#artist: coldcut

[haveyoulistenedtothisalbum-poll]

Tracklist:

Rhythm Sketch #4 (Hardfloor Remix) • Rhythm Sketch #2 (DJ Spooky That Subliminal Kid Remix) • Rhythm Sketch #1 (Coldcut Remix) • Sketch #3 (Morning Theme) (Mijk Van Dijk Remix) • Rhythm Sketch #5 (Ebizoo Remix) • Sketch #5 (Fear Theme) (The Cinematic Orchestra Remix) • Sketch #1 (Main Theme) (Andrea Parker Remix) • Rhythm Sketch #3 (DJ Food Remix) • Sketch #2 (Snow Theme) (Tobynation Remix)

Submitter's Note: The music contained on this album was originally composed by Kenji Eno

Youtube

[randomvarious]

1996 London Playlist

God, you folks really have no idea how much I love making these location-year playlists 🥰. I mean, I love doing the genre-specific ones too, of course, but my name is random fuckin' various, for Christ's sake; I love it when shit's eclectic, which is what these location-year playlists allow me to do!

And no metropolis on this entire planet, as far as I can tell, is more eclectic and vibrant than London. That place seemingly has nearly everything, and when it comes to the very broad and expansive world of electronic music, specifically, I don't think that there's a single place that has more of it than they do.

So here's the start of a super dope look back at London in 1996—all electronic for now. Everything on here involved a Londoner in some way, as either producer or remixer, and as far as the genres go, we've got drill n' bass, deep house/house, breakbeat, trip hop/instrumental hip hop, drum n bass, downtempo, and IDM.

And that IDM track, by the way, I just learned was finally added to Spotify a month ago. If you've never heard of Freeform before, that guy is a *very* underrated IDM artist in my eyes, and while his tune, "Dice," which originally appeared on a comp called Alt. Frequencies, isn't my absolute favorite of his, it's still a total banger. And as of right now, it's sitting at under 1,000 plays, so make Spotify give this man some much deserved money! 🤑

Now, last week, I posted an update to my 1990s breakbeat playlist, and with that update came a song by Ashley Beedle presents The Uschi Classen Band called "Do You Believe in Love?" which, if you're a true-blue hip hop junkie, has a very recognizable sample in it: Smokey Robinson's "Theme From Big Time," which was also used by Company Flow for their underground cult-classic "8 Steps to Perfection." That Beedle/Classen song is on this playlist too, but I've got a couple more for the hip hop heads this week as well: legendary Luke Vibert's "Get Your Head Down," which uses U-God's famous "hip hop will rock and shock the nation" line from Wu-Tang Clan's "Da Mystery of Chessboxin'," and London Funk Allstars' "Junkies Bad Trip," whose lifted funky guitar riff from James Brown's "Blind Man Can See It" was used in Das EFX's huge 1992 hit, "They Want EFX." Surprisingly, "Get Your Head Down" has over 1.1 million plays (!), and "Junkies Bad Trip" has over 250K.

And to open up this whole shebang, we've got some signature madness from the one and only Squarepusher, whose remix of DJ Food's "Scratch Yer Hed" really finds its footing once he finally pairs his stuttering drill n bass concoction with some chilly pads in the second half 😌. Over 144,000 plays.

This playlist is ordered as chronologically as possible:

DJ Food - "Scratch Yer Hed (Squarepusher Mix)" Faze Action - "In the Trees (Original Disco Mix)" Coldcut - "Atomic Moog 2000" Ashley Beedle presents The Uschi Classen Band - "Do You Believe in Love?" Luke Vibert - "Get Your Head Down" London Funk Allstars - "Junkies Bad Trip" Fluid - "Dust Dancing" Fluid - "Spitting Sand" Spacer - "It's a Nano World" Freeform - "Dice" Sir Raymond Mang - "Number One"

Now, everything that's on the Spotify playlist is on the YouTube version of it too, but the YouTube one also has a few extras on it that can't be found on Spotify at all. And speaking of the one who Pushes Squares, I've got another one from him, under his government name, Tom Jenkinson, called "Vogon & I," which is a crazy piece of zappy, head-nod-inducing trip hop-IDM that currently only has a smidge over 860 plays, which is unbelievable considering the fact that it's by fucking SQUAREPUSHER!

And you might be wondering, hey, where the fuck is the techno?! Don't worry! I've got you covered with the terrific Darren Price remix of Underworld's super famous "Born Slippy" and Holy Ghost's highly rhythmic acid-dank basement track, "MK Ultra." The "Born Slippy" remix has almost 353,000 plays across a whole bunch of uploads, but "MK Ultra" only has a little more than 600.

