Cold Light Of Day is the title of Dialectrix’s new album. Like Audio Projectile before it, the production is entirely handled by Plutonic Lab, with cuts by DJ 2Buck. After a wildly successful EP campaign, with large thanks to fan-support, DTrix’s Satellite was distributed on both vinyl and CD, and received high rotation on triple j with its lead single Stop.
The new album, dropping May 24th, is a transcendental piece of work. A meticulously detailed, enthralling, and unique listen from start to finish. A limited edition lyrics booklet will be included with all physical albums, and pre-ordered signed copies will be available through JB Hi-Fi and Soul Clap Records two weeks prior to the release date. The second single from the album has just dropped and is titled Go. You can check that out below. For full details of the album including track list and more, head here.
One of the most catalytic hip hop releases to date comes in the form of Eloquor’s third LP From the Oceans of Karana. Following on from the release of his 2011 EP, Eloquor continues to explore his fascination with the human condition. From the Oceans of Karana is a spiritual encounter, which explores both the fundamentals and intricacies of life.
The album is divided into three parts; Creation, Preservation, and Destruction. Each part is proceeded ceremoniously by a foreword from Ramesh, a Hindu mystic. The concept behind Eloquor’s themes is inspired by the three Hindu gods Brahma (the Creator), Vishnu (the Preserver), and Shiva (the Destroyer). Otherwise known as the Tridev.
Eloquor’s reverence for eastern philosophy and religion is strewn through his lyrics, his masterful story-telling transcended by a soundtrack of evocative 1970’s Bollywood samples, soulful jams and classic boom bap sounds. Esteemed guests featured on the LP include Ginger Van Es, Candice Monique, Strike Won, Duvz, and L Fresh the Lion. With outstanding production from Simplex (Terrafirma), 76 (Stronghorn Studios), Pokerbeats, and Jase (Beatheadz).
Lead single, New Day, touches on Eloquor’s principles, both as a musician and as an optimist. Featuring the soulful vocals of Ginger Van Es, the track glides smoothly from the beginning to the outset, providing a peaceful vibe. Following up, Electric Kids, digs deep into the artists empathy for underprivileged youth, hoping to uplift and empower the often neglected teens.
“I wrote this track to uplift kids that are feeling shit about their situation. The song is for the kids so they don’t feel alone. For the kids in residential care with parents who are unable to raise them for whatever reason it may be.” -Eloquor
Recorded especially for the track, Eloquor uses vocals performed by students at Caulfield Park Community School, where he teaches disadvantaged and at risk youth. One extends the universal outlook of Eloquor’s existence, touching on the emcee’s astral side. From the sampled 70’s Bollywood records, the production of 76 compliments the MCs flow, with rhymes touching on topics of creationism. From the Oceans of Karana is a generously personal look into the mind of a deep thinker. Eloquor graciously lends his words as a vehicle for introspection, in the hope they benefit his listeners.
“This album is an expression of my spiritual and social beliefs. Designed to empower, educate and provoke thought with an open mind and heart.” -Eloquor
Release Date: 10.5.2013, Released By: Myspherical Entertainment and Obese Distribution.
The third full length episode of Obese TV is here. Obese TV aims to feature dope new segments such as ‘New Releases’, ‘Classics’, ‘Obese Retail’, ‘Spotlight’, ‘Backstage Pass’ and more. Each episode of Obese TV will be hosted by a different member of the scene.
In Episode 3 of Obese TV, we seefeatures from Kerser and Rates, Catch Wreck with Lazy Grey, Jake Biz and DJ DCIDE. Plus chats with Geko, and community radio’s Adrian Basso (PBS), Stewart Farrell (RRR), as well as publicist Sam Cameron (Beatbroker).
If that wasn’t enough already, take a look at the new Obese Records Frankston store opening!
Kerser returns in 2013, this time teaming up with brother and best mate, Rates for We Here Now. Having dropped last Sunday 24th March, the stand alone single is now available on iTunes as a digital 3 track package, including radio edit, instrumental and accapella.
