEN, I WOULD SAY BARCELONA, BERLIN, MILAN ARE ALL BECOMING PROMINENT BREEDING GROUNDS FOR ARTISTS TO THROW THEIR STUFF UP BUT GENERALLY SCENES ARE KICKING OFF IN LOADS OF PLACES. ANY FESTIVALS OR EXHIBITIONS YOU’RE LOOKING FORWARD TO? ALL OF THEM. ANY PROPS? EVERYONE WHEN AND WHERE IS THE EUROPEAN TOUR?

THAT’S STILL BEING FINALIZED BUT THERE’S A WHOLE COMMUNITY OF PEOPLE WORLDWIDE TRYING TO WORK TOGETHER. HOPEFULLY IN THE NEXT FEW YEARS THERE WILL BE MORE TOURS BEING ORGANIZED AND DIFFERENT COLLECTIONS OF ARTISTS WILL VISIT LOADS OF CITIES DOING LIVE DRAWING SHOWS AND PROMOTING THE LIKES OF YOURSELVES (ADDICT) AND OTHER COMPANIES WILLING TO INVEST IN THIS MOVEMENT. UPPER PLAYGROUND IS A SAN FRANCISCO BASED CLOTHING COMPANY WORKING ON A TOUR THIS SUMMER WITH ARTISTS (INCLUDING US) WHO THEY WORK WITH. IT’S NOT JUST ABOUT PROMOTION FOR ALL PARTIES CONCERNED BUT A CHANCE TO MAKE INTERESTING AND DIVERSE EVENTS IN TOWNS AND CITIES WORLDWIDE THAT HAVE AN ART/MUSIC BASED VYBE. HOW DID YOU ALL MEET AND END UP AS THE LONDON POLICE? WE ALL MET IN AMSTERDAM BUT BOB AND I STARTED IT OFF IN THE SUMMER OF 1998 WITH THE NAME ‘THE LONDON POLICE’ (IT SOUNDED REALLY COOL). WE WERE PHOTOGRAPHERS AT FIRST AND GOT OURSELVES CAFE AND COFFESHOP SHOWS IN LONDON AND AMSTERDAM. BOB STAYED IN ENGLAND UNTIL SUMMER 1999 AND IN THAT YEAR I BEGAN TO

DO LESS PHOTOGRAPHY AND STARTED DRAWING ‘THE LADS’ ON THE STREETS OF AMSTERDAM. IT WAS A PERIOD WHEN I HAD LITTLE MONEY AND PLENTY OF TIME AND SO OVER 12 MONTHS THE LADS WERE SPAWNED UPON AMSTERDAM. BOB CAME OVER AND JOINED ME AND ONE YEAR LATER WE MET GARRETT. HE HAD ALREADY SPOTTED THE LADS AND AS WE BECAME FRIENDS IT SEEMED OBVIOUS THAT HE WAS AN CAPABLE ARTIST WITH THE CREDENTIALS TO HELP TAKE THE LONDON POLICE FORWARD. AND SO AS A THREE WE ALL WORKED ON PUTTING UP THE CHARACTERS WITH EACH MEMBER ASSERTING THEMSELVES IN THE CREW IN DIFFERENT WAYS. SADLY, AT TIME OF PRESS, BOB HAS HUNG UP HIS PENS AND QUIT TLP TO BECOME A ROCKSTAR. WHAT A LOSER! HE’S A GEEZER, SO GOOD LUCK BOB. INTERVIEW HUGO TOLAND

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Apart from running Scratch and deejaying various spots around the place, Rob Mac, Matt Smooth and a loosely assembled bunch of like-minded souls have been plotting away in a murky subterranean lab. Investing in vintage valves and e-bay scams they have acquired the means for sonic alchemy. From within the walls of their condemned premises several collaborative projects are set to hit the streets, airwaves, dancefloors and downloads.

singing, story telling, preaching and recital. Meshed within a swirl of beats, strings, bass and guitars, Roger is bringing a twist to the classic song structure just within the boundaries of hip hop. Even before the album’s release, Roger has been booked for the highly credible Sonar festival in Barcelona and the Womad world music event for which BBC 3 is commissioning a special piece for broadcast.

JUMBONICS

The funkier side of the Speeka project. Largely featuring the vocals of dope violin player Lucy Wilkins (Massive Attack, Roxy Music). The SPK sound drops the big basslines with the phat beats and choppy guitars with Barry White strings and moogy keys with angelic voices. The single ‘Easy’ is due for release on Ultimate Dilemma in late summer.

S.P.K.

Inspired by a sixties Italian budget Hammond rip-off organ, called the Gem Jumbo, purchased through Loot, which, more by luck than design, creates a bowel loosening bass growl, and some more predictably cheesy Booker T style sounds. Coupled with some swinging jazzy beats and sonic manipulation, Jumbonics has earned the description of “18th century UK garage meets the fairground carousel”. Suitable for the lounge or the more enlightened club. Tru Thoughts record label from Brighton has shared the vision and are putting out the first Jumbonics e.p. in the autumn.

THE IMPERIAL

A rocktastic explosion fronted by the be-affroed funkateer YINKA. To quote an apt lyric – “The bastard son of Screaming Jay Hawkins and Millie Jackson”. Like a mix of P-Funk, The Specials and Dan the Automator. Funk Beats, big guitars and screaming vocals. Music to skate to.

SPEEKA

The Bespoke LP came out a few years ago on Ultimate Dilemma to critical acclaim. Now refining from the free flowing form of funk to hip hop to jazz, Speeka has gone into a more acoustic, live feel. Still with a healthy bass and drum foundation, the groove has leant towards a folkier vibe. With the addition of singers Polly Paulusma and Ben Parker, the organic Speeka path is set to be a campfire come down.

THE HOW

Starring Val Perkins, who also featured on several early Speeka tracks. Downtempo soundscapes and epic strings caress emotive vocals. 4 track e.p. Currently in selective outlets.

ROGER ROBINSON

Spoken word doyen, novelist, poet and songwriter. Roger has featured on records with Attica Blues, The Bug, Chocolate Art and Speeka. His LP Illclectica is due out on Jazz Fudge towards the end of ’04. His Trinidadian brogue shifts through the gears of rhyming,

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Rob Mac and Matt Smooth photo by Ophelia Wynne

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MERIC PINE INTERVIEW

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How are you today?

5 things you couldn’t live without.

I’m good, a little shaky after four days mental mayhem in Barcelona.

Memory, Music, Apple Macs, Friendship and Drums.

What are you working on at the mo?

Favourite music?

I’m involved with a top secret re-launch of a skate brand, and just finished the artwork for the forthcoming Nextmen album… The Red Hand Band also features heavily. Nice. Yeah it keeps me out of the pubs and out of trouble.

Red Hand Band

So who are your influences?

Any other comments?

Erm… The Beano, Hanna Barbera, Jean Michel Basquait, Kurt Schwitters, Hugh Fernley-Whittingstall, Keith Moon and Don Juan.

Yes, don’t play fight with girls after they’ve drunk loads of red wine and are on a comedown.

Describe your style...

Meric Pine was talking to Jenny Robertson.

Well, there I was, chatting to Damian and Tracey and they said “Yes, but is it art?” To which I replied “Art is for tossers like you. I just want to draw pretty pictures.”

www.redhandband.com www.21seven.com www.21seven.com/mericlovesyou

Any advice? Think big but stay small.

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We bring you the lowdown on Gripper… Born in the small northern town of Barrow-in-Furness, England, Graham Newby aka Gripper, 37, has been a collector of vinyl for nearly 30 years. Inspired by the strong Northern and Modern Soul scenes in the north west of England around the early 80s, Graham was inspired to begin a life behind the decks after several visits to London’s infamous funk and rare groove warehouse parties of the mid 80’s. Graham adopted the nickname Gripper and began to spin his eclectic selection of black underground music towards the end of 1986, at student club nights organised by a friend. Within 12 months, and further inspired by early house nights at Manchester’s Hacienda, Gripper was promoting his own nights around the north west of England. These ‘Invasion Soundsystem’ parties became an important part of a developing club scene in the UK, which would blossom into 1988’s second summer of love. By this time Gripper was running a handfull of regular nights, catering for a more underground crowd, and very much sticking to his soul, funk, and jazz based

musical roots. During the late 80s, Gripper played at some of the UK’s seminal club nights including Manchester’s Precinct 13, London’s Cat in the Hat, and Liverpool’s Quadrant Park to name just a few. With the blossoming of the rave scene in the UK, his blend of funky vocal house, disco, quality hip hop and deeper US grooves graced some of the UK’s first legal all night warehouse parties such as the 10,000 capacity Upfront Allnighters, Bolton’s prestigious Belief parties and nation-wide Raindance events, playing alongside people such as Moby, Carl Cox, A Guy Called Gerald, Laurent Garnier, Sasha, The Orb and many more. Gripper’s ‘keep it real’ approach was a welcome sanctuary during this heady club boom and many write ups and reviews in Black Echoes and on BBC Radio Lancashire’s monthly ‘Funkology’ show kept the grass roots attitude alive. The early 90’s saw Gripper returning to regular club nights in his hometown, where he ran the successful ‘Nice As Pie’ monthlies, which featuried on network TV’s flagship clubbing programme, ‘BPM’. Throughout the mid 90’s Gripper continued his local residencies and guest spots, becoming more and more disenchanted with the overt commercialism of the house scene. The club nights took on more of a specialised feel, smaller venues, more diverse music. Residencies (Bar Miro) and guest spots (The Volcano, The Tunnel) in Glasgow and London (Breakneck, The Gardening Club) kept the vibe chilled and the tempo lowered. Gripper’s eclectic mix of parties continued in his home town, Barrow, with nights such as ‘Club With Confidence’,’ Pure’,’ Raw’, and ‘Club Rio’. In 1995 inspired by visits to New York’s legendary Body and Soul, Gripper began producing and set up East Beach Studios. His