Underworld - "Born Slippy (Darren Price Mix)" Holy Ghost - "MK Ultra" Tom Jenkinson - "Vogon & I"

And this playlist is also on YouTube Music.

So with the maiden voyage for this playlist, we have 11 songs on Spotify that end up totaling 74 minutes, but over on YouTube, we're at 14 songs that total 89 minutes. So if you want an obscure Squarepusher track as well as a couple great bits of techno, go check out the YouTube one!

And I know that I said last week that I'd have another breakbeat playlist for this week, and I didn't, so while you have no reason to ever trust me again, I'm still going to say it anyway: more breakbeat next week! 😎

And here's some more 90s London playlists for you all:

1995 London: YouTube / YouTube Music 1997 London: Spotify / YouTube / YouTube Music 1998 London: YouTube / YouTube Music 1999 London: YouTube / YouTube Music

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[whatilistenedtoatwork]

From November 4th to November 7th 2024

04-11-2024

JEAN MICHEL JARRE “Oxygene”; JAMES BROWN “It's A Man's Man's Man's World”; BILL WHELAN “Riverdance”; MILES DAVIS “At Plugged Nickel, Chicago, Volume 1”; THE ZOMBIES “Odessey & Oracle”; AVENGED SEVENFOLD “City Of Evil”; THE BEACH BOYS “Friends”; NIRVANA “In Utero”; WHITNEY HOUSON “Whitney Houston”; OSIBISA “Woyaya”; SQUAREPUSHER “Hello Everything”; VARIOUS ARTISTS “Gimme A Break (70s Breakbeats & Future Samples)”

05-11-2024

KAREN DALTON “1966”; GREEN DAY “American Idiot”; ALISON KRAUSS & UNION STATION “Every Time You Say Goodbye”; XTC “Drums & Wires”; MICHAEL KIWANUKA “Kiwanuka”; DILLINGER “CB 200”; MARTIN CARTHY & DAVE SWARBRICK “No Songs”; ALVVAYS “Alvvays”; BILLY BRAGG & WILCO “Mermaid Avenue”; THE CHIEFTAINS “Santiago”

06-11-2024

THE CLASH “London Calling”; KRISTIN HERSH “Sunny Border Blue”; THE SHINS “Chutes Too Narrow”; BUTTHOLE SURFERS “Electriclarryland”; FRED AGAIN.. “Actual Life (April 14 – December 17, 2020)”; COLDCUT “What's That Noise?”; PATRICK STREET “Irish Times”; STEEL PULSE “Handsworth Revolution”; FUGAZI “In On The Kill Taker”; THE CLEAN “Unknown Country”

07-11-2024

ERYKAH BADU “Baduizm”; RADIOHEAD “In Rainbows”; BILLIE EILISH “Don't Smile At Me”; LAL & MIKE WATERSON “Bright Phoebus”; RANCID “Let's Go!”; BADLY DRAWN BOY “The Hour Of Bewilderbeast”; LO-FIDELITY ALLSTARS “Northern Stomp”; SMOKEY ROBINSON & THE MIRACLES “Make It Happen”; DEATH CAB FOR CUTIE “You Can Play These Songs With Chords”; ARCADE FIRE “Funeral”; VARIOUS ARTISTS “41 Original Hits From The Soundtrack Of American Graffiti”; THEY MIGHT BE GIANTS “Live at The Music Hall Of Williamsburg, 29-11-2015”; IVOR CUTLER “Jammy Smears”

[thursdayisbetterthanfriday]

TIMBER

Artist: Coldcut & Hexstatic Year: 1998 Album: Let Us Play

[projectionproj]

A few things stood out to me about Visualist, namely, some of the focus on light and light-related art as a means of constructing new, alternate, or super-imposed realities and the exploration of light’s core emotional frequencies. At one point, Joanie Lemercier explains, “if reality is light then by controlling the projection on the light you can almost manipulate reality…You can open the world you can make something disappear or reappear you can almost like...completely change how people see the world around them.” For me, the work shown that expanded beyond the ‘rectangular’ screen or projection was often the most compelling – light sculptures that move or remain static, projection onto translucent materials or water/mist/fog, or those that illuminate unique architectural spaces in sequence. Nearer to the end of the film, subsequent to another artist’s warning that it is easy to get lost in the forms and gadgets and lose sight of concept, Zach Liebermann posed a few questions, “Exploring, playing with these things, manipulating them pushing them trying to figure out where the boundaries are and actually...you know really thinking critically about what does it mean what do these things mean what to they imply and and how can we use them for non commercial weird things.” At times, I have grappled with means of constructing the conceptual narrative of projects while quickly adopting new digital tools and processes in the IMA program – and I want to think about ways to slow down some of these processes, engage critically with the tools and build upon the theoretical underpinning of the work. 