This past year has been intense for the Campbelltown emcee. With increased notoriety, Kerser has endured the biggest transition of his life, not to mention the most isolating. We Here Now is a rags-to-riches tale, contrasting between an optimistic present and days survived. On writing and performing with Rates: “It’s the best ay. ‘Cause he’s my brother, but he’s my best mate. So it’s a dream come true, we’ve both been working together for years and years. We both think the same.” – Kerser
With production by long-time beat benefactor Nebs, We Here Now is upbeat and features old-school samples and heavy drums. Due to the overwhelmingly positive response to his No Rest For the Sickest Tour early this year, Kerser, along with Rates, hit the road again, this time focusing on regional areas all across the country . The We Here Now Tour will commence in June of 2013. Dates and further info to be announced soon.
Obese Records, Australia’s first hip hop label, was established in 1995 as a small record store originally named OB’s. After the business was bought and renamed by Tirren Staaf (Pegz) in 2002, the label was created as an outlet for the distribution of Australian hip-hop.
Melbourne’s emcee Reason with his album Solid, was the first release on the label, closely followed by the scene-defining Culture of Kings and Obesecity compilations. Over the course of its twelve years, Obese Records has seen success stories such as Hilltop Hoods, Muph & Plutonic, Drapht, Illy, release award winning albums, play to crowds of thousands at Obese Block Parties, and cement their places in Australian hip hop history. Current artists on the roster include Plutonic Lab, M-Phazes, Dialectrix, Thundamentals, Spit Syndicate, Pegz, Chasm and more.
The nerve centre at Obese HQ, headed by Operations Manager Fern Greig-Moore, Publicist Lindsey Martin, and Sales Manager Terry Ho, includes sales, publicity, marketing, accounts, and A &R services. In 2013 Obese Records signed its first management contract with successful underground emcee Kerser, one of many important artists on the extensive distribution roster.
As the label continues to wave the banner for credible hip hop releases in Australia, the demand for distribution has increased. Boasting industry stalwarts such as Broken Tooth Entertainment, Crate Cartel, Wordburner/Bias B, Lookup and Karsniogenics, Obese Distribution umbrellas over 100 of the country’s finest hip hop acts. Managed by Frank Mincone, The Prahran store (4A Izett Street) has become a hip hop mecca in Australia for committed fans, hosting media listening parties, in-store signing sessions, radio marathons, and its own segment on Obese TV.
After years of demographic observation, Pegz recognised the demand for a cultural hub in Frankston after noting a large portion of hip hop enthusiasts inhabited the bay side region. The decision was made to replicate a second retail store. Conveniently positioned at the heart of the township, the shop features an impressive wall piece by Melbourne graffiti artist Shem and will be open five days. Business hours are Tues – Sat 10am-5:30pm, and 10am – 6pm on Fridays. Besides vinyl, CDs, and the label’s own merchandise, Obese Records retail will stock street apparel and accessories from brands such as 1Line, Wu Tang, Burn Crew, and Kangol. Quality paints from Ironlak, Molotow will also be available to customers over 18, as well as a wide range of arts supplies, street art magazines and DVDs.
The store’s opening signifies an important time in local hip hop culture, where in the face of the demise of physical music sales across the industry, the hip hop community continues to support vinyl and CD production. With a highly productive 2013 and beyond planned, keep an ear out for upcoming Obese Records related events, and other announcements in the coming months.
The second full length episode of Obese TV is here, the ‘summer edition’. Obese TV aims to feature dope new segments such as ‘New Releases’, ‘Classics’, ‘Obese Retail’, ‘Spotlight’, ‘Backstage Pass’ and more. Each episode of Obese TV will be hosted by a different member of the scene.
In Episode 2 of Obese TV, we seehighlights from Hopsin’s recent in-store appearance at Obese Records. In ‘New Releases’ we hear from the Broken Tooth Entertainment crew including Tornts, Fraksha and Ciecmate. The ‘Spotlight’ this time around, is placed firmly on the massively talented Candice Monique.
If that wasn’t enough already, Frank from Obese Records retail store talks about vinyl records and what they represent within hip hop culture today. Be sure to stick around right to the very end for some exclusive live footage of a recent performance from Obese Records general, Pegz.
