CULP, Canada

LO-FI beatmaker and roller blade hockey player CULP takes time off making beats and listening to the sound of nature to chat via the webs of the internet, about the LO-FI movement, his latest album ‘MARINELAND’, and Steve Wiebe amongst other things.

Planetary Beats: Right off the bat, how did you come up with the name ‘CULP’ and what does it mean?

CULP:  It’s changed over time from CULPRIT303 – to CULP. It’s my last name.


Planetary Beats: On that point, what is the deal with all the lo-fi SP cats on the come-up putting their names in all caps?

CULP: THE CAPS USE TO BE A WAY TO SIFT THROUGH THE BULLSHIT, respectively. It was a way to let others know that you are making that lo-fi sound. Heavy compression, 0G vinyl sim, bounce to tape, etc. it’s the low end shit-gear theory. It was far out and not trending as hard as it is now, 5 years ago, that’s why I went CAPS. It made it easier to find like-artists. The sound is trending hard, so that theory has kind of gone dodo. There’s a lot of SP’s out there.

Planetary Beats: What SPs do you have at the moment, and what other gear do you use alongside them to make beats?

CULP: ‘At the moment’ SP 606. It’s the Tony Danza of the lab. All my audio sources talk to it. I think it has around 43 Mfx and 2 can be instantiated at the same time. There’s a 4 part sequencer and external re-sampling. It’s fast, and has some auto chopping features. It’s really a great machine. I still haven’t tapped into all its features. It’s my only SP with me right now. It has some impressive features that work with a computer. I always bounce out to Ableton live. Ableton is my multi track “tape deck.” It prevents me from forgetting about tracks I’ve made and lost. It glues everything together. I’m also a fan of the Micro-sampler, Juno-106, DX21, mkXL, 404, jobsPAD and monotrons. I just moved so I just flipped my whole set up to minimalism.

Planetary Beats: I’ve been on that SLF TAPES for a minute now and seen some mad unorthodox ways of using SPs, do you have any weird ways of utilising your SPs or just standard use?

CULP: I use the sequencer without quantize. Deep, I know. Honestly, I don’t think too many use it. I am under the assumption that brews like the re-sample method. I’m on the OG 404 and it has slight delay on the external banks–my timing is bogus with a delay-lag, this ruins my outfit. I think it’s because of my compact flash card? and those are a rarity to find now. I keep it on lo-fi brew, that’s the standard.

Planetary Beats: How would you describe your left-centre beats in one sentence?

CULP: I’m a right hand shot from the left wing.

Planetary Beats: What/who were your main influences on the MARINELAND album?

CULP: The Caribbean, Dpeee, collecting synthesizers, the death of Tuxedo Himself, Green Llamas, Perry of SLFtapes + affiliates, Lord beatjitzu, Gang bl00d, a dead muppet master, 90’s VHS cassettes, microwaved meows, and snorkeling.

Planetary Beats: Who did the album art for it and can you give a short explanation on the image?

CULP: I did the album art. It’s a lot of pictures from my phone and images that I have some relation with or found amusing.

Planetary Beats: Where did you get the vox sample in the intro of your track ‘GRANDBEND’, does it have any deeper meaning or is it just for the laughs?

CULP: It’s the hosts from the ‘Super Mario Brothers Super Show!’ It was one of the first TV shows I learned how to record on VHS back in like 1990. It’s where all this VHS recording started for me. It’s the stems of ‘dude bruhs’ and it made an impression when I was 7.  Definitely for laughs.

Planetary Beats: What are you doing when you aren’t making future sounds?

CULP: I stay active. You can’t hide out in your lab all the time in Canada, our warm weather lasts for 4 months. I have a fixed gear & I play roller blade hockey at an outdoor hockey rink with a tight crew of brews from ‘Canada man’. We smoke ganj and drink cheap beer, there’s a lot of roughhousing, falling over, cuts, body checking …There are epic shoot outs and showdowns—weekly grudges, shit talking, etc. we get shitty funny… it’s a competitive homeboy event, with a tight click.

Planetary Beats: I did a bit of surfing on the net to find out who this STEVE WIEBE dude is, but why did you dudes choose to sample him on SIDE B of the WU-CULT KILLAHZ collab beat-tape?

CULP: It’s the B side yo, it’s where I always have music. I guess that’s where I maintain well. It’s the humble Wiebe mentality. Billy Mitchell asked me to throw a high score tape together in a week, so I bought an fb-01 for $20 because it sounds like a Sega genesis and created everything from scratch… Billy has a ‘winners always win’ ego and needed to test Wiebe. He flipped the sample joints so I passed him my score synth tape and he headlined the show, it’s how it is. It’s an honour to be on a tape with Billy-li-Jitzu. I feel obligated to collaborate with dudes who pioneered ALL CAPS for me, ya know.

Planetary Beats: What is next on the CULP project, can we expect any solo releases or collabs in the near future?