Some artists referenced or featured in the documentary whose work I’d like to research and read/see more about include:

Herman Kolgen, 1024 Architecture, Alex Augier, Robert Henke, Miryam Bleau, Ali M. Demirel, Coldcut, Hans Walter Muller, Pablo Valbuena, Daniel Canogar, Daito Manabe, Marta Verde, Albă G. Corral, Anna Diaz/Hamill Industries

[c-40]

A-T-3 081 Roy Ayers - Chicago

This is the third instalment of my uk centric look at the history of reissues in the age of Netflix, Spotify, Record Shop Day, and reissues making up 74% of all US album sales

Part 3 begins with DJs. Journeys By DJs was a mix series that began in 1993 each one by a different DJ, Coldcut’s 1995 70 Minuets Of Funk was an especially popular edition. The same year BBC Radio 1 began its Essential Mix feature, this became a CD series in 1995. !K7’s DJ-Kicks series also began in 1995, then later in 1999 the DJ compiled Back To Mine series began followed by Another Late Night in 2001

What was interesting about some of these mix collections was the range of music they collected, it wasn’t all the latest releases they could contain old reggae records, soul, funk, folk, psyche, prog… often rare and highly sought after

In 1995 Harmless began its label. They released DJ led compilations like Norman Jay’s Philadelphia retrospective, house music artist anthologies which brought together 12” singles originally on different labels. These were packages of collectible records. A personal favourite of mine was 1997’s Jumpin’ disco collection, the hook for this series was many of the tracks had been sampled by house and dance music artists. Samples and the usage of old records on films and adverts was the subject of Harmless’s popular (albeit a bit cheap and nasty imo) Pulp Fusion series

The popularity of the Pulp Fusion series and similar packages on Harmless and other labels I’m about to look at led to the Demon Music Group (parented by the BBC) who own huge legacy catalogues releasing similar styled collections at budget prices, collections of female soul singers for instance or The Best Of Bobby Womack’s The Poet Years

Harmless released the Africa Funk compilation in 1998, a year later Club Africa was put out by a new label Strut. Strut was “dedicated to unearthing long lost gems of dance music’s past.” They released a few DJ compiled compilations like Ashley Beedle’s Grass Roots, and label anthologies like Soul Jazz, but they also got licences for official reissues like Tony Allen And Africa 70 and Oneness Of Juju. Strut also came up with the Disco Not Disco genre

Strut also launched their Music For Dancefloors series which delved through the archives of Library Music labels like KPM, Chappell, Bosworth

Trunk Records was begun in 1996 by Johnny Trunk. The first three releases were compiled from the Bosworth Music catalogue, the forth was a reissue of The Wicker Man soundtrack. What was different about Trunk was the focus wasn’t on what was popular with DJs or collectors of dance music, Trunk reissued soundtracks, psyche music, and oddities

Similar to Trunk is Finders Keepers that came out of Twisted Nerve records. Andy Votel got help from Gerard Short who launched Jazzman in 1998 to get Twisted Nerve Going but it’s reissue label Finders Keepers which is the parent label. I was in Manchester when Andy Votel began the psyche DJ sets that became the staple of Finders Keepers and went to many of those parties

Soul Brother began in 1998, it’s run by the Prangell brothers and priorities funk and soul reissues, they reissued James Mason’s Rhythm Of Life album in 1999 and in 2001 the first of two Leroy Burgess anthologies. The label Barely Breaking Even was named after the Leroy Burgess classic. It began in 1996 with the DJ series Stop And Listen. In 2003 BBE release in association with Rapster, Roy Ayers - Virgin Ubiquity (Unreleased Recordings 1976-1981), which circles back to the Urban reissues of the 1980s. Royal Ayers’ 1983 album Silver Vibrations was reissued by BBE in 2019, on it is Chicago

[djburntheoil]

Although they never had a hit record, they proved highly influential for subsequent artists such as Coldcut, DJ Shadow, Cut Chemist, the Avalanches, and Girl Talk.[1] Their music was not widely available on CD until 2008 due to their use of copyrighted material. There have been occasional illegal re-issues, and several internet sites have mp3s of their music available for download.