The third studio album from Illy came in the form of Bring It Back. Described by the popular emcee as “a heart album“, the LP was not stylistically intended to follow-up from its predecessor The Chase. Reflective of the scene behind the genre, Bring it Back is largely a collaborative album, including all manner of vocal and production guests.
aahh: After a bit of a break from recording, you’re back now with your latest LP titled ‘Bring It Back’. Tell us a bit about the new album? Illy: It’s a throwback to music I listened to coming up. It’s also an album that I wanted to make for a while, well the idea of it anyway: just get a bunch of mates on some beats produced by mates and fucking rap. My style is never going to be grimy underground shit, that’s not who I am or want to be, but I think this is a lot more of a traditional hip hop sound to it than my other albums. When you have people like Reason, Trials, Mantra, Pez, Thundamentals etc involved in it, it’s going to work better if you’re coming into it like that. So yeah, Bring It Back is really just some sick raps over sick beats with a bunch of sick cunts.
aahh: The last couple of albums from Illy have been heralded as great successes, did this put any extra pressure on you to repeat this feat for the new album? Illy: Not at all. It could have, but no. Coming at it from the angle I did, the pressure was never a thing. I knew it wasn’t a big mainstream kind of album, so I wasn’t worrying about competing with the Hoods or 60 with it. And the dye was cast on a lot of heads opinions long ago, so there was no thought of impressing them either. The last album in particular was a massive success, so it’s good to have that to build on, but it doesn’t mean that formula was what Bring It Back was going to be measured against.
aahh: You’ve just come back from a massive tour titled the ‘Bring It Back’ Tour, how was that? Were the crowds diggin’ the new tunes? Illy: It was great, man. We had real dramas with the scheduling of the tour and the album release date, so it ended up that the tour finished before the album dropped. It made it very hard to really play people new stuff other than what was on the radio, but we did throw a couple of jams in. The crowd definitely ate that shit up. In my opinion we put on a really high-energy show even in the worst case, so I find if you do shit with the same level of intensity, even if it’s completely new, people generally can get behind it. But as far as the tour itself, it was a blast, and we did some of our biggest numbers, which blew me away given that we were touring with no album out. Very thankful to have the support I do.
aahh: Where Ya Been featuring emcee Pez, seems to be a track where both of you are all too familiar with the subject matter. How did you find yourself dealing with that situation leading into the release of Bring It Back? Illy: Just getting hit up by people man. It’s crazy how you stay really busy (in my case) or go off the grid for a long time (Pez) and are met with the same reaction. It just shows that your fans want you to be in their lives, which is a privilege, but at the same time it’s a bit like “shut the fuck up give me a minute to breathe” hahaha. I think Pez was a perfect fit for this track because of his extended hiatus. My verses are a bit more jokingly exasperated, I think the shit he’s been dealing with for the last few years really meant something. But in a lighthearted way. And in the lead up to Bring It Back, I just kept working to deal with it, did the Friday Flips, got a couple of other things on the go which haven’t seen the light of day yet.. Just kept busy man.
aahh: Diverting from hip hop for the moment, tell us about your recent graduation? Do you think hip hop in Australia will get to a point in time where the majority of artists in Australia will be able to live off their music? Illy: No, definitely not. But there’s nowhere in the world, in any genre, where music provides such a utopian situation. There’s simply not that much room for everyone to be able to, especially in a country as small as Australia, in a genre as not universal as Australian hip hop. I got my degree, which was a LOT of hard work and effort and time, because it means in one way or another il be ok. It also means I can stick to my guns and not have to make music geared towards making money. No dance, no dubstep, none of that trendy shit. Same pop influence I always have written with, but never flavour of the month.
aahh: There are some big names on Bring It Back including Mantra, Thundamentals and the recently retired local icon Reason. What does it mean to you to be able to work with someone like Reason especially after retirement? Illy: It means a lot, man. Re is from the generation before me, or 5 or 6 before me, from the suburb I grew up in Melbourne. He went to the high school a bunch of my mates from primary school did, used to put up in the alleyway behind where I was living etc. So even removing all the dudes done for the Australian hip hop scene, on a personal level its important to me. Also he has helped myself and especially my BBS mates out a lot over the years. I’ve given talks at his school, and he’s even written up a great review of Bring It Back, from an obviously biased position, but still obviously took a lot of time to do, and he didn’t have to. So there’s a lot of love there for Re and to come out of retirement for it was great. As for everyone else, Mantra, Grey Ghost, Prime etc.. Everyone involved in this album is there cause I think they’re fucking dope, and represent the different facets of the scene well. It makes it easier to not give a fuck about negativity when some of the dopiest in the scene are dropping verses or producing your album.
