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TOP ROW: Nathan ‘Flutebox’ Lee, Stig of the Dump, Skitz. MIDDLE ROW: Dr Syntax, DJ Woody, Scroobius Pip. BOTTOM ROW: Sarah Love, Chemo, Fatlip.
84 HUCK PHOTOGRAPHY by ANGUS MACPHERSON
PHOTOGRAPHY by PAUL WILLOUGHBY
PHOTOGRAPHY by ed andrews
PHOTOGRAPHY by LIZ SEABROOK
PHOTOGRAPHY by TIM SMYTH
PHOTOGRAPHY by LIZ SEABROOK
PHOTOGRAPHY by ed andrews
PHOTOGRAPHY by LIZ SEABROOK
PHOTOGRAPHY by MAX HAMILTON
Print Is Dead
As the print publishing model continues to throw up a shitstorm of obstacles, and media big-wigs decry that ‘Print Is Dead’, determined self-publishers are finding ever-more inventive ways to get their stories out into the world. In the summer of 2011, a new digital magazine devoted to hip hop came blasting out of obscurity with a focus on the human narratives threaded throughout the world of rap. Founded by Ed Andrews – writer, photographer, AV-dabbler – Take The Stage: Stories of Hip Hop was a refreshingly honest conduit for everyday tales that deserve to be told. And it still is. Now in its fifth incarnation, and with a video element newly launched, Take The Stage will likely find a way to muster on, because its publisher is prepared to work while others moan.
At first, I wanted to release it as a thick, hardback book – like the ones you see sold in trendy clothing stores like Urban Outfitters and record shops like Phonica in London’s Soho. It made sense in my head to create a beautiful coffeetable object that trendy hip hop heads would skin up on. The big problem, however, was money. I got quotes from printers and quickly realised that, to fund a modest run of my dream book, I would probably have to sell my kidneys on the black market. People suggested crowd-funding sites like Kickstarter, but it just didn’t seem likely that I would get enough people willing to part with a good chunk of money for a tome devoted to mostly obscure artists. So instead I turned to Issuu – a free website where you
Take The Stage: Stories of Hip Hop is a pretty simple
can upload styled-up PDFs to be read as a digital magazine
concept really. It’s a collection of profiles of hip hop emcees,
– and decided to try and get the stories out there in bite-
producers, deejays, beatboxers, promoters, record label
sized volumes, slowly build an audience and maybe one
owners – anyone stepping up to articulate a love of beats
day attract a sponsor who would be willing to cough up the
and rhymes – published in the form of a digital magazine
cash for the print bill. Nearly five volumes deep and it still
and now video, too.
hasn’t happened... yet. But I have received a few kind emails
One thing I didn’t ever want it to be was an arbiter of
and tweets from people telling me they like it, had some
cool. All too often, self-appointed spokesmen draw lines in
very talented photographers and writers volunteering their
the sand, claim ownership and spurt clichés about what and
services, had thousands of people reading each volume and
who hip hop is. ‘Keeping it real’, ‘the elements’, ‘knowledge
I’ve enjoyed the opportunity to try something other than
of self’, ‘taking it back’ – people preaching and bickering
writing for a change – learning a little about shooting photos
over these sorts of things makes me want to run screaming
and video, and hosting a film screening for readers, too.
from the room. True, conversations like this usually stem from
I can’t complain but really the project isn’t about me. It’s
a love of hip hop, but you could spend a lifetime arguing
simply about publishing stories about quality independent hip
over the intricacies and interpretations of the form and get
hop and giving exposure to some great artists moonlighting
nowhere. Life is too short to bicker over such trivialities. All
as zookeepers, boxing coaches, PhD students, financial
I can suggest is that people take from hip hop what they
magazine editors, direct marketing executives and swimming
want; see the dopeness, not the wackness.
instructors, as well as those struggling to make ends meet
Anyway, I released the first volume in July 2011. This
with music as a full-time hobby.
was after a year or so of inaction due to general laziness. I
Hip hop may be awash with hype, bravado, misconceptions,
finally pulled my finger out and did it because I got bored
egos, idiocy and some just plain embarrassing shit, but I’d
hearing myself telling people that I was thinking of doing
like to think Take The Stage is showing that there's another
it. You can ‘think of doing’ pretty much anything you want
side to it: people united by a simple, honest love of music.
in the world, but it’s all just self-aggrandising bullshit until
E d Andre ws
you get your head down, give up days off and nights out to hunch over your laptop and actually do it.
facebook.com/storiesofhiphop
Long Live Rap!