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first release, ‘Loose Joints Vol 1’ picked up peak-time support from all the big guns, including Humphries, Sanchez, Camacho and Norman Jay. Being cited by the UK music press as one of the most authentic US Garage flavoured tracks to come out of the UK, at a time when the genre was being shunned by the majority of UK clubs. The track was licenced through Music Station in New Jersey, so beginning Gripper’s long association with friend and current associate, Peter Reyes. Gripper’s self-run label, ‘Loose Joints’ followed up with ‘Work Me Up’ written and produced by him. Solo label ‘Lock Down Recordings UK’ was formed shortly afterwards, focussing more on a laidback funk, soul and jazz sound. New weekly and monthly parties were run by Gripper including ‘Bar Bazooka’,’MoFunk’,’La Calla Bassa’ and ‘The Jazz Lab’. Mid-90’s residencies at London’s ‘The Gass Club’ and the legendary ‘Happiness Stans’ provided some memorable times, and Gripper began working with London based Graham Woodend, an ex-partner from the ‘Invasion Sound System’ days. Self-produced tracks ‘Blue & Bluer’, ‘Lockdown’, and EPs , ‘Soul Siege Vol.1’ and ‘Kuts From Tha Joint’ and mini LP, ‘East Beach Breaks’ followed on the label, bringing Gripper to the attention of Manchester label, Grand Central, who were rapidly emerging as the UK’s finest soul and beats based set up. Over the following years, Gripper worked alongside GC artist, AIM, acting as in-house engineer for the artist, and adding additional production. 1998 saw Gripper recording the tracks ‘Fame’ and ‘Jazz Cop’ which was licenced worldwide. The Manchester connection also led to Gripper’s ‘World Keeps Turning’ for GC partners, Fat City Records, and collaborations with label owner, Mark Rae and artists Veba and Kate Rogers. DJing actively for Grand Central, Gripper’s production style was employed for remixes by several independent UK and US hip hop artists (eg Don Q, The Slum Brothers, Little Egypt), and engineering duties on long time friend and associate AIM’s remix and album tracks. This helped to feed Gripper’s first loves of vinyl hoarding and Djing, resulting in gigs up and down the UK,

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and further afield in Europe, Africa and New York. Gripper’s track, ‘Turtleneck’ was commisioned by sports giants, Nike for a UK wide ad campaign for their new athelete’s MP3 player. The Millenium closed with Gripper re-focussing on the Loose Joints label and putting out some tapes of new house material. Personal calls from Louie Vega in the middle of the night, and licencing offers from MAW ensued, only to dissolve when the original owners of a sample used in the track refused to allow the riff to be used at any cost. The track in question, ‘Dance’ by Gripper was worn out by Vega off 2 specially extended acetates, playing a big part in the WMC1999 and UK’s Southport weekender events, and ensuring frenzied response for the 300 promos which were eventually released. This prompted interest from UK label, ‘Lock’, for whom Gripper remixed several releases under the name ‘Trailer Trash’, including ‘Come Close To Me’ by one of Gripper’s most respected producers, Victor Simonelli, Gripper’s mix fronting the UK release. Still not happy ignoring other musical genres, Gripper began recording for Australia’s highly regarded ‘Offworld Sounds’. The ‘Rhyme Flowin EP’ reaching the Australian Independent Top 10, and writing and mix swapping with Offworld artist, Stephen Mallinder, one half of cult pioneering UK electronic band, ‘Cabaret Voltaire’. His recent mix of ‘Clowns’ by Offworld signing, and ex-Happy Mondays bad-boy front man, Shaun Ryder was used to launch Ryder’s new solo career to great feedback. Connections built up over the years have seen Gripper being affiliated as regular guest DJ with organisations as diverse as Papercup’s London Parties, our good selves here at Addict, Brighton’s eclectic ‘Catskills’ label, Cantebury’s ‘Lounge Originals’ night, and the crazy River Thames boat parties of London’s ‘Locked & Loaded’ crew, for London based ‘Pimpin’ aint Easy’ and Rafik Ellie’s full moon parties on Egypt’s Red Sea. In 2002, Gripper joined long time associates, Woody and

both EBP Craig Nelson, releases being to form Upskirt extensively championed Records, a small indie, dedicated to rediscovering the on Roger Sanchez’s world wide true ideals of house music. Starting life in London with ‘Release Yourself’ radio show, including first release, East Beach Project’s ‘Maya’s Groove/Go the prestigious ‘Hot New Tune’ slot. With 4 With Me’ label HQ moved to the island of Ibiza in the releases to date, Upskirt are finding a quiet little niche summer of 2002. Having first Dj’d on the island in in the record boxes of those that know house music. From the early 90’s, he found himself playing regularly at David Harness to Hippie Toralles, from Tedd Patterson to Kenny venues such as Es Paradis, Café Mambo, Kanya, Carpenter, from Ron Carroll to Luis Radio, thanks in part to Gripper’s Play 2, The Orange Corner, SunSea, Savannah, tireless dedication to supporting and promoting the grassroots ideals of black as an Upskirt representative at many of the big dance music. label pre parties (DefMix, Perfecto, Release Yourself, Defected). In 2003 Gripper began a Gripper’s forthcoming projects will be backed by his new company, ‘East Beach Productions’ and monthly residency at Upskirt’s weekly label include production and mixing for new Upskirt signings, ’Black Moss’; a forthcoming release on Upskirt as night at Café Paradis, Ibiza.. a night which ‘Los Fantasticos’; and UK jazz singer, Kirsten Taylor’s ‘Pay No Mind’ which features on the cd packaged with this attracted a lot of the deep house scene’s book. Check it out, its dope. leading DJ’s to play and socialise at a small gathering a lot more in tune Gripper’s currently preparing his latest deep house LP under the alias Hugo Madrid, including forthcoming collaborations with a host with the real vibe of Ibiza than the big of New Jersey based artists, songwriters and producers. ‘corporate’ gigs. He’s also just as at home locking down a set of rare groove, Latin jazz, or hip hop as he is playing those deep Ibiza sets of soulful NY house and deep afro-cuban beats, as alter ego, Hugo Madrid. States Gripper “The philosophy has always been the same, to play music from the fringes, rather than the mainstream, always supporting the cause of the underdog, the small label, or the non-commercial club night.”

Gripper’s tracks for Upskirt under the guises of East Beach Project, Los Fantasticos, Hugo Madrid and Triple Daddy formed an important part of summer 2003’s Ibiza soundtrack,

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FEATURE CAST Feature Cast, aka Lee Mintram, is a classic ‘boy done good story’. At 25 years of age, the Southampton DJ/producer is on the way up. He’s been producing various genres of music for the last eight years, juggling day jobs as a hospital cleaner and various other poor paying outings, trying to get his music out. Lee’s produced quality music for years right across the board. To get a brief low, he’s the sole producer behind underground UK rap outfit ‘Dark Craftsmen’, one of the main beat machines behind the Pickpockets camp, and has also consistently released his own material under a number of aliases for the last five years. He’s done regular production work (with much critical acclaim) in the hard house world, working with Jon Doe and Sasha’s new hot prodigy, James Zabelia. It doesn’t stop there either. He’s also previously signed various material and projects to Brighton’s infamous ‘Catskills Records’. However, despite all of the above, Lee has until recently still been hustling on the day job. When people say “it’s hard to make money out of good and credible music”, they really aren’t lying. In the music business the elements of ‘good old hard graft’ married with the occasional slice of luck is often the only key to success and finical security. Enter Mr. Feature Cast. Now I’ve known and worked closely with Lee for time now. I’ve spent many long studio sessions with the man himself, listening to him whining on about how he can’t afford to pay the petrol to drop me off back at my house. I’m in the same boat. Like many of us – we’re just trying to maintain and do music, so it’s nice to see a fellow fighter for the cause get his props and queens heads after years of scraping by. Three years ago he wrote a track and signed it to Catskills. It did OK, nothing major and he heard nothing more. Five months ago Lee got a call from Apple, the makers of the new iPOD, via his friends at Catskills. Apple wanted the track for their new worldwide advert and, after various discussions, Lee was flown to LA to re-record the track in their plush new studios with hip hop legend Kool Keith. I hooked up with Mr Cast and picked his brains on his little excursion to LA and what the future holds for him. So Lee, tell us the low down with the iPOD advert and how it’s changed things for you? “The iPod ad has been amazing! One minute I’m in my bedroom writing a track and the next I’m in LA staying at the Ritz Carlton hotel, going to the studio were Madonna records! As for changing things, well obviously the money has been a huge welcome and the amount of press the names Feature Cast and Catskills Records have received is a real bonus. Oh, and the track has also been released off the back of it too.”