aahh: Where Is My Mind pt. 1 was a track you performed on triple j’s Like A Version a few years back. The track was released on an Acoustic EP you did not long after that. Bring It Back features part 2 of Where Is My Mind tell us a bit about how the concept for these two tracks developed? Illy: I don’t know to be honest. When I did the like a version, I had like a week to write it and had no idea what to do, then the night before I like just thought fuck it, it might be cool to mash-up lines. It would make it more memorable than just spitting the verses I’d already written. So, I was up till like 4am writing the two verses, then up at 7 to get to the j’s studios, and put it down. It went really well, and the plan was always to do another one, just needed enough material to come out, thankfully it did by Bring It Back release, because it really fit well into this album. It was originally over a Ta-ku beat, but Trials did a remix of it which worked so well that it ended up becoming the album version. There will definitely be a part 3 in a few years, no doubt!
aahh: You have been working and touring with a super talented dude in M-Phazes, tell us a bit about the working relationship you guys have together. There was a series you guys worked on called Friday Flips, let us know about that one? Illy: Friday Flips was a way to keep busy and producing new tunes. BIB was finished in April, and we couldn’t get a release date until what eventually became late September, so I wanted something to get me back out there, and I came up with the idea of Friday Flips. Basically it was just a cool way of making music with a degree of interaction from our fans, in that they select the track that we ‘flip’. It has been really well received, and so we will be doing a part 2 early this year.As for Phazes, I don’t think there are that many words left to describe the dude. He’s a phenomenon. IMO, and its again a very biased one, he is the best producer in the country, with a considerable amount of daylight between him and the few ultra talented dudes who would be next on my list. I’m lucky to be able to work so closely with Phizzle, and I’m really excited for the next album because I think that we have made some great music so far but the best is really going to come in future releases.
aahh: How do you see the state of Hip Hop in this country currently? Illy: I think its great. I think there are a lot of great people involved, the quality of music is always increasing, this year has been a new benchmark for quality releases (Hilltops, Maundz, Tuka, Thundamentals, Seth, Urthy, Trem etc), and there is a real sense of community still, as evidenced by the amazing, utterly brilliant Robert Hunter Cup weekend that just passed. There is a great vibe at the moment. I think the most important thing is for the ones coming up, young dudes etc, making sure they follow the right lead, and don’t rush into making decisions regarding their music, which will fuck their careers up. But on the whole I think even the younger generation who have a real chance of killing shit can can bullshit without being influenced by it, so on the whole shit is looking mad rosy.
aahh: There has been a lot of discussion around negativity in the local scene, with the majority of that discussion revolving around racism, what are your points of view on this subject and do you think hip hop gets a bit of a raw deal? Illy: I don’t think racism in the scene is something I’ve witnessed, to be honest with you. In a direct sense, definitely not, ever. I came up performing with Iron Projects, Diafrix and 1/6 the same as with Mantra or Forthright or BBS, and we all got along. In a broader, systemic sense, removed from the artists, who all get along, I don’t know, but it is probably reflective of the country as a whole, so to single out this genre seems harsh. I do think it’s extremely important to give a voice to those without power, and hip hop is a perfect vehicle for that, always has been. Seeing the work a lot of artists do with workshops around the country, and labels like Elefant Traks who are bringing a lot of really dope indigenous talent to the fore, is sick and long may it continue, and inevitably attitudes of the general public will shift. As far as the charitable nature of the local scene, I really don’t think that can be called into question. There are far, far too many examples of big hearts to take any comment to the contrary seriously.
aahh: What’s next for Illy? New film clip or another tour? Illy: Currently working on the next album with Phazes, and other than a few shows over the summer period, that’s me till early / mid next year. Yesssss! Thanks to everyone who made it to a show on the Bring It Back tour. Was a great tour and I am very grateful to have people support me without even hearing the album! New Friday Flips – Series 2 in early 2013. Bring It Back out NOW!