[musicarenagh]

Anticipate The Upcoming Single From The Dolls Are Good The Dolls are Good is a pseudonym for filmmaker and producer Nadeem Akhtar, using a repertoire of electronic styles, sampled snippets and psychedelic nostalgia, the Dolls Are Good is here to create a retrofitted sound for our collective future, one which can't neatly be pigeonholed into a formulaic playlist and a sound which is only for the most discerning ear. With over 20 years of experience in beat making The Dolls Are Good keeps getting better with each production he makes, drawing loads of inspiration from music produced in the 50s through to the 1960’s psychedelia, Shoegaze, 90’s hip hop, and the 90’s UK electronic music scene (jungle, trip-hop, big beat) to music produced in the current day, all this have are a strong presence within his music. “One twenty-Six (126)" is the upcoming release from Canadian producer The Dolls Are Good. The music, which maintains a retro look, appears to be a jungle track. In order to create a captivating acoustic trip, frenetic rhythm sounds are hidden among varied melody parts. This was shared during an interview with Mister Styx of Musicarenagh where he shared bits and pieces of his personal life, he also went on to share what his fans should expect next, he said I’m finishing up an EP with a more mellow electronic vibe a bit in realm of Air’s “Moon Safari”. get this and more from the interview below:   Follow The Dolls Are Good on Twitter Spotify Soundcloud Youtube Instagram What is your stage name The Dolls Are Good Is there a story behind your stage name? There is, I’d been making electronic tunes for over 20 years, but more for private tapes enjoyed only by friends and family or for audiovisual pieces. Just prior to the Covid pandemic I started to get serious about putting some releases out for a wider audience but needed a new stage name as my last one was taken. I asked one of my daughters for a name and her response was my moniker. Where do you find inspiration? I enjoy a very broad range of music from the 50s to the current day and all the different types of music that I listen to inform how I make music. That said, 1960’s psychedelia, Shoegaze, 90’s hip hop and the 90’s UK electronic music scene (jungle, trip hop, big beat) are a strong presence within my music. What was the role of music in the early years of your life? Are you from a musical or artistic family? I grew up listening to a whole range of music, and although there were no musicians or artists in my family, playing vinyl and having a cassette playing in the car was a standard fixture in the household. This definitely honed my appreciation of music and expanded my taste for music as an art form. Who inspired you to be a part of the music industry? All of the 1990s electronic music artists that pushed boundaries with creativity and blurred the lines between played and sampled music. In particular Aphex Twin, The Chemical Brothers, Orbital, Squarepusher, Coldcut, Air and Amon Tobin have been major inspirations. How did you learn to sing/write/to play? As with most of the art I indulge in, I taught myself. Initially I was a hip-hop DJ, but then progressed to wanting to make my own beats. I take inspiration by example…Even now when I listen to a track, if I like something in the construction or processing, I make a note of it and try to replicate the element in my own track. What was the first concert that you ever went to and who did you see perform? That’s difficult to pin down, but in my teens I went to a lot of Hip hop gigs in the North of England. It was a mix of big names (De La Soul, A Tribe Called Quest etc) and up and coming artists…simply being part of that energy was exciting. How could you describe your music? Broadly defined, it’s retro-tinged electronic music which playfully hops between styles and genres. I am however, always trying to keep the listener guessing; striking the balance between changing elements and mel