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What was it like to work with Kool Keith on the record? “That was crazy! Basically, I’d sampled him on the original version of the track. They wanted us to rerecord his vocals and flip it up a bit – so we did. To me – he’s one of the old-skool dons. Someone I’ve respected and listen to for years. So to work with him was really quite a strange but good feeling.” What other projects are you currently working on? “I’m working on various projects at the moment. I’ve just bought a new studio (thanks to Mr Apple), so when I’ve managed to read the 13 manuals they gave me with all the kit – I’ll jump back into it. I’m going to be doing some drum and bass bits for DJ Red’s Stealth Recordings, some DCM tracks of course and some bits with you (Wrec). I’ve also got some jazzy house sketches that need to be finished off, and of course the on going Feature Cast album.” You’ve started DJ’ing recently – tell us about that? “Well, I’ve been doing a live PA with Jon Doe for the last 3 years where I scratch over 145bpm house. But hip hop and turntablism is what got me into music. A lot of tracks I have done in the past have cuts in, even with the house stuff I do I try and throw some scratches in wherever I can. Also didn’t want to be one of those producer turns DJ’s, ya know? So I wanted to make sure I can stand my own, 1) as a producer/artist, 2) as a good DJ. So its basically all of the above plus the constant badgering of my mates saying ‘why don’t you DJ out Lee?’ So yeah – I’m out there now, available for bookings!” What is your style of DJ’ing? “A bit of everything really, a lot like my production. Cutting up breaks, hip hop, Latin, house, drum and bass and a few oldies for good measure. Basically, if you come to a Feature Cast show – it’s just one big eclectic mash up of good music, simple as that!” There’s been talk of your solo album for almost two years now. What’s happening with that project and what genres will it involve? “Yeah, it’s taken a while! I’m slowly working on it, but am never satisfied with the results! I have a few tracks done so far, its all a bit of a mash up really! There’s the dance floor tracks like ‘Channel Surfing’, but also Latin, house, some chill-out bits, and some drum and bass. It really is right across the board, but still all in the Feature Cast vein. Will have to see what makes it on to the album.” Words / Photos: Jon Wrec

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THE MIXOLOGISTS Originally a four man team (DJ Go, Beni G, Gizroc and Yo-one), the crew began to enter DJ battles under the Mixologists name back in 1997. With the name still relatively unknown in 1999, the team came 3rd in the UK DMC Team championships, won the European I.T.F. championship and came runner up in the World I.T.F. Finals in Hawaii. In their first year of battling, the crew had already established themselves as a threat, on the world stage. After further success in 2000 (winning the UK DMC Team championships and placing 3rd in the World), the Mixologists streamlined and DJ Go and Beni G became the only 2 members of the crew. The two then went on to successfully defend their UK title in 2001 and come World DMC runner ups, their best accolade to date. Although from different musical backgrounds (Beni was part of the early rave and jungle scene whilst Go had strong hip hop roots), the two have fused and taken their eclectic DJ style to over 20 countries, including across the UK, Europe, Japan, Australia, New Zealand, S. Africa, Canada and USA to name but a few. Indeed the boys have worked and performed with various artists such as: Roy Ayres, DJ Craze, Jazzy Jeff, Kool Herc, Roots Manuva, London Elektricity, Killa Kela (who together make up Spitkingdom Sound System), Masta Ace, Eminem and Stereo MC’s. July 2003 saw their first compilation album released called ‘Champion Sounds’ under DMC’s label, which subsequently won an award for best compilation at the Underground Music Awards. In 5 years of battling the Mixologists have already done more than most, but it is in clubs where they really shine and are set to continue to entertain crowds all over the world with the option of hip hop sets, drum & bass sets or both. 2004 will be an even bigger year with their own production, touring and many other projects currently in the pipeline. Stand up! Check out: mixologists.com You can catch the duo at their Spitkingdom Soundsystem residency every Tuesday night at London’s Herbal spot with residents Killa Kela, The Mixologists, MC Trip, and DJ Skeletrik. Credentials 1999 I.T.F. European Teams, Copenhagen [ Winners ] 2000 DMC UK Team Champs, London [ Winners ] 2001 DMC UK Team Champs, London [ Winners ] 2001 DMC World Team Finals, London [ Runners Up ] photo Ophelia Wynne

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to Tokyo and beyond. Rodney P and Skitz went down under to Australia to cause ‘rukus’ and The Pickpockets hit the UK in March of this year.

Over the course of the last year Addict Clothing’s involvement with the music industry has gone from strength to strength, with a number of exciting projects and events happening across the world. On the back of the Volume 1 book, the Addict Beats Collective mix CD featured tracks from sponsored artists including Skitz and Rodney P, Taskforce, The Pickpockets, London Elektricity, DJ Yoda and Simon ‘Bassline’ Smith. Since then there have been a number of sponsored tours in association with the Addict brand. Firstly there was Danny Wheeler and MC Wrec’s tour across Asia – from Beijing to Osaka,

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Our regular monthly associated nights have continued to be outstanding successes. ‘Rukus’ in Bristol has been consistently rammed every month with guests including Taskforce, Mr. Thing, The Pickpockets, Danny Wheeler and First Rate – all passing through the doors. Our Birmingham connection with the good folks at ‘Afro Dizzy Scratch’ has also resulted in roadblock parties every 30 days. All the usual suspects that rep the Addict label have graced the mic or turntables at one time or another – The Mixoligists, Phi Life, Skitz, Wrec and Koobs, have all ripped the place down! Look out for future events with the legendary Public Enemy, Afrika Bambaataa and Arrested Development… nice! Other events we work with include ‘Spectrum’ in Nottingham (voted best breaks 2003 and 2004), ‘Jungle Magic’ in Edinburgh, ‘Incident Beatz’

in Tokyo and of course ‘Hospitality’ at Herbal, London. Run by our dear friends at Hospital Records, this is just about the best drum and bass workout you could wish for. Herbal’s a tight, intimate venue armed with a crisp sound system and impressive visuals. The crowd are always friendly and slightly older than your usual drum and bass punter. Downstairs, residents High Contrast, London Elektricity, Nu Tone and MC’s Wrec and SP, hit you with the more musical side of d&b, while upstairs Chris ‘the goose’ Goss and the mighty Landslide play all things good, left of centre and eclectic over five hours. We want to take this opportunity to thank all our associated and sponsored DJ’s, MC’s, breakers, promoters and street teams, for all your hard work and support – let’s keep rolling! Special thanks to… Wrec, Soopa Jay, First Rate, Rodney P and Daddy Skitz, the London Elektricity band and Hospital crew, Sarah Cox @ Radio 1, Douglas Gill @ Afro, Roots Manuva, James Zabelia, DJ Cash Money and Jack, Harry @ Rukus – Bristol, Mr Thing, Kenny Dope, Taskforce, Atomic Hooligan, Stanton Warriors, Blade, Big Bud, Daddy G, Rob Mac and Matt Smooth, DJ Yoda, Letitia SD and all the 1Xtra crew, Pete Jordan @ Spectrum, Goldie, DJ Kid, Phi Life Cypher, Incident Beatz – Tokyo, Aim, Feature Cast, Leo @ Kung Fu, Simon ‘Bassline’ Smith and Drumsound, The Mixoligists, Danny Wheeler, Adrock, Josh Cole, L Double and the Jungle Drummer, Jonny Mac, Matt @ Club Ether, Frank @ 93 Feet East, Tom Dodd and Phil Roston. Much love and respect to you all. Words Jon Wrec Photo Ophelia

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The brainchild of Chris Goss and Tony Colman, Hospital Records launched in early 1996 from their West London studio. Hospital’s early drum and bass output earned them an elite underground fan base, but it was London Elektricity’s ‘Song In The Key of Knife’, and ‘Pull The Plug’ album debut that captured the imagination of the jungle scene. In 2000 Hospital shifted up a gear. Tony and Chris introduced the compilation series, ‘Out Patients’ and ‘Plastic Surgery’, followed by Landslide’s ‘Drum+Bossa’ set that laid the foundations for brokenbeat. That summer saw the signing of original r+b junglist Danny Byrd, along with a young unknown Welshman from the underground, Link Barrett, aka High Contrast. Since 2002, Chris quit the music making to prioritise running the label leaving Tony to carry the mantle of London Elektricity Han-solo. Hospital has gone on to become a byword for quality drum and bass and break-beat thanks to a series of unfailingly consistent releases. These Include the ‘Hospital Mix’, ‘Plastic Surgery’ and ‘Weapons Of Mass Creation’, not to mention heavyweight nuggets like High Contrast’s amazing debut ‘True Colours’, and London Elektricity’s fast soul classic ‘Billion Dollar Gravy’. Consistently breaking the mould, Hospital hasn’t stopped at just putting out drum and bass 12”s. London Elektricity Live hit the

road in Spring 2003, setting the benchmark for genuine, 100% live drum and bass. Their international excursions have resulted in the unique ‘Live Gravy’ DVD released May 2004, launched with a headline show at the London Forum in front of 1300 fans. The Hospitality club brand - 3 years strong at Shoreditch’s Herbal - has spread to residencies in Nottingham, Cardiff and Berlin, WITH plenty OF one-off parties in the UK and Europe. The range of label merchandise has expanded, along with some supa-fat DJ bags, slipmats and keyrings, whilst the web presence of the Hospital crew continues to up the ante. As the first drum and bass imprint to get IT’S catalogue onto iTunes, HospitalRecords.com gets another fuel injection this summer: hold tight for the brand new Hospital online shop, featuring full digital download service with plenty OF exclusives and upfront bullets! As 2005 approaches the Hospital family is growing at a healthy rate and the workload is 24/7. Nurturing new talent like Hamburg’s Syncopix and latest signing Logistics, who contributed to the autumn single releases alongside Q-Project and SKC. Moulding the careers of Nu: Tone and Cyantific, who both have albums in the pipeline for spring next year, and the world at their feet. Plus overseeing the nonstop energy and bass line science of Social Security, whose tunes have driven the more militant dancefloor offshoot, ‘M*A*S*H’.

Goss and Tony Colman

Dropping this September is the long-awaited 2nd album from High Contrast, ‘High Society’. Ramma-jamma with dancefloor smashers! You know this is a heavyweight release that secures High Contrast’s position at the forefront of uplifting, anthemic drum and bass music. London Elektricity continue to mash up the dance, live-style, including a heavy set at this summer’s Homelands throw-down, and Tony C is deep in the musical foundations that are shaping the 3rd album project. Hold tight for this one!

Words: courtesy of the label Pics: Wrec

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HOSPITAL RECORDS

The brainchild of Chris Goss and Tony Colman

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Big Bud, real name Robin O’Reilly, or ‘Chub’ to his friends, sits in his chair looking over his mixing desk, glazed and deep in the zone, playing back ‘something fresh’ through the studio speakers. It’s a warm afternoon in Southampton, the sun shines through the blinds, smoke swirls in the light and I’ve realised… I’ve entered ‘Budland’. Big Bud’s been at the forefront of exciting dance music for several years now. Having released an astonishing 70 tracks over three critically acclaimed albums, including 2001’s ‘Late Night Blues’, it’s only now that this producer, DJ and finally label manager looks like he’ll get the props he so richly deserves. Having dropped science on respects labels including Nuphonic, Moving Shadow, Fabio’s ‘Creative Source’ and more famously Bukem’s ‘Good Looking Records’, Bud is now at last the master of his own destiny. Alongside DJ Element – Bud has launched two imprints, firstly ‘Soundtrax’, strictly a drum and bass outlet, and secondly ‘Super8Sound’, for the more eclectic flavours. More recently, Bud has been travelling the world DJ’ing and recording with various artists, promoting his comeback and masterminding his label’s future. After a chance meeting with ‘Murphy’, a producer from Belize, two years ago in Southampton, Bud ended up re-mixing one of his tracks as an experiment. The track made its way back to the Caribbean and impressed the Belize National Dance Company so much Bud was invited over to write more music for them. Murphy advised him to bring over equipment to record and work with some of the local artists, and Bud obliged. As I sit with the man himself, he talks warmly about the country, the people and the experience that changed his outlook on life, refreshed his musical direction and made him many new friends. What was it like to just land in a place alien to you, where no one knew who you were, and get the local artists to warm and work with you? It was a fantastic experience, I had the time of my life. I didn’t know much about the place or what to expect but it was all good. Although it’s quite a poor country and people have to live in terrible conditions, they are a friendly, happy people and made me welcome. The first guy I worked with was G Rhymes. We ended up doing 3 tracks together. He’s a wicked MC and on one track he just freestyled for 15 minutes. Also done a track with local hero Hooligan. I heard someone else singing on the radio and tracked him down too. This was Dan Marcus, another well-known local vocalist. I managed to get another 3 tracks down with him as well. The other guy I worked with was Punta musician, Lugua. He’s an older guy who’s famous throughout the Caribbean and has released several albums. We also got a few tracks done. What sort of sounds and flavours did you produce when you were out there? The main styles of music there are dancehall and punta. I got a mixture of flavours recorded; a few reggae tracks, some hip hop and some dancehall. But the tracks with Lugua are more tribal/jazzy. He sings in an old African language called Garifuna… So we’ve ended up with a nice mix of what I do with a Caribbean twist!

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Did you intentionally try and record the whole album out there? Or was it just something that happened naturally? No, there was no real plan, but once the tracks started coming together I realised that there was enough for an album so it just happened really. When’s the LP out? And are there any plans to tour the project? It’s gonna take me a few months to mix it all down but when it’s ready I plan to return to Belize, maybe do some live shows and see if we can bring guys over to the UK and tour around Europe. On both your labels you’ve signed and worked with a variety of international artists. Again, was this a conscious decision? No, it’s just the way it’s gone… Everywhere I’ve been I hear wicked local music and just try and sign some of it to release back home. Got some excellent music from some Hungarian producers. New Zealand

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is buzzing full of talent as well and of course, Belize. Can your drum and bass fans expect to see a long-player in the near future? I’m still making d’n’b tunes! I’ve got a new single about to drop on Soundtrax any time now. Think the next album is gonna be more of a mix up though rather than a straight d’n’b LP... but watch out for a Soundtrax compilation, which will be strictly d’n’b cuts! You’ve suddenly started DJ’ing, after years of staying in the studio. Where have you been and what’s been your best show? Yeah, up until recently, I had a real fear of flying. Basically I got invited to New Zealand last year to tour, and it was an opportunity too good too miss! So I

decided to face the fear and jump on a plane and find out if it was either gonna kill or cure me… and it worked. You just can’t shit yourself for 23 hours! So, since then I’ve taken all gigs I get offered. So far I’ve been to Hungary, Serbia, Russia, Germany, New Zealand and Belize. And lined up for this year are Holland and return trips to Hungary and Russia. Regarding my best show… probably Budapest 2003 (Big up Kristof and Bomb Da Jazz crew!). I got to say though, I really enjoyed touring New Zealand – it’s wicked country and great people. Big Bud’s next release on Soundtrax is a double 12” with ‘Dirty Mr. Kurti’ on side A while

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‘Rice’n’Beans’ is on the flip. Also look out for releases from Zero Tolerance and Beta 2 on the label in the near future. Next up on Super8 is some Hungarian nu-jazz bizniz from ‘Easylife Natural’. The ‘Peas from Belize’ album project should see the light of day towards the end of the year. You’ve been warned! Words: Jon Wrec Pictures: Courtesy of Big Bud

Interview by Steff Plaetz sp – so Will, Chris is bugging out because we haven’t sent him any text for this next addict book – as usual you seem mad busy… you’ve just got back from painting at some event in Biaritz – what was that all about ? wb – it was an exhibition through modart, an organisation based in San Diego, we were at a girl only surf comp painting on plaster cast breasts, It was mellow, painting on the beach, for charridey… sp - i mean probably the best thing from doing this stuff over the last 5 or 6 years has been all the travelling we’ve been able to do through it…

i’ve been to Japan 3 times with you in the last couple of years and totally loved it there – what do you make of it over there? wb – well its amazing isnt it!, there is so much to see. i mean, we mostly wind up hitting the shops dont we, I like the vehicles, the scooters and bikes, the cars, everyone customises their stuff, i like the way the japanese organise their spaces, from apartments to stores, tokyo hands is the spot, its a ‘creative life store’, that pretty much sums it up, i buy alot of hotdogs from the convenience stores… sp – you are quite into your vehicles and seem to aquire and get through quite a lot of them – what’s the vehicle count at right now? wb – i’ve had a few cars, a damp Honda and an ‘mg’ that went down in flames with me in it… so i’m sticking to polos at the moment, i’ve got a few bicycles, being stored in various

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locations around the country and a motorbike in a barn in Bristol. i really want to get a new motorbike or scooter next… sp – back to artwork, we both seem to be getting more work and commisions to do, straight painting on canvases, which is pretty wicked – i mean, that seemed a long way off when we started drawing back in bristol nearly 10 years ago? wb – yeah, you were the first of us three to start working on canvas, and then Dunc (Mr Jago) i think, its good to get away from sitting in front of a mac all day… Its given us some good opportunities… like travelling. sp – i mean, where can you see this stuff going in the next few years?