Sydney hip hop duo Spit Syndicate return in 2013 with third album Sunday Gentlemen. After the success of previous releases Towards The Light and Exile, a hungry fan base have been waiting anxiously for the next instalment from Spit Syndicate. We catch up with emcee Jimmy Nice of the Double S, on the eve of the Sunday Gentleman release, here’s what he had to say.
aahh: What’s the first thing you guys plan to do on release day? Jimmy Nice: I’m actually working on release day. Release night will be a different story. I may hold off on full celebrations untill the 24th. The One Day Crew are putting on the first in a series of monthly parties called One Day Sunday. Sunday will be our best opportunity to get loose.
aahh: Sunday Gentlemen is quite an interesting title. Can you explain the concept behind the title and how it ties in with the overall themes of the album? Jimmy Nice: The name Sunday Gentlemen came about one night when we were coming home from the studio. We had stumbled across a bunch of books and random things people had thrown out. I saw a bunch of books sitting there and this hard cover book jumped right out at me. It was really nice, I usually like taking things like that home. When we got home, we had a read through and realised the book was Sunday Gentleman by Irving Wallace. Irving was a writer of his own choice, working six days of the week to keep the lights on. Sunday was the only day he kept for his own works. That screamed out at us. We find ourselves in a very similar situation, in how we make our music. It’s the 9-5 all week and then we write and perform on the weekends. We don’t yet have the luxury of making music as our job to keep the lights on.
aahh: Beauty In The Bricks was the first single released from Sunday Gentlemen and was produced by fellow One Dayer, Adit. What was it about this track, that attracted you guys to release it as the first single? Jimmy Nice: This was a song we finished really on, actually it was the first beat we worked on with Adit for the whole project. We never really started writing it as the lead single. As with other tracks, it was going to find it own place on the album. It’s a personal song, about two different views on relationships, mine and Nicks. We didn’t really write it with that hook in mind (…hums beauty in the bricks), it was just a bridge between the first verse and second verse. While we were in the studio recording we couldn’t figure out a chorus, we were honestly stumped. So we went with the bridge and it turned out really cool. It was the right song for us to come back with, we’ve been away now for 2-3 years. This track is a really good way to welcome new fans to our music and it’s a good indication on what the rest of the album sounds like.
aahh: The clip for Beauty in The Bricks was filmed in and around Sydney. Would you agree that the imagery of the clip reinforces the main themes of the track? Jimmy Nice: Along with being personal and emotional, the track was also a little ode to the city. As Sydney siders ourselves, we don’t usually get the opportunity to see or explore the rest of the city. We all get comfortable, with where we live, usually going to the same places without really getting out to new places. We went to these little pockets in Sydney, spots of beauty and took full advantage of it. The clip was shot over two days and it was painless.
aahh: The second single titled Folly, has a bit of a different vibe to Beauty In The Bricks, and is produced by Stylez Fuego. What was it like working with that guy? Jimmy Nice: That was new for us, we spent two weeks in Melbourne linking with various producers. We usually contact producers and spend the time with them. We’d be spending days on end in the studio. The session with Sylez was an inspiring experience and was great to see. Stylez Fuego is a gun and he works really quickly. On the first day, he did a quick mock-up of a beat and I wrote my verse in the studio to that. On the last day of our time with Stylez, the beat you hear on the track came to be. It was a nice new experience and really placed an emphasis on how far we’ve developed..
aahh: How would you describe the differences between Sunday Gentleman and say your last release Exile? Jimmy Nice: Yeah, I don’t think we’ve steered to far away with what we’ve presented with Exile. Both releases have similar themes, both are very honest and high energy, a lot of light and shade, the whole creative process really has matured. Adit’s production is a lot more experimental now. We’ve been a lot more experimental in our vocal delivery, trying to incorporate new things and push it further. It’s not a ridiculously different approach to Exile but people will see the progression.