ody. A little while ago I started to make collaborative compilations with Kynet Jah, Skholezy and more recently Zahkia, under the Sonic Saviours moniker. One of our projects was an updated Rave “concept album”, designed to be listened to straight through, a sort of “clubbers Dark Side of the Moon”. Describe your creative process. I try to work on tracks every weekend and adhere to the philosophy that the best electronic music is made at night. I have a vast collection of tracks that never quite get finished, but when I’m feeling a track I can usually get it 90% done in a single night. I then go back to it a week later and get feedback from the Sonic Saviours Crew before the finished tune is put out. What is your main inspiration? The city at night; memories of winter evenings in London and driving the UK highways late at night in particular What musician do you admire most and why? There are many, but other than those mentioned above, Bjork. She remains an all-round artist with a unique knack for accessible yet abstract expression. Did your style evolve since the beginning of your career? Definitely, I like to think that my production skills have and continue to refine. Who do you see as your main competitor? I don’t like to compete, I’m just happy that I can put my work out there for others to listen to. What are your interests outside of music? Film is my other passion and I’ve been quite successful as a short film maker. I do feel that Film and music are natural, complementary partners in artistic expression. If it wasn't a music career, what would you be doing? I do have another career…but that’s top secret! What is the biggest problem you have encountered in the journey of music? The same issue that no doubt most new artists encounter- how to be visible and get promo. If you could change one thing in the music industry, what would it be? Streaming; It’s great as a consumer (for myself included) but not good for artists and changes how people consume a body of work. Often the order of tracks is extremely intentional and an album listened to in its natural order is greater than the sum of its parts. Why did you choose this as the title of this project? 1:26 (am) the middle of the night, when the city is at its most melodic   https://open.spotify.com/artist/52qFmlExRcePF7tjpwJOtk?si=xhDhdBFWQt692aY7DGF3AA What are your plans for the coming months? I’m finishing up an EP with a more mellow electronic vibe a bit in realm of Air’s “Moon Safari”. Do you have any artistic collaboration plans? Yes- I’m continuing to work on collaborative releases with the Sonic Saviour’s collective and I’m currently working on a new track with Zahkia (from Nashville) and DreyKickit a hip hop lyricist from London. What message would you like to give to your fans? Sincerely- thanks for listening!      

[coldcutsmerch1]

Cold Cuts Merch

We are proud to bring cutting edge merchandise from some of today's biggest and brightest bands. We have it all and are always looking to broaden our offerings with other genres as well as clothing lines from artists and brands. We welcome you to our store and thank you for visiting. Please check us out at all our social sites as well noted below. Keep checking back as we continually add new products, partner with new artists and brands, and bring fresh content and updates to our blog section. Buy Cold Cuts Merch Here!

Coldcuts Merch Cold Cuts Merchandise Cold Cuts Merch Nothing Title Fight Cold Cuts Cold Cuts Merch Power Trip Cold Cuts Merch Title Fight Cold Cuts Merch Knocked Loose Cold Cuts Merch Uk Official Cold Cuts Merch Store New Cold Cuts Merch Shop Cold Cuts Merch 2023 Cold Cuts Merch Long Sleeve Cold Cuts Merch Women's Tee Cold Cuts Merch Hoodie Cold Cuts Merch T Shirt Cold Cuts Merch Shirt

#coldcutsmerch #coldcutsmerchandise

[burlveneer-music]

VA - @0- Coldcut & Mixmaster Morris present this compilation of 20 new or remixed ambient tracks

‘@0’ AMBIENT COMPILATION FEATURING NEW RECORDINGS FROM RYUICHI SAKAMOTO, SUZANNE CIANI, SIGUR ​​RÓS, STEVE ROACH, KAITLYN AURELIA SMITH, SKEE MASK, HELENA HAUFF, JULIANA BARWICK, A WINGED VICTORY FOR THE SULLEN, LARAAJI, AND MANY MORE. The release also includes new compositions and remixes of music by Imogen Heap, James Heather, Specimens, Nailah Hunter, Coldcut and more. Ninja Tune will be donating their share (50% of net receipts) to three charities: CALM (Campaign Against Living Miserably), Mind and Black Minds Matter. Speaking with Matt Black (one half of Coldcut) on the project and its creation he explains that: “‘@0’ refers to that liminal state experienced many times where my mental and emotional stability was not solid and it felt like teetering on a zero axis about to fall into depression, or more rarely, mania. I found that ambient music, by making no psychic demands, often opened some space and with its soft fascination, subtly raised the energy, helping to avoid that downward spiral and navigate slowly up and out. @0 is a balance point.”

[rocksinmuffin]

Sorry if this has ever been addressed, but what is your icon? Something about it is very... charming.

Thank you! It’s a picture of my transformers fan character Coldcut drawn by the talented @vinnycoco!

[randomvarious]

Today’s compilation:

Two A.D. 1995 Ambient Dub / Downtempo / Ambient

Got a mid-90s UK comp here that was made specifically for the chillout room; that place at the club that you migrate towards when you feel yourself coming down from your synthetically-induced euphoria. You just spent hours losing your mind to some rapid, drum-bludgeoning insanity, but now it's time to just sit back and relax 😌.

Alright, so, the back cover for this CD says,

Electronic art for the mind From England, Europe and beyond

And you may not know it, but that 'beyond' word definitely has a double meaning here. I mean, I truly don't know if any of the musicians that are on this comp actually hail from anywhere outside of Europe, but Beyond also happened to have been the name of a UK record label that also put out the exact same type of fare that's on this CD. In fact, Waveform Records, the label that released this Two A.D. comp, was the label that was responsible for releasing some of Beyond’s music in the US. And almost every artist that appears on this comp also appears on Beyond's own 4-volume series, Ambient Dub, which, if this second volume in Waveform’s A.D. series is any indication, is actually a whole lot better, in my opinion.

But one thing that this particular comp really has going for itself is a track called "Autumn Leaves (Irresistable Force Mix Trip 2)" by Coldcut. This legendary remix by the great Mixmaster Morris is simply one of the most beloved songs in the history of ambient music; Fatboy Slim even rated it as his favorite chillout track of all time on a BBC TV broadcast once. And it's also one of the first songs that I ever came across when I started this compilation-collecting hobby of mine, appearing on a 40-song electronic comp put out by that mp3 retailer eMusic (remember them? They're still around!) called Eclectic Electric. So I have a pretty deep familiarity with this sublime tune.

But outside of that and a great, 10-plus-minute song by London duo Sounds From the Ground called "Triangle," I didn't really like this CD all that much. It was just kinda boring and monotonous for the most part. A lot of these tracks seem to be going for some kind of restful minimalism, but that's not really my bag. I love slow music, but I usually need there to be layers of sound and/or some kind of drumbeat. And this album wasn't really good for supplying those things.

Other people definitely feel differently though. This release currently has a 4.27 rating on Discogs with 92 ratings, so the ambient heads who are out there—a tribe that I don't claim to be a member of—would probably enjoy this far more than I did. But I think Beyond’s Ambient Dub series is better than what’s on this album, overall.

Highlights:

Coldcut - "Autumn Leaves (Irresistable Force Mix Trip 2)" Sounds From the Ground - "Triangle"

[rabideyeartist]

1000 Tiny Magnets Show #400: October 21, 2022

1000 Tiny Magnets Show #400: October 21, 2022

400th episode 90 min special Rabideye presents1000 Tiny Magnets Show #400: October 21, 2022 SPECIAL 90 minute EDITION #400- 80’s SUPERMIXES + New Music too!*= explicit language/adult themes DOWNLOAD :: STREAM Artist, Track Kim Wilde, You Keep Me Hangin’ On (W.C.H. Mix), Coldcut Feat. Lisa Stansfield, People Hold On, Chaka Khan, I’m Every Woman, Five Star, The Slightest Touch (The…

[petitelepus]

Yes, like your own transformer persona.

Well, in my case, my persona StarBay was born when I was like, "If I was a Cybertronian I would be a minibot and most likely Autobot."

I googled my favorite color teal and car and I found this adorable little car that I chose as my alt mode.

The name StarBay came from this book I loved to read where the main characters are on a beach and there is this bay where the water sparkles like stars.

I asked my dear friend what kind of persona she would have and she said, "I love birds so I would absolutely be a flyer!" and she chose her alt mode, a jet.

Now, I got StarBay's bot form created by this one artist whose name I can't recall now and my friend got her flyer commissioned and drawn by the one and only @fish-and-ice-arts !!!

It was a pleasure commissioning her, Ice is very talented and she offers so many good solutions.

I asked this person I admired that if they would be a Cybertronian, what would be their alt mode and they replied "A fridge". This was back then when I could commission this one guy and when this person said fridge, I was like "Is she serious?" but then I was like "Fridge, it's genius! A smuggler and quirky alt mode!"

This person is @rocksinmuffin. I admired her so much I wanted to buy her a picture of her persona. I remember how her Coldcut was born this way. I paid to have Coldcut drawn the first time and she wrote her story.

You all need to read Coldcut's story, she is HILARIOUS.

After you have your bot or con created and drawn, you can commission people to draw your persona in different styles. That's pretty fun.

[omegaplus]

# 3,469

INXS: “What You Need (The Coldcut Force Mix)” (1985, 1990)

Here’s something I didn’t know about “What You Need”, in my eyes the states’ first exposure to INXS: world-renowned artist-producers and Ninja Tune founders Coldcut made a one-time only vinyl re-mix of it. It’s one of their early works in which they snazzed up the place with sharpened up downtempo beats to a squeaky-clean finish. I’m surprised, really. It’s one of my favorite Eighties singles with a remix that I feel was so well done that I could listen to it without tiring of it. Wait until 1997 when MTV’s Amp showed the world their collaboration with Hexstatic with “Natural Rhythm” (’97)

[fancypantsrecords]

Various Artists - Rez Infinite | iam8bit | 2016 | Orange Marbled + Orange Translucent + Grey Marble