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wb â&#x20AC;&#x201C; i dont know really, i just want to carry on, get better at painting and drawing, i hope we get to go away a bit more, I want to carry on collaborating with you and dunc, because i think the last few things we did together came out pretty good!

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WILL BARRAS Wendy B Womens Tee AW04

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Addict Women’s Wear – Jago camo Scout pant . Mesh vest . Cotton jacket .

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Photo: Helena Kouzeleas

Addict Women’s Wear – Peta jacket . Cat guest artist T ‘Lady’ .

Munich-based graffiti/graphics head Flying Fortress is ten years into the game. His style and attitude towards the evolving street art culture is original and open minded. With his distinctive â&#x20AC;&#x153;street logoâ&#x20AC;? Flying Fortress alongside a handful of groundbreaking artists such as The London Police, D Face and Toasters have attracted attention, making a statement with bold graphic lines and instantly

recognisable characters. Flying Fortress takes his work and leaves his mark across each city he visits, with an endless supply of exhibition space it seems Flying

Fortress will continue getting up in all corners of the globe, leaving a trail of comical chrome soldier bears and bright iconic stickers. Keep your eyes peeled, lampposts, rooftops, trackside Flying Fortress is in full effect! Where did the concept of bears and the military originate?

FLYING FORTRESS

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I was on the search of an ego logo to use instead of a tag in public space. Something I could use for heavy repetition. But it should work not only on a simple level like just doing it again and again. So once the teddy troops came along I felt the strength of the idea immediately. Every single soldier can be individual but is also part of a bigger concept: the ego logo army that is going to occupy any space and media. And my preference for military symbolism and icon-ism comes from my years of childhood when I was

building those war plane Airfix model kits. This is also where the idea of the name FlyingFortress comes from. The plane stands for the idea of being independent from any physical or common rules. And the big power of a big war bomber and not just like a one man fighter. Not single attacks but carpet bombing... Have you always been involved in the German graffiti network? Almost 10 years ago I was a traditional writer. But at that time the graffiti scene had already grown so big that instead of increasing the feeling of we-unit/being-a-family it all got divided and ended in an elbow mentality. The scene lost the flow of the early days. I mean, I had contacts but it is not the same circumstances like it is in the newer street scene. It is smaller and everybody knows each other or each other’s work. So it is easier to get in contact or the readiness to meet and to accommodate while on your travels. How have you seen the street art scene develop? The so-called street art scene or movement has different roots in my opinion. Political messages and criticism, graphic design, visual tags/logos/characters, graffiti etc… one important point that also made me get into this is the change from a tag as a code just for a small scene into a visual logo to speak to a bigger audience. I think there you can see that a lot of writers got into the graphic design business and brought back the skills from design and advertisement into graffiti. I mean this is just one aspect of it all. So I see myself as part of the second wave of artists. I was quite impressed by work from OBEY, La Mano, Stak and Honet using new media and running a straight concept. Where have you been on your trails?

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Time to time I have features in magazines or in current book releases.

So far I just travelled Europe. Several times I had been in London visiting my friends from the 243 and FindersKeepers crew. Also a few times in Paris and Barcelona. And sure a lot of

And are you involved in any exhibitions this summer? I will have a show in Paris in the

beginning of July and later this year in October again. Then I do a battle show with/vs. Dave the Chimp in Barcelona in August. I will also go to Manchester and Zurich this year. Travelling is the best fun!

German cities like Berlin, Hamburg, Stuttgart… London-Paris-Barcelona seems to be the axel of evil! Will go there again this summer. What motivates you to maintain getting up?

Do you photograph your work?

It is a passion. I love to draw and paint. I simply have to do it. And I really like to go out with other artists. I mean it is quite easy to do good stuff by your own but your skills get improved if you collaborate in a team work. This is always a new challenge for my concept and me. Which writers and artists do you respect?

All those writers from Munich who kindle my heart for graffiti: Loomit, Won, Neon, Scout, Stone and all the others. But skateboard artists like Jim Phillips and Andy Howell, their graphics have also influenced me and my work. I love stuff from OsGEmeos, Herbert, HNT, Chimp, Pete Fowler, James Jarvis, Gomes, Alexone, Akroe, KRSN, Bigfoot and a lot more. I guess I am more a fan of art than artist myself...

Yes, sure. Most artwork is like leaving a baby so I want to have a photo for my family album to show to my kids then to say “look this is your brother”… You work in graphic design, what other projects/ideas should we look out for? At the moment I am just finishing my designs for my very first and very own urban vinyl toys. I hope they will be already out with this book release. Look out for the Teddy Troops… Thanx&Cheers. Interview by Hugo Toland

Where can people see your work? First check my website where I try to do a frequent update with all stuff from different medias. Go www.flyingfortress.de. Also keep your eyes open maybe I walked your streets spreading stickers or so.

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How did your particular style of drawing develop? years of constant doodling.... Where and who do you draw inspiration from?

Since your first commission with the Scrawl collective 4 years ago, how do you think your style has changed and developed? i think when i first started out i kind of wanted to be seen as one of the boys – looking back on my

first Scrawl things my style was kind of masculine – lots of emcees and big robots. i guess my stuff’s a little more feminine now, more abstract and darker i think. i definitely feel my style’s more my own now... You’ve also worked on stop motion animation projects, most recently assisting on the ‘there there’ promo for radiohead. How does this work influence your illustration and painting (if at all) and which do you prefer?

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i guess the earliest influences would be the cartoons i watched when i was a little kid – Ulysses, Thundercats, Transformers – i guess those influences have stayed… and my dad’s old Mad annuals from the fifties and sixties, old fabric prints, crap jewelery, weird toys from car boot sales and charity shops, films like ‘Spirited Away’, music, other artists like Doze and Twist... god... that’s a lot of stuff... i guess everything around you influences you all the time, mostly without you even noticing so it’s hard to narrow it down... ...vague enough for you?

Yeah – its hard to compare really – they’re both really different but i guess it influences my drawings in that i’d like to see most of them in 3d and moving. a lot of my characters are sort of designs for models i’d like to make.

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Interview by Ric Blackshaw

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Photo: Helena Kouzeleas

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Photo: Helena Kouzeleas Addict Women’s Wear – Panel T . Cotton skirt .

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Photo: Helena Kouzeleas Addict Women’s Wear – Whole top . Cube wrap top . Fall T .

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When I first saw your artwork you made more traditional references to hip-hop and graffiti-type characters, but over the past couple of years you’ve changed this and got buck-wild with your fantasy art approach. Is this a deliberate decision to move away from the norm? And if so why? I’ve always been into the traditional New York style graffiti with two characters either side of a letter piece with a big 3D and highlights, but alongside painting graff I was also making fanzines and designing record sleeves and posters for my brother’s old punk band. After a while I guess I felt more comfortable painting the non hip-hop characters on the wall; angels, pandas, dragons etc. I found that these actually worked very well in terms of making people look at the piece. It was something different that stood out in the ‘hall of fame’. I’ve always been into fantasy art and mythology, but over the past couple of years I’ve made a conscious decision to develop this style, it’s called ‘Blood & Sand’. Like Fab 5 Freddy said, “the hip hop world is a fantasy”.

off of furniture polish to making pens out of shoe dye or whatever. Stickers and posters are just another way of getting up, but it has turned into a real trend for kids to photocopy a picture of an object or cute animal or whatever and stick it up in the East End, I think that’s pretty wack. To me, graffiti is about having your own ideas and your own handstyle. A lot of these ‘street art’ cats don’t seem to get that, they are just running with the same one idea. Then again, everyone was a toy when they started out. Do you think there is much of a difference between your illustration and graffiti? I’m trying to get all of my work moving in the same direction now. Like I say, I want to present this whole fantasy world, not just in my illustration and graffiti, but in my music too. I think it’s really important to have a narrative in your work, otherwise it’s just decoration. ‘Blood & Sand’ is like a modern day Vaughn Bode world so there’s still a reference to graffiti in my work cos his were the most popular characters to paint. The difference is that I paint my own illustrations in my graffiti. It’s like my own Pop Art in a way. Stylistically, I want my graffiti to be as much like my illustrations as possible, that’s the plan. Have you ever ridden a bull?

How do you think your artwork and music connect with each other? Is this connection something you’d like to develop further in future projects?