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Hailing from the small fishing town of Ramsgate, experimental UK rapper/producer Joey Prolapse is known in the provincial Kent hip hop scene as a core member of The Brewdem crew. Formerly going by the name of Yosh, the full-time PhD student changed his moniker to something that “wouldn’t get lost in a Google search”. As a rapper, he’s lent vocals to albums from producers Mr Boss,Vee Kay and Mr Loop, and as a producer disappeared off into weirder sounds for his recent mixtape, Unexpected Item in Bagging Area, alongside a selection of mash-ups of classic acapellas and samples from eighties kids TV shows. Here, he tells us why he’s all about dreaming small and living large.
that’s a generational thing and people who aren’t even that
I came into rhyming from making beats, because I wanted
using exactly what you’ve got to make some sort of sound
vocals on them. I'm not deliberately experimental; it’s
and not caring too much about what ‘people who know
probably because I'm tone deaf or something.
about music’ think about you.
nerdy are making music that sounds like video game music. But I also try and bring a bit of folk into my music as I like the idea that hip hop should really sound like it’s from a specific place. If you are from Ramsgate in England, you shouldn’t be making hip hop using the same soul samples as Kanye West. A lot of people, especially in the UK, have quite a nostalgic view of hip hop where they see it as a certain sound, but for me it’s not really a genre of music; it’s a method for making music. When you don’t have access to musical instruments, it’s a contemporary version of skiffle –
Hip hop-wise, the first person who came to my attention
I live in Ramsgate and for a lot of people living somewhere
was Roots Manuva, so when I started rhyming I had this
like this, it’s really just boredom that makes you want to
really dodgy fake patois that made me sound like some
make music. If you live in a city where there’s loads of
fifty-year-old West Indian geezer. I got cussed for it and I
music going on, it's more of a competitive thing with other
suppose I’m only really finding my own voice now.
people. In terms of ambitions, I don't have massive ones.
Growing up in my house, it was always about reggae,
You do the recordings so you can do gigs because gigs are
punk and grunge so the reason hip hop stuck with me
fun. I’d never really aim to not have a normal job. It would
was because it was the music I found on my own. I like hip
be nice but I’m quite realistic about it. If you can get away
hop that’s a bit dark: sci-fi nerdy influenced stuff. At the
with playing a few festivals a year and not have to pay to
moment I'm really loving El-P, Busdriver and Open Mike
get in, that’s pretty good.
Eagle. Outside of hip hop, the things that have an influence on my sound are comic books and video games but I think
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soundcloud.com/joeyprolapse
Joey Prolapse
Drawing on the life, works and indulgences of Hunter S. Thompson, rapper Kashmere The Iguana Man and rapper/ producer Jehst went down the rabbit hole in an East London studio to create a new body of work. They emerged as Duke Rango and Dr Gonzilla, Son of The Samoan, a hedonistic duo bent on channelling the spirit of Rolling Stone’s most wayward reporter and indulging lyrically, metaphorically and quite literally in the proclivities of the legendary author himself. The result is new album Kingdom of Fear, a psychedelic slice of Gonzo hip hop that takes the listener around the bends. As for how Duke Rango and Dr Gonzilla, Son of The Samoan met? Prepare to be weirded out.
I OD’d or something to be honest. Amazingly, this bit is a true story. There was a cocktail of substances… That’s pretty much all I'm gonna say on that. I've been advised not to talk about that stuff directly. But not E45 cream. Fucking useless. Good for moisturising skin but terrible for recording an album. I wouldn’t advise it. Dr Gonzilla, Son of the Samoan I met Duke Rango when
he was trying to buy drugs from Oscar The Grouch. In his own words, he’s “a drug-taking freak-a-zoid!” We decided to make an album together through our mutual fear of V-like reptilian life forms dominating the earth. That, and a
I met Dr
shared interest in the life and
Gonzilla at a motivational
work of James Brian Hellwig.