aahh: There’s been some amazing artwork released in association with Sunday Gentlemen. Both singles have had some killer covers done and of course the album cover is quite different to what we would usually see. Who’s been handling the design and how does these designs tie back to your music? Jimmy Nice: We had an idea, and a vision of what we wanted for the artwork. We really wanted it to tie in with the themes of the album. April77 Creative handled both single artworks and the album cover. We’ve worked with him previously on Exile, and Towards The Light. He knows what we are like. The main challenge was how to properly convey the themes within our music, how do we translate that to the visual. It’s hard to tell how people will respond to it. I really like the finished design, it’s something new and different. Again, I’m not sure how some people will respond to it. I think cover design is highly important. That artwork and imagery ties to your identity, you should take it as seriously as the music inside the cover.
aahh: I want to ask you about ObeseTV, you guys featured in Episode 1 of the new show and have been with Obese Records for quite sometime now. We’ve seen a lot of artist in the past start their owns labels etc. Do you plan to stay with Obese for the foreseeable future? Jimmy Nice: Obese was our start and it was for a lot of other artists, for now our focus is solely on this record. Not where we will be one year or even five years from now. We’ve been working on this record for two-three years now and we just want to get the most out of this release. Who really knows what the future holds.
aahh: You have a huge national tour coming up soon with Jackie Onassis, what’s some of your favourite things to do while on tour? Jimmy Nice: Eat… dumplings are always a favourite. We like to check out new spots, enjoy the time away. A lot of us are leaving jobs and mundane shit like that. Any chance to get away with a great group of friends is always enjoyable, and with these guys it’s a real privilege. The songs you spend two-three years recording, writing and polishing, the real reward is when you take them on the road and see the people enjoying them.
aahh: The One Dayer crew recently unleashed a brand new podcast titled One Day Radio? And I believe that you guys are also holding a monthly event in Sydney. Is this the first steps in seeing more content coming out from the One Dayer Crew as a whole? Jimmy Nice: Definitely, that’s been our little banner we’ve been riding under and it includes Spit Syndicate, Horrorshow, Joyride and Jackie Onassis. We all grew up together, went to school together and make music together. We really want to strengthen that connection, and have it more as a collective as appeased to four different acts. These guys are family and people we see on the reg, it’s not just different acts coming together, we all share a strong bond. Anything we can do to strength that brand is a positive.
aahh: We have all heard that the legendary Nas is hitting our shores for the movement festival and Spit Syndicate have been lucky enough to be named on the bill. Nas has been pretty influential in a lot of artists careers here in Australia. Are you the same? Jimmy Nice: Definitely, Nas is one artist we’ve looked up too and who has had a big role in influencing our music. It’s hard to tell how it will go. Obviously with festivals like this we’re not at the top of bill, buts it’s good to get up and do your thing. It’s also a great opportunity to expose your music to people who might not have seen it otherwise. It’s a great opportunity and we jumped at. It’s inspiring to see artists like Nas and Bliss N Eso on the bill, people who you look up to. It’s a great privilege to share estate with the real kings.
Spit Syndicate – Sunday Gentlemen is available now through Obese Records.
After spending the last year or so accustoming himself to fatherhood and fine tuning his 3rd LP The Cold Light Of Day with long time collaborator Plutonic Lab, Dialectrix is kickstarting 2013 with a rare and limited edition release involving some of the worlds best talents.
The result is Satellite, an exclusive 5 track EP being released to vinyl only (digital D/L included) with each track showcasing an overseas producer while Dtrix exhibits the hunger and versatility the Sydney wordsmith is known for.
Artwork for the EP is being handled by April77 Creative, longtime collaborators with Dialectrix and creators of artwork for Obese Records, Hilltop Hoods, Bliss N Eso and many more. A limited number of Satellite EP will also be packaged with April77′s new book scheduled for release early 2013. The book will showcase an extensive selection of album cover artwork produced by the studio over the past 10 years.
Stop brings a barrage of braggadocio-battle raps intertwined with self assured ridiculousness that screams of live rowdiness over a smacking beat from Germany’s Suff Daddy with the additional finesse of one of Australia’s greatest turntablists DJ Bonez on the cut. Dialectrix shows an introspective view to his inner thoughts on the smooth and esoteric Enjoy The Music featuring the UK’s shining producer Eric Lau with fellow Blue Mountains brethren DJ Morgs of the Thundamentals appearing for a cameo scratch.