No never, but after watching ‘Amarillo By Morning’ day in day out I feel inspired to become a real rodeo man. That shit is the new ‘Style Wars’ right there, a true inspiration. Interview by Kev Grey

At the moment the only connection is the fact that I make them both. They both have my personality in them but really they are two separate things. My music style is like ghettokaraoke-pub-rap and my artwork is this fantasy art stuff. I do plan to tie the two together more on my next LP. It’ll be more of a concept album, it won’t have a story as such, but it will relate to my artwork a lot more. What’s being referred to as ‘street art’ is very popular at the moment. As a graffiti writer, what is your opinion on this? Graffiti has always been about problem solving and finding new ways to put your work up, from nicking fat caps

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‘Get Over It’, the second album from The Nextmen, aka Dominic Betmead and Brad Ellis, was released in late 2003 to great critical acclaim. As the boys promised, it delivered a whole bunch of styles and production ideas pretty much unheard of in the genre. Twisted up drum and bass, dancehall and bashment influences were clearly evident throughout, and the MC line up was second to none. J-Live, Rodney P, Ty, Dynamite MC and the legendary Jamaican Cutty Ranks all played a part in making ‘Get Over It’ one of the most important releases of the year. The duo have also remixed the likes of Groove Armada, Morcheeba, Public Enemy and Rae and Christian, and have had mixes of their own material done by the Stanton Warriors, Cyantific and The Mines. This means that there’s just about a Nextmen record in every DJ’s box, whatever genre they play. A nice position to be in! In addition, anyone who has heard the recent Nextmen promotional mix CD ‘Personal Golf Instructions’ will know that it justifies the internet hype citing it to be the ‘best mix CD ever’. It is a perfect example of a Nextmen DJ set, taking the listener seamlessly through various genres and decades whilst always remaining vibrant and danceable. You need to track it down. Despite touring across Australia, New Zealand and Europe, the third album is now at the forefront of the Nextmen’s minds, as well as new label ‘Custom’ and several song-writing projects. Expect more genre busting production and writing from the super-talented production duo that just refuse to stand still. ‘90% Of Me Is You’ Nextmen & Karime Kendra out now on Scenario Records (7 inch) Check: thenextmen.com photo Ophelia Wynne

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THE NEXTMEN

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MISSILE COMMAND

MY ALL TIME TOP TEN Listen, when I play a videogame I don’t want to play it for 17 weeks on the go, locked in my bedroom making sure that I got this bit to unlock that bit to go to the next billionth level, or go to an arcade to play computer fishing! Or pay to stand on something and dance when you can dance on the floor for free! I want to blow stuff up, fly through things, kill Dragon’s, hunt down tanks, destroy the Death Star, warp into Hyperspace… When I was growing up you could do just that, have a look at the list below and see if you know what I’m saying.

DEFENDER

Another killer title from Atari, think ‘War Games meets Two Tribes’ in the height of the Cold War and you’ll get somewhere near the total annihilation that is Missile Command. This raster graphic, 1 or 2 player, game puts you as the last line of defence from incoming hostile ICBMs (Intercontinental Ballistic Missiles) aimed directly at your cities. From 3 missile bases you use the old skool ‘Track Ball’ controller to position your sights on the path of the enemy missiles and to rapidly launch your SAM’s (Surface to Air Missiles) in an attempt to blow the enemy from the sky before they reach their target. As the game progresses, more and more missiles descend upon you at an increasingly rapid pace. Think you can handle it? Guess again, mastering the track ball takes patience and practice to hone your skills and remember, you hold the lives of millions in your hands…

When I first saw this game as a ten year old kid I was hooked from day one and here’s why… First released by Williams in 1980, Defender was initially snubbed by the videogame industry who thought it would never catch on for being too complicated. They were to rapidly eat their words as it swiftly became one of the highest grossing arcade games of all time. Why? Because it is quite simply arcade action in its purest, most unadulterated form – fast, loud, furious and very, very addictive. Essentially you fly, you shoot, you kill and you rescue, all aided by thrust/reverse/laser/hyperspace controls and the infamous ‘smart bomb’ button that decimates everything, except you, on the screen. For 1 or 2 players Defender was the ultimate right of passage into videogame super stardom in the early eighties, reputations were built and shattered in the quest for the ultimate ‘High Score’ to ‘Clock’ the machine past 100,000 points back to zero..

ASTEROIDS

DRAGON’S LAIR

This is another one of my solid favourites and if one ever comes along I’ll be definitely trying to add it to the collection. Another ground breaking film that I hold with the same level of regard as Star Wars for the effect it had on me when I first saw it. At the cinema Tron’s dayglo world of the MCP and the Light Cycle duel blew me away. Not all the other kids got it but if like me you’d had a good 3 years on arcade games and dabblings with the emergence of the ZX81 computer then Tron ruled! The cabinet for this game’s as good as the game itself, bathed in neon it’s got the same hand controller that you see on the Light Cycle game at the beginning of the film – rude. The game’s based on scenes from the film, the Light Cycles, Tanks, MCP and Grid Bugs – complete all four and you do it all over again, only this time faster and harder. Even Dillinger can’t steal this little baby as Bally Midway released it in 1982 and they own the copyright. All towns should have a Flynn’s Place.

At 13 years old my reaction to Dragon’s Lair was like any other teenager who witnessed this unbelievable game hitting the arcades, one of total disbelief. It was a fully animated cartoon movie and you controlled it (well, sort of). Released by Cinematronics in 1983 to critical acclaim, Dragon’s Lair was the first fully animated laserdisc game to look and sound like a real film. Developed by Rick Dyer and animated by Don Bluth (ex-Disney) and his team of animators, the game features Dirk the Daring “on a quest to rescue a fair Princess from the clutches of an evil Dragon” who must navigate his way through various treacherous obstacles in order to reach his prize, the Playboy bunny influenced Princess Daphne, who he gets to snog at the end ‘if’ he kills the dragon. Played by many but mastered by few, this game is amazing if you know how to play it. Dragon’s Lair left its mark on me but when the big arcade industry crash of 1984 saw these cabinets literally disappear I could play no longer. The game became a legend and memories of it remained with me throughout my teenage years and adulthood. Two years ago, nearly 20 years since I first saw the game, I successfully hunted one down in the US, bought it and shipped it back to the UK. Restored and working, it plays just as well as it did all that time ago back in ’83 and it still looks better than anything around today. This game is a treasure – view it with mythical status.

STAR WARS Atari ruled it in the eighties. While some developers were toying with bad graphics and weak concepts, Atari were smashing it big style with some of the best games of that era. Star Wars, the cockpit version released in 1983 was one such game… Using what were, at the time, revolutionary 3 dimensional vector graphics you take on the role of Luke, piloting your X-Wing, Red-Five, against the Galactic Empire. This game features actual samples from the film and although the graphics are fairly simplistic you get a real feeling of motion when you fly the 3 stages of the game. Kick the ass of all the Tie Fighters in stage 1 and you descend onto the Death Star surface for stage 2. Shoot all the towers and dodge the flack from the guns and you enter the final phase to the sound of Ben Kenobi telling you to “Let go…” Enter the trench with R-2’s bleeps in the background and you know the rest – get the torpedo down the vent hole and… “Yahoo, you’re all clear kid” and the Death Star explodes into what looks like a strobe light and the tinny bleeps of the Star Wars theme tune, digital sound wasn’t around back then but the addictive playability of the game by far overrides the dodgy music. Check the picture, even when this game’s not switched on it looks wicked.

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Atari again, but this release is pre eighties, in 1979. This black and white vector graphics space game is a blast ’em up of the highest order, with one mission only which is to blow up everything in your path, asteroids, spaceships. Each time you shoot a rock it splits into more smaller rocks until you clean up and clear the screen. The Thrust button could send you careering off the side of the screen and out the other side, which took a little getting used to, and the Hyperspace button was equally unpredictable. A true classic amongst purists, Asteroids is one of the all time ‘retro’ videogames and would still get pulses racing were it here in the arcades today.

TRON

BATTLEZONE This game is sinister and it’s rumoured was deamed so realistic on its unveiling that the US Military commissioned 2 specially modified versions of the game as simulators to train their tank commanders!! Atari again, with this ultra slick vector graphic tank battle simulator, really pulled out all the stops with this one. Released in 1980, the cabinet had a platform that us kids would stand on to look through the tank’s periscope/gun sights from where you looked over a 3-D landscape littered with rocks and the debris of not so fortunate tanks. With full 360 degree rotation this game had an uncannily realistic feel to it, enemy tanks could appear from behind you at any time and you could be fired upon from long distance. Rapid response and decision making was essential to survive, making the atmosphere of the game very tense indeed. On the plus side when you fired at and hit other tanks they exploded in glorious three dimensional wireframe vectors all over the barren landscape – nice.

GALAXIAN Released in 1978 by Namco, Galaxian is from the bassline horizontal scrolling school of games like Space Invaders. Kill or be killed and quite often you were. This was the first videogame to display all of its graphics in true RGB colour and spawned various successors, part 2, 3, 4 etc. When you see the cabinet the game’s just crying out to be played and it doesn’t get much better than resting your pint on the tabletop version whilst you blast the sh*t out of anything that moves. The table top versus upright debate is another issue…

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DISCS OF TRON This was originally going to be one of the screens in the game Tron, previously mentioned. It wasn’t ready in time for that game’s release so was shelved and subsequently became the basis for Disc of Tron. Released later in 1983, the best version of this game was the upright environmental cabinet, shown in the picture, which literally immersed you in the world of Tron. Lights, surround sound, speech samples from the film and glow panels all add to the overall effect of being within the MCP. The game itself is based on the ID disc/Frisbee part of the film twinned with the rings section that you can fall through.The colourful raster graphics look dated today but the game’s just got that air about it and again, for me, it’s all about the cabinet and side art.

ROBOTRON 2084 In 1982 this was the third in the series for Williams. The theme of the game is loosely based around the Defender storyline and was programmed by Eugene Jarvis who also developed and programmed Defender. The game features two 8-way joysticks, one for movement and one for firing, making this a super-fast all action shoot ’em up. Your objective is to defend the last human family from an array of enemies, action is fast paced and loud and although I only played this game a dozen times or so when I was younger it’s one of the games that stands forefront in my memories of that era. Words and photos (right hand page) by Chris Carden-Jones This page clockwise from bottom left my collection: Defender, Star Wars and Dragon’s Lair.

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PlayBeast manufacture , distribute, market and promote artist toy figures and products in the UK, Europe and throughout the world. CardBoy and Chinpira are out now and Monsterism Series 3 will begin August 1st. Ugly Doll vinyl and Scaryďż˝irl products also now available. Contact Rob on 020 7729 4060 for further info. PlayBeast Ltd www.monsterism.net www.playbeast.com www.akamushi.com

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BLADE INTERVIEW: Blade is quite simply a British institution. If this corrupt, dirty world were for just one day a fair place, Blade would be regarded as a national treasure. He’d have his wax work standing tall and proud in the celebrity laced walls of Madam Two Swords and someone who knew nothing about hip hop would have written his biography to honour his twenty odd years on the mic. But as we all know oh so well, this world is not a fair place. It’s a place where mainstream mass marketing prevails, text messaging is more popular than a ‘good old conversation’ and Bush and Blair play with our insignificant lives like we were pieces of sand on a forgotten, lonely, wind swept beach. In short it’s a fucked up world we live in. It’s a world where only the strong survive… and Blade is one of the strong. Armenian born but now London based, Blade has been at the forefront of our domestic hip hop scene for fifteen years. After a string of Independent releases on his own 691 Influential label, Blade signed with Virgin Records (through Wordplay) with long-time collaborator Mark B. The duo released their critically acclaimed ‘Unknown’ LP, supported Eminem and rocked Tops of the Pops, but label disputes and politics took over and Blade walked from the deal. He walked this time solo, without Mark, on his own, back to re-light the flames of 691 Influential and back to the world of independence. His new LP ‘Storms are brewing’ has again been labelled another classic UK release. The press lapped it up, the fans went crazy at the shows, and Blade

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re-established himself as the original daddy of British rap. Good – ‘cos that’s where he truly belongs. I hooked up with him deep in South London’s rap trenches – to get the low-down on his great comeback.

of that was slightly thrown off balance when my distributor went bankrupt, so for now I just have to focus on making sure I can build on what I have with what I have.” What’s the master plan for 2004?

So how did the album drop – I take it’s been crazy with promotion, shows, interviews etc? “It’s been real hectic. A few things haven’t gone according to plan, but that just makes the whole thing a lot more interesting and keeps us busy as hell”.

On the ‘Unknown’ Mark B did all the production and you featured several guests like Westwood, Skinnyman and Rodney P. On this album it’s all produced by your good self and features no quests. Were you really conscious of this being a 100% solo set. Did you feel like you had something to prove something on this record? “Actually, I tried to get a few UK rap acts on the record, but was not given the go ahead. So I ended up doing this album as a whole solo project, which I don’t mind at all really. I was beginning to get confused who’s album I was buying, what with all these collaborations going on, so I think it’s a bit of a bold move to do an album with no collaborations which I feel has now become industry standard. Saying that though, I have no problem with collaborations as long as they don’t seem too contrived. If artists genuinely want to collaborate then that’s cool, but if they just look at it like it’s a business move and just a business move, then I’m not too into that idea”. Blade continues… “I still have plans to collaborate with quite a few acts myself, but they are people that I’m into as artists, acts that I have a lot of respect for, so watch out for some of those. While we’re on the subject, when are we going to do something together?” Soon sir don’t worry, I’m on it! Tell us briefly why ‘Storms are brewing’ has come out on your old label 691 Influential, as you were previously signed to the major Virgin Records? “This happened mainly because I wasn’t too comfortable on Virgin Records. I really enjoyed my time on Wordplay, but soon as I was moved up to Virgin after Wordplay shut down, things just weren’t the same for me. I didn’t feel that they made any effort to understand what I was about and what I wanted to bring across.” Is 691 Influential strictly for your own releases or are you looking to sign other artists and projects to your label? “I hope to be able to expand and sign other acts, but plan 1

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“To get involved in a few porn movies, rob a few banks (I already got myself a few extra stockings and masks with the last few pennies – so that’s all good). Seriously though, the plan is to just keep touring and getting the name out there, letting people know that the album is out and just to try to build some solid foundations. We got plans to release another single in September, ‘Reflections’, hopefully with a b side produced by another producer in the UK hip hop scene, so till then it’s just touring and building awareness.” Throughout your illustrious career you’ve toured all over the world. How does British hip hop travel in today’s worldly hip hop market, which is saturated by below average American rap?

“It’s hard work to make people aware of what we have on our humble shores. Unfortunately I believe we are living in the MTV generation, the generation where people buy what they see, mainly US hip hop with ladies in bikinis and loads of flash cars. We’re beginning to see a few UK videos, but they are mainly played on ‘Channel U’ which is cool. It would be really good to see them played on more channels than just the one. Others countries have, or are beginning to accept what the UK has to offer, it’s still on a small level, but I guess that’s better than not being accepted at all. To sum that up I would simply say the future is looking bright, especially with the quality of what we have to offer constantly improving.” Finally, what’s your take on the domestic hip hop scene at the moment? Do your think we are gaining ground on our US counterparts, does it even matter and is the future bright for British independent music? “I think it’s constantly improving like I already said. I meet lots of up and coming artists and I’m impressed with the hunger some of them show to get things going. There’s a lot going on in the scene to be proud of, but it would be nice to see some of these acts not having to do their own business and promotion, leaving the record company stuff to the record companies – so they can focus on being the artist. In terms of quality I would say I believe we give most of the Americans a run for their money, but the general public seems to fall more for the glamour rather than the quality. Whatever they see in their faces on a regular basis is what they believe to be good so they are more inclined to support that. But I don’t think that matters much as long as we believe in what we are doing and are prepared to put the work in to make things happen, and don’t give up regardless of what the hurdles are. I believe that if we believe in what we do, then in the not too distant future, things will definitely improve in a major way for the British independent music scene.” Interview: Wrec Photography: Josh Cole

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Blade ‘Storms are brewing’ LP out now on 691 Influential Records, doesn’t sleep on it!

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With Addict being a local business, it seems fitting that my story should start in Southampton aboard the famous ‘Hightide’ boat parties that frequently set sail from Ocean Village on sunny, Sunday afternoon Bank Holidays which was the case this time around. The sun was out for this one big time, everyone were all smiles and Fabric & Tyrant DJ Lee Burridge was joining me for some back to back spinning. Funky basslines all round afloat on the Solent. It’s days like these that I feel pleased to live here. The option of moving to London, or even moving abroad, has come up often but I can never drag myself away from the place I call home. At least not for the time being. Just as I was getting used to playing at home it was off to Canada for a small tour. First stop, Vancouver. The ten hour flight went surprisingly quickly, especially when you consider I was sandwiched between two overly sized Grandmas. Nice. When I finally did arrive I was hassled at customs in the usual unfriendly manner and was virtually accused of lying about my apparent use of drugs for recreational use! I mean, you can’t blame airport security for being strict at airports these days, I suppose but I was surprised with small grilling I got on my way through. Sheesh. Maybe it’s time to get a haircut and to make an effort to be more respectably dressed in the future (at this point James looks at the Addict staff and raises one eyebrow in a cheeky ‘can I have some free clothes’ expression). The gig in Vancouver was good, the crowd was friendly and seemed pleased that I’d dragged them out on a Thursday night. The people were into the music, but more importantly I had to sign a pair of breasts (and they didn’t belong to a man either)! Erm, back to the music then, my next stop was Toronto at a club called ‘System’ which is an excellent underground place with a huge following. The crowd are again excellent and into the music. I was DJing alongside Canadian DJ Luke Fair who in the past has had records released in the UK on Bedrock which is John Digweed’s imprint and for the last hour we played back to back until 06.30 in morning. This might sound like it was a bit of a long night but my set time the following night in Montreal began at 06.30! I played all the way through until midday! It seemed pretty strange getting up, having some cornflakes and heading over to a night club at 6am, then to finish playing only to emerge onto the pedestrian filled streets of Montreal. Families out doing their shopping, tourists and people doing their usual daily routines. I felt like I’d stepped out of a wormhole into reality. There was no time for lunch as I had to catch my flight to Windsor, except there was a small problem, the promoter who was meant to collect me to take me to the airport was nowhere to be seen. I jumped in a cab and hurried to catch my flight but of course I missed it. Luckily in Canada and America it’s pretty easy to change your ticket, often without charge, for a later flight (try doing that with British Airways at Heathrow) so I flew to Toronto for my connection to Windsor. I have to admit I was feeling pretty pooped on the flight to Windsor, just as I was drifting off to sleep the plane starts shaking all over the place. Some of the worst turbulence I’d ever experienced actually, needless to say I was a little scared and what really didn’t help was the announcement from the captain