Duke
Ra n g o
speaking engagement. Lis-
You want specific dates,
tening to James Brian Hell-
times and locations? Do you
wig speak just helped me in
work for the authorities? Or
a way the shrinks couldn’t. […]
are you simply hoping we
Who’s James Brian Hellwig?
reveal our secret formula
I don't think he needs much
for making uber-def-super-
introduction. If you don't know
stupid-fresh hip hop hits that
who The Ultimate Warrior is
will rock any roller-skating rink
then this interview is over. But
in the known universe? Is that
if you mean who’s Dr Gonzil-
your game?
la, I’d say he’s a complicated
For the most part, I was just
man… like Shaft. I think he even
lost in a marijuana-induced
went to Africa once.
trance, rocking back and forth
You ask why [make an
and banging the pads of the
album together]. We ask, ‘Why
MPC repeatedly with little
not?’ There's a lot of money to
or no awareness of Rango’s
be lost and we want to make
physical presence whatsoever.
sure we lose money with as much flair as possible.
If I’d thought about it at the time I probably would have opted to bring out the ‘cute
[The atmosphere] was very tense man. I was always
and cuddly’ aspects of his personality – the traits that make
pretty much ready to leave. Dude kinda freaks me out. You
him so endearing to women and children. He’s actually a
just never know what’s going to happen. The man pulled
very sensitive guy, in touch with his feminine side. Sadly,
a gun on me in a few of the sessions. Another time I was
we just got all the foul-mouthed, chest-beating, gun-toting,
kinda stuck on lyrics and he suggested a game of Russian
drug-shovelling chauvinism and bravado of his would-be
roulette. I flatly refused but he just went ahead and played
alpha-male side on this record.
on his own. That was a pretty dark session.
I didn’t want to get on the mic, but most of the time my
I had a particularly fucked-up experience on DMT.
client would just pass out cold on the floor of the studio
Safe to say I won’t be fuckin’ with that shit anytime
mid-session and there would be no other option for me
soon. But it did unlock something. It was like being
than to finish his work. If you want a job done properly…
unexpectedly thrust into an intense chaos dimension that kept getting more consuming by the second. I think
Kingdom of Fear is out now on YnR Productions.
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London-based deejay, producer and occasional rapper The Last Skeptik is constantly grinding to make a living as a professional musician. With eclecticism being key to this mission, he’s shared stages with Damon Albarn, Flea and Danny Brown, produced for the likes of The King Blues, Kate Nash and Get Cape. Wear Cape. Fly, and recorded albums with rappers like Rewd Adams, Verb T and Sway. Come 2013, he’s set to release his long-awaited solo instrumental album, something that he calls his “magna opus”, on the prestigious BBE Records. Here, he digs out some of the vinyl that’s made him who he is today.
Indo Jazz Fusions 2 J o e H a r r i o t t & J o h n M ay e r
My dad gave me this record when I was too young to really understand what a fusion of anything really was. The mix of jazz and Indian instruments blew my mind, in the same way I’m sure this record blew his way back when it was released. I sampled the shit out of it, obviously. S h u t ’ E m D o w n ( Re m i x ) Public Enemy
Those horns! Those Pete Rock adlibs! This shit right here changed the whole game. It’s one of, if not the best remix
B ab y l o n – ( OST )
of ANYTHING. For the simplicity, the swing of the drums
Va r i o u s
and Flav’s adlibs. I spent years copying the filtered bass
Jeez! This has to be one of the best reggae-related
line and horn decay.
soundtracks ever made. The Dennis Bovell original score tracks are so unbelievable I’ve lost weeks listening to them.
S i n a t r a a t t h e Sa n d s
Serious dubbed-out madness. I sampled it on my first-ever
F r a n k S i n at r a
release when I was sixteen, which surely was about fifty
If you don’t like Sinatra, you’re a dick. This guy has to be the
years ago now. I forget.
most listened-to dude on my iTunes. I listen whatever mood I’m in and this album in particular has got me through a lot.
Re s p i r a t i o n
Quincey Jones produced it. Count Basie plays on it. And
B l a c k S ta r
Frank has more swag than any rapper out today. Big band ftw.
This is one of those songs I never know whether to cry or punch someone to. There is more emotion in this one
Suicide
song than any human can comprehend. The production is
S t r ay
galactically incredible.
Stray were a little-known seventies prog rock band that my dad was really into, so I inherited these quite rare copies
W o r d s ea r c h
of the records (ha, and you won’t get ’em back now!). The
The Last Skeptik
Suicide album is perfect in every way. Completely bonkers
Well, this was my first-ever release on vinyl. I was at university
and each song switches eight billion times within itself. When
at the time, and had thought my entire life that my biggest
I heard this, in some weird way it taught me never to settle
dream was to have a song on wax. I got it. I ran to the uni
on one loop. Always make all your songs textured, layered
radio station, and the moment the needle touched the record
and constantly changing.
I knew I had to try and set myself bigger dreams. Moral of the story: don’t have dreams.
88 HUCK
thelastskeptik.com
The Last Skeptik
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PHOTOGRAPHY by ed andrews
Formed in 1996, Bristolian hip hop crew Aspects – the core comprising of emcees El Eye, Probe Mantis and Bubber Loui – have greatly contributed to the city’s acclaimed musical pedigree, alongside the likes of Massive Attack and Roni Size. Through their fiercely original beats, rhymes and subject matter – and refusal to tone down their regional accents – the crew earned the respect of many, from Radio 1 deejays John Peel and Steve Lamacq through to core UK hip hop artists like Task Force. Their debut album, Correct English (2001), met with mainstreampress applause.Follow-up album Mystery Theatre expanded on their determination to not stick t o t h e b e a t s - a n d - r hy m e s formula and instead craft an eclectic array of hip hop songs. Soon after, however, they split, having fallen out of love with the music industry – and each other. But in 2011, the three emcees, along with beatboxer Monkey Moo, reunited; older, wiser and determined to recapture the vibe from the early days when the simple pleasure of making music together triumphed over everything else. Here, El Eye (Ian Merchant) talks us through their creepy new track, ‘Trouble in Town’.
song, written under the threat of dusk and the smell of fires. I've got to thank Dan Jones who showed me the poem Full Moon by Simon Armitage, which was the cell-division moment for the song’s birth. The song is from the perspective of my seven-year-old self, during an era of playing in the dirt and riding my Raleigh Tomahawk around the estate. When you were too scared to get your ball from crazy Jack Hawker’s house (yes, he’s real) because you heard he murdered one of the Jones twins who foolishly entered his overgrown g a rd e n .
Another
share with producer Memotone – who we collaborated with on this song. We’re both rural horror film buffs; flicks like The Wicker Man, Kill List, Blood on Satan’s Claw and Witch Finder General. We really wanted to capture that tone, where countryside is a wild and dangerous place; isolated towns, closed communities, secret places and buried bones. It’s all part of the Aspects pledge to preserve lyrical freshness; to say new things and engage new subjects. There’s a whole universe of ideas and events out there to play with – why retread heavily walked paths? The new Aspects album is a walk into the unknown!
‘Trouble In Town’ was originally penned last Halloween, I couldn’t have written it in spring or summer, it’s an autumn
90 HUCK
m a s s i ve
influence was an obsession I
soundcloud.com/aspects
El Eye
Trouble in Town W r i t t e n a n d pr o d u c e d b y A s p e c t s & M e m o t o n e ( I . M e r c h a n t & W. Ya t e s )
Spring was round the corner, The dead bodies dance in a summer like a sauna, So old Jack Hawker's half daughter caused quite the stink when she surfaced from the water, Now Jack was feeling nervous and he oughta, Cos she remember every single lesson that he taught her, He was found swinging like an apple in the autumn They were buried miles apart because it seemed important, To the great and the good something strange is afoot, They’d chisel their names off their graves if they could, You can hear the children playing games in the wood Ring-a-Rosie round the hollow where the apple tree stood. It rained for like nine days straight Disturbing the forgotten on the bottom of the lake How many met their fate, well nobody really knows But they dug up Jack anyway and left him for the crows. There's Trouble in town, there's Trouble in town At the old Casino they're doubling down they're doubling down, they're doubling down, There's a witch in the wood and a bubbling sound A bubbling sound? A bubbling sound? That girl’s disappeared and they're covering ground they're covering ground? they're covering ground? There's trouble in town... It was a quarter past autumn When my friend killed himself and they still haven't caught him, He sent me a text his way of a warning We won't have to wait for dawn to see mourning So you can ask the bones on the riverbed If instead of accidental death it was deliberate If old mad Lily was really a witch And if it’s true what they say about the digger of her ditch Yo, they sniggered at the snitch Didn't care about his ghost when they pushed him off the bridge But as we know rumours are a virus Airborn and there for they arrest Silas Now he sits in silence and waits for the hour he’s devoured by the violence. Did you hear about the house on the hill? The cat burglar found a skull in the kiln, A hand in the well and a man who demanded we tell the police he was under the command of a spell Now he's remanded in hell cos his candid account didn't even amount to a cell It was a half past summer A thumb was a strange find even for a plumber I guess they wished they never climbed under The porch on the corpse was carved a prime number And I wonder Why the old clock tower’s midnight strike signifies an extra hour You can hear the truth if you close your eyes and listen And also see the truth if you use your inner vision Lose your inhibitions and choose to be inquisitive Isn’t that the house where the clock tower killer lived He had a pair of scissors with an appetite for little kids Never seen again were those who visited...
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Having risen to prominence under the guidance of UK hip hop legends Terra Firma, North London-based emcee Melanin 9 combines intricate, hard-edged flows with intelligent wordplay. He’s opened for the likes of Immortal Technique and Wu-Tang, and is being tipped for greatness by the chattering musical classes thanks to a collaboration with Roc Marciano on his new album Magna Carta. Here, he explores the rhymes that drew him towards the mic.
I’ve got that Eve’s Bayou sense of touch So I fought, to touch every hand of a fan to read their thoughts Battered wives, molested children Roaches on the floor, rats in the ceiling Cats walk around New York with two fillins One is in their mouth the other does the killin’’ This has to be one of the greatest verses ever written. As a writer myself,
a r t i s t : Na s
what I respect the most about Vast Aire is his ability to make you think
S o n g : ‘ Ta k e i n B l o o d ’
that what he’s saying is so obvious and simple because of the clarity
A l b u m : I t Wa s W r i t t e n
in his deliverance, yet that could never be so far from the truth. As for comparing life to the rules of mathematics? Unbelievable. There are
‘Just the killer in me, slash drug-dealer MC Ex-slug filler, semi mug peeler Demi, bottles of Mo', yo simply follow me flow Put poetry inside a crack pot and blow’
countless mind-blowing metaphors from this man on this album. Please do yourself a favour and go check out this album. Artist: Jehst S o n g : ‘ E S P ( E x t r a Se n s o r y P e r f e c t i o n ) ’
When you’re looking for deep imagery, multi-layered metaphors, an
A l b u m : Fa l l i n g D ow n
immaculate flow and deliverance, I personally think this has to be the greatest verse Nas has ever written. To compare poetry to a crack stone you put in a bottle and smoke like a fiend is incredible. That line changed my life when it came to understanding how to use metaphors. A r t i s t : Ra s Ka s s S o n g : ‘ Ree l i s h y m n ’ Album: Soul On Ice
‘Life’s a bitch named monogamy - you only get one I'm trapped in this path of pathology’ Even though I’m still unsure if this is my favourite track on the album, because it’s so hard to choose, this verse stood out and to this day every time I hear it something explodes inside me and I start to sweat a little – no joke. Personally, I feel Ras is one of the most underrated emcees in the history of hip hop. His ability to execute some of the most intelligent metaphors while so accurately addressing his thoughts on worldly agendas seems to be as easy as tying his shoes. Artist: The Roots Song: ‘No Alibi’ Album: Illadelph Halflife
‘While you not possibly escaping what I'm meditating My shackle of thought tackle you while I'm educating Your dome's resonating from inhalation of darkness While I spark the smart shit from what you waiting’ Black Thought is one of my top-ten lyricists of all time. This particular track was my favourite from what I thought was their greatest album. These particular lines along with many others show Black Thought’s knowledge of how to carefully place the right phonetics to make such an incredible verse that little bit more appealing to the listener.
‘A brick-house built with porcelain features A fragile creature grief stricken apparent in alopecia The peacekeeper, the key to life beyond us I love her beyond lust My trust placed in her Illustrious face with a great figure Forbidden fruit of youth in the fingers of the grave digger Manipulated my late-night sanctum The lone catalyst of my tantrum Her tender touch turns to talons In her tempers clutch I bleed burgundy gallons Her crimson lips lick my wounds Her tongue tastes the claret My pain is vintage, her comfort is twenty-four carat In a golden moment of havoc my heart beats haphazard My brain bleeds black ballads that embarrass the author My favourite torture I drown in the depths of my mermaid's water At war with the storms’ daughter The tornado’s sister, she’s twisting my aura I’m caught in her barbed wire Burning up in her heart’s fire Bathed in the flames of my fury She wears me out like jewellery The duel-edged tool of her tomfoolery cuts my character A quick-witted challenger to any bachelor Bad-attitude chick, intellectual calendar bitch Baby-faced battleaxe make a man switch My lip-licking sex sandwich the grand dish My delicious delicacy, my delicate enemy Our friendship connects with a sexual chemistry My opposite energy the cause of my pain and the remedy I need her readily available Making dreams seem attainable’
A r t i s t : Ca n n i ba l O x Song: ‘Iron Galaxy’
This song inspired me to write many songs in my rap career, absolutely
Album: The Cold Vein
flawless poetry and imagery from the UK wordsmith.
‘I rest my head on 115 But miracles only happen on 34th, so I guess life is mean And death is the median and purgatory is the mode that we settle in
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Melanin 9
Melanin 9’s new album, Magna Carta, is out now on Red Snow Records. melanin9.com
PHOTOGRAPHY by ed andrews
96 HUCK
PHOTOGRAPHY by JAKE GREEN
Founded in 1996 by deejay Peanut Butter Wolf, Los Angeles-based record label Stones Throw has become synonymous with quality independent hip hop. It’s been home to a roster of critically acclaimed artists including the late J Dilla, Doom, producer Madlib and Guilty Simpson. But building on hip hop’s fundamental eclecticism, the label now reaches far beyond its original genre with artists like The Stepkids, Mayer Hawthorne and Aloe Blacc. Ahead of a new documentary about the Stones Throw story, Peanut Butter Wolf (who opened for Nas and The Pharcyde when he and Chazma were a duo) gives us a quick rundown on how the label has stayed afloat for the last sixteen years.
only thing they have in common is that I believe in them and they believe in me. That’s it. B r a n c h i n g o u t The first ‘non-hip hop’ record
was El Captain Funkaho in 1999, I think. The name was a take on E-40’s song ‘Captain Save A Hoe’, but it was basically a cross between Black Sabbath and the [early funk/hip hop] Jonzun Crew. Most people hated me for releasing it, like they do every time I release something new that strays too far from hip hop. S u c c e s s My idea of success is cultural impact.
Every time I see someone on a larger level doing something we were doing five years ago,
G e t t i n g I n I’ve always kinda surrounded myself
it reminds me that we’re still on track. […] We
with ‘music people’ since I was in high school. My
make a lot of collectable merchandise. Every
friends were deejays, rappers, musicians. My first
time we do that, we’re trying to have fun and do
time flirting with the idea of being a deejay was
something different. Mayer Hawthorne wanted his
in 1983 when I was twelve. By around 1985-86, I
record to be a red heart-shaped vinyl and I didn’t
was making my own beats for rappers and playing
even really wanna do it because I thought it was
electric bass in bands. After getting signed and
too gimmicky, but we did it to keep Mayer happy
dropped by a major label and losing my twenty-
and the public loved it. I have mixed feelings
year-old friend and music collaborator Charizma,
about the marketing thing though. I got a degree
who was murdered in 1993, I eventually decided
in marketing and basically did the opposite of
to start my own label in 1996. That’s kinda the
everything I learned in school.
short version. S t ay i n g I n The main way [the music industry] S i g n i n g A r t i s t s I just try to find things that
has changed is that there are no record stores
sound as good as the best of my 100,000 or so
and nobody buys records anymore. Other than
records in my personal collection. As my taste in
that, it’s the same. […] I probably wouldn’t start
music got broader, so did the music I was putting
a record label if I knew the industry would
out, but even in the eighties I was into a lot of
eventually collapse. There was no record industry
different things: goth, punk, new wave, reggae,
100 years ago, so why should I have assumed it
hip hop, soul, funk, electro, house. Sounds so ugly
would last. Shoulda just been a psychologist.
when you mention them all in one sentence. […] The
Peanut Butter Wolf
97
WORDS Ed Andrews PHOTOGRAPHY Jake Green, Max Hamilton, Paul Willoughby, Tim Smyth, Ed Andrews ART DIRECTION Evan Lelliot CONTACT ed@thechurchoflondon.com WWW.FACEBOOK.COM/STORIESOFHIPHOP ©2012
98 HUCK 016 THE GOMORRAH ISSUE