CULP: There’s always something on its way, but I don’t like to promise anything, this music is for serious fun though. There are too many obligations to fulfil.  I took it really negatively when MARINELAND was shared outside of Bandcamp. On a positive note, it had a lot of support from Bandcamp and that helps fund my life but specifically, fuels NEW MUSIC. Although, it’s a deterrent when someone shares your music without linking the artist, I’m guilty of sharing other peoples audio, don’t get me wrong, but I always let the artist know through an email that I consciously did it, usually because it has been inspirational to me. If they are unhappy about it; you stop.

I have put out half a dozen albums and countless free tracks-that I should have some control over regarding; what is free, and what should cost some ‘chump-change’…guaranteed you have purchased some dumb shit that has cost you more money than CULP -MARINELAND. Just reach out if you can’t afford it. Don’t be a shady lurker. Keep it personal. I’ll reply to you. Check, Microwaved Meows on Youtube,, /P00K, /L0HEESH, and GANG BL00D at the tumblr for some weekly microwaves—soon.

Planetary Beats: Last off, I know you sample a lot of rap vox so you must like that shit; if you were to start rapping, off top what would your rap name be?



Cop some side project  beats from ya boy CULP and then some tracks off MARINELAND here via these links:       — P00K      — P00K, CULP, L0HEESH  — MARINELAND – 05 – KELP — MARINELAND – 15 – GRANDBEND — MARINELAND – 17 – ______

Featured Artist: Soulo Starr

Johannesburg/Cape Town, South Africa

Soulo Starr drops his Early Works from 2007-2009, knocked out the MPC on Cosmic Dust Records.

The 9-track release includes raw, sample-based beats, chopping smooth vocal hooks, the occasional rap hook and sweet percussion sounds. Each beat signifies the golden era of hip-hop, through the live, edgy feel of the drums. Listening to the beats makes you want to rap on them, but you know you can’t as you have to savour the snares and kicks over each ill sample.

Some standout tracks off the release include: “4 DILLA”, “Afta”, and “The Mack”. Peep it here on Cosmic Dust, then cop it for $7 USD:


Peep Soulo Starr’s future mix for some turnt down, new wave hip-hop:


Modular Tapes_Vol. 4

Word, so the 4th and final drop of Modular Tapes features some dope hip-hop influenced experimental electronic producers on the come up.

JONGPADAWAN starts the tape off on a chillwave tip, with a warm, synthy track layered with cosmic sounds. Secondly, Jonwayne brings hip-hop in full effect with a beat for a rap song. Last off, homie I Kicked A Cloud Once finishes the tape with a lo-fi, phaser beat full of astral leads.

Peep the tracks here:


*gravy 001

South Africa

*gravy is a collective of South Africa-based artists making waves in the experimental electronic beatscene.

A somewhat newly formed crew with years of experience in the game between them, comprising of established as well as up-and-coming artists; *gravy is on that next tip. The dudes mix elements from genres such as hip-hop, trap, R&B, jazz, funk, amongst others to create left-centre productions. Members include; Sibot, Dank, liver, Card on Spokes, RVWR, Christian Tiger School, O’ltak, Richard the IIIrd, Narch, Slabofmisuse, and Mr. Sakitumi.

The first installment of the *gravy project dropped yesterday, in the form of an 11-track beat-tape “001”, offered as a free download. The release is dope as reflects the artists’ new directions in terms of beatmaking, and contrasts bass heavy beats with slower, synthed out joints. All in all, a diverse tape encompassing a variety of production styles by sought after local artists, capturing the right mix of party and anti-party beats.

Each musician in the outfit adds their own unique flavour to the project, and the album serves as a showcase of groundbreaking local productions.

Cop the release here for free:

Peep some of these buttery beats off the tape below:



San Francisco, United States

B.Lewis is an experimental electronic hip-hop beatmaker, residing in San Jose, California.

Synthed out, boom bap hip-hop beats are significant of B.Lewis productions. Similarly to other beatmakers in the same category, the dude makes use of dope samples when creating these tracks. However, what makes B unique is his drum patterns and offbeat yet somehow melodic sounds. The dude has a bunch of  these beats available for download on his bandcamp page, each release different in its own  right.

The lushness of the synths, combined with the bass heavy hip-hop kicks and carefully selected samples, mesh creatively and form the B.Lewis sought after style of production.

The dude’s latest release is a full length album “Finding Incandescence” (2013), which dropped in April, and is available for download on his bandcamp for $8 USD or more.

Peep B.Lewis’ bandcamp page here and cop some releases:

Some personal favourite B.Lewis tracks:


I kicked a cloud once

Berlin, Germany

Enigmatic, Danish beatmaker residing in Germany, “I kicked a cloud once”, produces experimental electronic hip-hop beats of an astral sort.