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that came over the loudspeaker “Unfortunately, Ladies and Gentlemen, if the storm gets any worse we may have to turn the plane around and head back. I’ll keep you posted for any further news”. If I remember rightly I exclaimed “What!” quite loudly but people were too worried for their lives rather than worry about what the scruffy kid was shouting. Thankfully, the turbulence ended and we landed just fine but that’s not something I wish to repeat. Now, I knew nothing about Windsor except it was meant to be the ‘armpit of Canada’ as one Toronto clubber called it. It was a small place where not much really happened in the way of night life. I did find out that Techno legend Ritchie Hawtin hailed from there and that it was across the river from Detroit, which in fact I could see quite clearly from my hotel. Skyscrapers one side and parkland the other, linked by a mini channel tunnel. It’s weird that you’d have to clear the toughest customs in the world just to go shopping in town (which many people that live in Windsor do every week). Anyway, so much for Windsor not having much of a scene as this was the best gig yet! The crowd was screaming so loud I could barely hear what I was doing. Windsor rocks. I had to fly back to London the next day which wasn’t really a bad flight, except when the plane was about to land we circled Heathrow about ten times because there was apparently too much air traffic. When we finally landed the plane sat on the runway for an hour because the stairs to get the people from the plane into the airport had broken. Even though all this had happened I was still on a high after my gig in Windsor and even the fact that the airline had also managed to lose my bags with all my clothes and most importantly my records couldn’t touch me. Okay, that did bother me a little but I managed to get it all back.... eventually. That day I had a load of press to do for my promotional tour of ‘ALiVE’ , my latest CD which is to be released this summer on Renaissance Recordings. Of course, all the interviews were to be done over my mobile phone, except there was a problem, it had run out of battery and the charger was in one of the missing bags. Doh! Also that day I had to go and get the CD mastered which was a lot of fun making stuff sound nice and beefy except the guys at the studio must have thought I was some sort of tramp. I was really ponging, after all I’d been wearing the same clothes now for about 24 hours (feckin airlines). The rest of my week consisted of more press for the CD and a meeting with my accountant, exciting stuff eh? Well, the real excitement came when I got to display my Daleks for the addict photo shoot. In the car park behind my flat there were cars in every parking space except mine. You see, I thought it’d be far more exciting to invest my money not in a car but in the evil robotic villains from the cult science fiction programme Doctor Who, that as a kid gave me nightmares every night. Now two of them live in my house, I hope they don’t sleepwalk…… “Exterminate!” www.jameszabiela.co.uk www.renaissanceuk.com

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INTERNATIONAL DEPLOYMENT

CANADA Sophistowear 9600 Meilleur No. 200 Montreal Canda H2N 2E3 Tel: +15 14 389 9495 Fax: +15 14 389 0004

ITALY Blue Distribution Via Tezze 98 37060 Caselle Di Sommacampagna Verona Italy Tel: +39 045 858 2163 Fax: + 39 045 858 2152

HOLLAND Edge Trading Strausslaan 35 Nieuw Vennep 2151 NE The Netherlands Tel: +31 252 518754 Fax: +31 252 518754

BELGIUM Hurray Distribution

Pastoor Coplaan 140 B-2070 Zwijndrecht Belgium Tel: +32 3 296 61 36 Fax: +32 3 296 61 63

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SWEDEN House of Elite

Brannkykagatan 117 16 Stockholm Sweden Tel: +46 8720 5305 Fax: +46 8720 5306

GERMANY R.O.U.G.H Bahnhofstrasse 109 72411 bodelshausen Germany Tel: +49 7471 9620 0 Fax: +49 7471 9620 99

JAPAN Calquinto Co., Ltd. 5-11-20 Higashimikuni Yodogawa-Ku Osaka Japan 532-0002 Tel: 81 (0) 6 6393 5380 Fax: 81 (0)6 6393 5347

UK ADDICT HQ Addict Clothing Co Unit 2 Muira Industrial Estate William Street Southampton Hampshire S014 5QH United Kingdom Tel: + 44 (0)23 8033 0344 Fax: + 44 (0)23 8022 6016 info@addict.co.uk www.addict.co.uk

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Book thanks: “Thankyou to everyone involved in making this second Addict book become a reality, the Addict staff - Dave, Ellie, DCJ, Wrec, Hugo, Piers who all worked extra hard to get this thing finished. The contributors - Fats, Swifty, Mitch, Ben Swift, Andrew Diprose, Unorthodox Styles, Mhi, Monsterism and Vans. The artists - Stash, Steff Plaetz, Will Barras, She One, Claw, Mr Jago, Mitch, Swifty, Ben Swift, Flying Fortress, Chaz and The London Police, Kid Acne, O.Two, Cat, Rik at Scrawl Collective and The Specialist. Addict Team - Karta, Flynn, Stalker and Matt Beardmore. Photos - Josh Cole, Ophelia Wynne, Helena Kouzeleas, Wig, Percy, Steff Wilson. For the interviews and CD tracks - DJ First Rate, Soopa J, Jon Wrec, Rodney P and Skitz, Aim, Gripper, Kenny Dope, Roots Manuva, DJ Cash Money, Aul Purpis, Rob Mac and Matt Smooth, Brad and Dom aka The Nextmen, Tony Coleman and Hospital Records crew, Big Bud and Rolfy for the NZ hook-up, Blade, The Mixologists, Taskforce, Mr Thing, James Zabiela, Feature Cast, Simon Bassline Smith, Defikew and Shapeshifter.” Addict thanks: “There’s too many people we’d like to thank and name so… to all our families, friends, staff, team, Five-O crew, flow list, sponsored artists, promoters, distributors and retail accounts who’ve backed us through the years you know who you are and THANKYOU for continuing to support the Addict brand!” Chris and David. This book is dedicated to Audrey Perfect 1917 - 1996

Copyright ©Addict Ltd 2004 all rights reserved. No part of this publication may be reproduced in any form without the prior written consent of the copyright holder. Designed and produced by Chris Carden-Jones @ Addict Ltd with assisted credits where noted. Printed in the United Kingdom by Butler and Tanner Ltd. Addict Ltd are: Chris Carden-Jones MD and Design Director Menswear/Graphic Design, David Jefferies International Sales Director, Piers Kannangara Sales, Andy Humphries Director, Gaby Hookings Design and Production, Eloise Gatward Womenswear Design and Production, Zoe Biddlecombe Sales and Marketing, Joe Pilbeam Graphic Design, Jon Bailey Marketing and Promotions, David Anderson Web and Graphic Design, James Suckling Warehouse Manager and tag addict, Adam Jouster warehouse, Simon Stent Accounts. Disclaimer: The views and opinions contained within this book are those of individual contributors and do not necessarily reflect the views and opinions of this company. The Addict Stencil, Spray Stencil, Drippy Stencil, Stencil Stamp, Spraycan and Camo Grid Stencil logos are trademarks of Addict Ltd. For more information on Addict products and projects – info@addict.co.uk or go to www.addict.co.uk

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MASTER_DOC MAINYES.1 183 18/6/04, 3:38 pm Design credits: All page design and layout by Chris Carden-Jones at Addict except forâ&#x20AC;Ś pages: 2-3, 80-81, 86-87, 96-97, 98-99, 100-101,102-103, 106-107, 114, 118-119, 120-121, 122-123, 126-127, 128-129, 138, 146-147, 148-149 by Dave Anderson at Addict. Pages: 124-125, 130-131, 132-133, 139, 140-141, 142-143, 144-145 by Eloise Gatward at Addict. Pages: 8-9, 20-21, 150-151 by Ben Swift at Nonsinthetik. Pages: 16-17, 152-153, 170-171 by Fats Shariff at Fatctor Of Three. Pages: 30-31 by Swifty. Pages: 36-37, 44-45 by Mitch. Pages: 68-69, 70-71 by Claw at Unorthodox Styles. Pages: 110-111 by Mhi at Maharishi. Pages: 164-165 by Monsterism. Pages: 176-177, 178-179 by Andrew Diprose.

THE ADDICT MIX CD VOLUME 2 Mixed by Feature Cast We would like to thank all of the artists, Dj’s and producers and their labels who gave us the superb tracks for this mix CD. Also a big thankyou to all our sponsored artists, street teams, event organisers, Dj’s, skaters, breakers, record labels, your support is fully appreciated, thankyou – all at Addict

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