Dialectrix then goes in with a vicious delivery and a no holds barred attitude over former Scratch Pervert Mr Thing’s (UK) gigantic What Is This World Coming To?. From the media/social systems to his vehement disappointment in the music industry and the world in general, he leaves no stone unturned as to who and what are ruining the world around him. Sydney Psychosis is a tainted homage to the city over a rolling, hypnotic beat supplied courtesy of New Zealand’s Haz Beats of the notorious Home Brew Crew with cuts executed by the world renowned DJ Revolution.
The title track Satellite is spearheaded by one of LA’s finest beatsmiths Exile delivering his classic soulful chops as Dtrix alikens his position in the world to a satellite bunker with music being his main source to communicate abroad. The Satellite EP is a unique one off approach to mustering an eclectic and foreign soundscape while remaining underpinned with Dialectrix’s familiar and technical flow. Secure your copy of this extremely limited release before they are all gone!
Tracklisting: Side A 1. Stop – produced by Suff Daddy and cuts by DJ Bonez 2. Enjoy the Music – produced by Eric Lau and cuts by DJ Morgs (Thundamentals) 3. What Is This World Coming To? – Produced and cuts by Mr. Thing
Side B 4. Sydney Psychosis – produced by Haz Beats (Home Brew) and cuts by DJ Revolution 5. Satellite – produced and cuts Exile
After spending the last year or so accustoming himself to fatherhood and fine tuning his 3rd LP The Cold Light Of Day with long time colloaborator Plutonic Lab, Dialectrix is kickstarting 2013 with a rare and limited edition release involving some of the worlds best talents.
The result is Satellite, an exclusive 5 track EP being released to vinyl only (digital D/L included) with each track showcasing an overseas producer while Dtrix exhibits the hunger and versatility the Sydney wordsmith is known for.
Artwork for the EP is being handled by April77 Creative, longtime collaborators with Dialectrix and creators of artwork for Obese Records, Hilltop Hoods, Bliss N Eso and many more. A limited number of Satellite EP will also be packaged with April77′s new book scheduled for release early 2013. The book will showcase an extensive selection of album cover artwork produced by the studio over the past 10 years.
Stop brings a barrage of braggadocio-battle raps intertwined with self assured ridiculousness that screams of live rowdiness over a smacking beat from Germany’s Suff Daddy with the additional finesse of one of Australia’s greatest turntablists DJ Bonez on the cut. Dialectrix shows an introspective view to his inner thoughts on the smooth and esoteric Enjoy The Music featuring the UK’s shining producer Eric Lau with fellow Blue Mountains brethren DJ Morgs of the Thundamentals appearing for a cameo scratch.
Dialectrix then goes in with a vicious delivery and a no holds barred attitude over former Scratch Pervert Mr Thing’s (UK) gigantic What Is This World Coming To?. From the media/social systems to his vehement disappointment in the music industry and the world in general, he leaves no stone unturned as to who and what are ruining the world around him. “Sydney Psychosis” is a tainted homage to the city over a rolling, hypnotic beat supplied courtesy of New Zealand’s Haz Beats of the notorious Home Brew Crew with cuts executed by the world renowned DJ Revolution.
The title track Satellite is spearheaded by one of LA’s finest beatsmiths Exile delivering his classic soulful chops as Dtrix alikens his position in the world to a satellite bunker with music being his main source to communicate abroad. The Satellite EP is a unique one off approach to mustering an eclectic and foreign soundscape while remaining underpinned with Dialectrix’s familiar and technical flow. Secure your copy of this extremely limited release before they are all gone!
Obese Records would like to invite all Dialectrix fans, vinyl lovers and contributors throughout the Pozible community to get their hands on and support the making of this limited edition EP. There are a number of options for you to support please see to the right of this page. Dialectrix would like to thank you for your support in helping make this project happen. For more details go here.
Tracklisting: Side A 1. Stop – produced by Suff Daddy and cuts by DJ Bonez 2. Enjoy The Music- produced by Eric Lau and cuts by DJ Morgs (Thundamentals) 3. What Is The World Coming To – produced by Mr. Thing and cuts by Mr. Thing
Side B 4. Sydney Psychosis – produced by Haz Beats (Home Brew) and cuts by DJ Revolution 5. Satellite – produced by Exile and cuts by DJ Exile