I kicked a cloud once appears to be a solo project, by illustrator and photographer, Rasmus Johansen. The dude’s productions are in the form of space age synth sounds, intertwined with raw 90s hip-hop drum patterns. The I kicked a cloud once project is fairly new, and has been running for 2 months now according to the dude’s soundcloud. Although a fairly recent producer on the scene, the homie has released some fat analog hip-hop beats of the 5th kind, and is clearly ahead of his time.

Yet to release a debut album, I kicked a cloud once has a boatload of dope beats worth a listen.

Scope some of them here:

Free Mix:


Card On Spokes

Cape Town, South Africa

South African Jazz musician Shane Cooper, produces experimental electronic hip-hop beats, under the alias “Card On Spokes (CoS)”.

Bassist for the jazz fusion band “Closet Snare”, as well as one half of a new alternative beats collaboration project with DANk, the dude’s productions are infectiously melodic, and unique. The crunchy analog synths, chords, and glitched out sounds significant of the Card On Spokes beatmanship, suggest experimentation through pushing the boundaries of different genres.

Card On Spokes released an EP in 2011, “In You Go”, his debut and only release thus far. This release, along with his Red Bull Studio mixtape, displays the warped out electronic hip-hop sounds infused with elements of jazz and funk, associated with the CoS style of production.

The collab with DANk, “Seafood ∆∆∆”, where CoS is referred to as “Datsun Brown” involves more of an acid trap, bass heavy, synthed out hip-hop sound, still influenced by jazz in certain elements of production. Both CoS productions are dope in their own right, and are different takes on similar genres in music.

Cop In You Go here:

Peep some dope CoS releases here:


Featured artist: Harmonic 313

Sydney, Australia

Harmonic 313 is an experimental hip-hop electronica side project by electronic music producer and DJ, Mark Pritchard.

Formed in 2008, the 313 solo project involves galactic hip-hop and dancehall productions, along with golden era hip-hop, mixed with trap, jungle, and dancehall DJ sets. The project is an off-shoot of the Detroit style electronic hip-hop project Harmonic 33 with Dave Brinkworth.

The 2008 Harmonic 313 beatmanship was significant of warped out, 8-bit, cosmic sounds supported by heavy bass and bumping hip-hop drum patterns. The dude released 2 EPs in 2008, “Dirtbox” and “EP 1”, both in line with this style of production. As 2009 approached, 313 released “When Machines Exceed Human Intelligence”, a full length album, which comprised of tracks from his previous EPs, as well some new ones. These new age, left-of-centre electronic hip-hop beats were clearly ahead of their time, and are mainly beatstrumentals, with the odd vocal track or two.

The 2012 to present 313 production style has shifted towards electronic reggae, and dancehall and is mainly evident in the dude’s DJ sets and the occasional track posted on his soundcloud

Cop EP 1 here:

Cop Dirtbox EP here:

Cop When Machines Exceed Human Intelligence here:

Some ill 313 tracks to peep:


Spies On Bikes

Tampa, United States

Visual artist and actor Nathan Cochran, produces experimental folk, electronica and hip-hop under the alias, Spies On Bikes.

The Spies On Bikes project has been running just over 2 years now, and the dude has gone from creating hip-hop beats, to future garage, to electronica, to ‘folktronica’; his current style of beatmanship. Characterised by warm old school synths, hip-hop drum patterns, and folk vocals, Spies On Bikes productions make for laid back Sunday afternoon listening. The lo-fi nature of the beats allow the listener to unwind, and straight max and relax.

Dude’s latest release and debut album “Man Overboard” (2012), is an ambient, atmospheric, folktronica album with elements of hip-hop and future garage. Some personal favourite tracks off the release include, “Warm”, “Long Walks And Recorded Talks”, and “Love Like Hours”.

Cop the album here on the dude’s bandcamp:

Some Spies On Bikes tracks to peep:

Safe Sunday


Los Angeles, United States

Experimental hip-hop beatmaker Knxwledge, resides in LA, and produces sample-based beatstrumentals of the 5th kind.

These beats, that can be described as abstract hip-hop, or ‘hop.hip’ as the dude refers to them, are nice for their raw, old-school hip-hop feel and creative use of samples. Knx mixes up sounds such as soul, jazz, and R&B, to create his beats, giving them that unique Knx style. Homie has a boatload of experimental hip-hop releases on his bandcamp page:, all reminiscent of the raw, 90s hip-hop, yet differ in their own right. Bass heavy and boom-bap reinstated, Knxwledge’s throwback meets new school style of production is definitely noteworthy and worth a cop at a reasonable price.

A personal favourite Knx type of release, is the [TWRK]s, which is a bunch of remixes of hip-hop artists from the likes of Danny Brown, to Cam’Ron.

Cop these [TWRK] releases here: Danny Brown XXX remix album Bootleg beattape with some [TWRK]s on it

Dopest Knx track: