Hailing out of Brisbane the dynamic and energetic MC Tricksta, is proud to announce the release of his debut E.P. The War’s Awaiting. Packed with funky instrumentals to get even the most placid of heads nodding, The War’s Awaiting delivers punches with Tricksta’s uncanny sense of humor, combined with his trademark no bullshit attitude.
The War’s Awaiting encapsulates Tricksta’s ability to deliver raw truth whilst entertaining the listener through a his unique views and rare insight all wrapped up with its brutal honesty, edgy punches and sharp cuts provided by DJ Oldmate and Darth Fader.
Inspired by the likes of Lazy Grey, 750 Rebels, Braintax and Jehst, or ‘anyone with a valid opinion and a backbone’ (as Tricksta puts it). With his original flow juiced in with his love of Parliament Funkadelic’s outer-limit experimental electronica, Tricksta’s hip hop makes for a complete package of new age design.
All beats and production on the EP were supplied by Mizari and Ghosty (Downplay Productions), recorded and mixed at Strumpet Studios by Boomtown sound engineer Tristan Pearson (Clockwork Records).
It’s been many years in the brewing, now finally Brisbane underground hip hop legend Jake Biz’s debut album Commercial Hell is ready for the tasting. Riding off the back of his highly successful debut single, Deuce Deuce, Commercial Hell dropped through Karsniogenics and Obese Records Distribution.
aahh: Your new LP Commercial Hell is out now. The album art and the title to the album both seem to be inspired by Run DMC’s album Raising Hell. Explain to us the concept behind that?
Jake Biz: The title track itself wasn’t at all inspired by Run DMC, though the overall concept certainly was. I’m an enormous Run DMC fan, as is most my crew, though me and DJ Lopsided definitely share that passion a little more than the others. I’m aware of the irony (of sorts) being that Run DMC were certainly the first rap group to really trancend the underground culture of the time and move into the mainstream with platinum albums, movies and sneaker deals. For me it’s the purity and raw energy of their 2nd, 3rd and 4th albums. Rap music exsits in it’s current form due to the exsitence of Run DMC. Pick your favorite rappers and most will inevetibly site the influence of Run, D and JMJ. We took a very back to basics approach with Commercial Hell, attempting to craft what we considered a complete record the whole Raising Hell concept seemed a natural progression. There hasn’t been too many albums come out of this country that look or sound like Commercial Hell and we’re incredibly proud of that. A massive thanks has to go out to our man Beza who took care of the entire concept flawlessly.
aahh: The whole album doesn’t fuck around, you haven’t curbed your ideas, concepts or censored yourself to appeal to certain sections of the consuming market. Would you agree with that statement and was it a factor you considered going into the album?
Jake Biz: Absolutely, though it wasn’t entirely intentional. We approached the album honestly and we approached it being true to who we are, knowing full well that we’ll never really transcend the underground and we’re completely fine with that. Proof and I aren’t kids anymore, we’re both in our early thirties and don’t really feel as though we need to be all things to everyone, so to speak. I truly and honestly couldn’t give a fuck about the “mass appeal”. At no point did we write a hook that I thought would appeal to the radio, at no point did we do radio edits of tracks off the album and we also at no point wanted Commercial Hell marketed towards the Nova/triple j audience. The opinions and approach conveyed on the record are mine and Proof’s, and while it certainly was important to get that across it was also more than natural. We do what we do and we certainly don’t censore that.
aahh: The opening ‘Introductions Aside’ sets the tone for the album and leads perfectly into the title track Commercial Hell. In other interviews we’ve seen you’ve been quite vocal on the state of radio in Australia, particularly triple j. Would you like to tell us about that?
Jake Biz: I don’t care for the radio one bit, be it triple j, Nova, B105, Triple M or whoever. The way certain stations promote themselves as being youth oriented, uncensored and independent is bordering on farcical to me personally. I detest commercial radio for the most part and those that promote themselves towards that market, I have a firm belief in hard work and gigging to establish yourself. Commercial radio and those professing to be youth-oriented aren’t, simple and plain. They’re in my opinion little more than faceless puppets perpetuating a false ideal of what they are while pandering to their equivalents at major record labels. Turn off that bullshit! Fuck the radio and fuck those that compromise themselves in order to reach that audience. Real street-oriented rap is rarely played on the radio and neglected in favor of these more palatable, marketable, ring tone oriented individuals. Of course there’s exceptions but they’re really becoming few and far between.
aahh: Have you had any trolling from any of the artists fans who’s samples were featured in the introduction, we have heard some of them can be quite persistent? Jake Biz: To be honest with ya I’m not even sure what trolling is. I don’t think I share fanbases with a lot of those radio rappers so I couldn’t really give a fuck about any of them, though I’m more than open and welcoming of anybody that wants to listen to me, my crew and any other influences. I don’t concern myself with too much of the bullshit, I’d be half surprised if those guys and their fans are even aware of me, I don’t really appeal to the 15-year-old female demographic. As soon as I find out exactly what “trolling” is I’ll get back to ya… Ha.
aahh: The album was produced by fellow 750 Rebel Overproof Pete aka Brookes Cullings. Was it always the plan to have Overproof produce the whole album?
Jake Biz: Absolutely, 100 percent! But the most integral part of Peter producing Commercial Hell is the fact that he’s a brother to me. I’ve known him for more than half my life. My parents used to get called up to our school for bullshit all the time and they’d be told that we had to be separated in classes because we were bad influences on one anothes. We were little shit cunts and now we make records together?! The shit’s bizarre sometimes but that’s something that means a great deal more to me than the music itself. We had bands and shit when we were 15 and Peter’s always been amazing with music, he has a natural gift. Listen to ‘The Relentless’ and ‘Deuce Deuce’ and the almost industrial like funk of ‘MC Who’ and ‘You Don’t Know Shit’, it’s symphonic and timeless without being pretentious or overstated. That’s my dude and he’s fucking incredible. Listening to ‘Gloves Off’, that beat is ridiculous then he comes in and murders me on the verses as well. Muthafuka!! Seany B who I consider one of the best producers in this country recently said to me that Peter is one of his favorite producers because he does things with records that others can’t, that’s true originality. To me, he’s re-interpretated Lazy’s boom-bap funk and quite often I think I don’t even do his production justice. Commercial Hell is our record, not just mine and that dude right there is my brother from another. We’ve done it all together, from crime to rhyme. He’s the only person that could’ve made this record.
aahh: Do you think that the dj and also the scratch has been a victim of the commercial side of hip hop and it’s followers?
Jake Biz: I think the cut chorus has to a degree but the DJ is still a fairly prominent element of most radio oriented groups, wether or not he’s well utilised is another thing though. I love good cuts, I’m a huge fan of well executed cut chorus’ and I appreciate the role of a true DJ, a person with an ear for selection and love of vinyl first and foremost. I’m a bit of a closet DJ myself, I love getting on the decks, none of this serato shit, picking records and spinning them. I’m not very good, but I love playing records when I’m given the opportunity. DJ Lopsided is my DJ and just like with Proof he’s one of my best friends in the world, on top of being an amazing character. When Lops was 13 in 1988 he told his mum he was going to stay at a friend’s place and instead got on a bus to Sydney to go watch Run DMC at The Hordern Pavillion. He slept in a bus stop over night and caught the greyhound back to Brisbane the next day. He’s an amazing dude in my eye’s and incredible friend and talent. Listen to that Edo G cut on ‘Commercial Hell’ the track, it’s fuckin amazing, a supreme balance of technique, skill and funk while complementing the track perfectly. All his cuts on the record! That’s what a true DJ should bring to the table and Lops brings it in spades. He’s also a massive character, that’s gone through a lot in his life so I respect him a whole lot on other levels as well. Ask anybody that knows him on a personal level and they’ll tell ya, Lops doesn’t give a fuck and he’ll tell ya about too. That’s my dude and I love the grumpy old cunt. Ha ha… Massive shouts to the one and only Drambuie Dan aka Long Island Lops.
aahh: It seems there was a lot of work put in to the cohesive feel of the album. Was this intentional or more a direct result of the subjects, themes or people you were dealing with on Commercial Hell?
Jake Biz: The cohesiveness of the album lies squarely in the hands of DJ Dcide and Overproof Pete. 100 percent. They deserve all the credit, Chubbs also. We spent close to three weeks finalising the track listing and playing order and how the skits would fit in. I do truly believe crafting an actual album is a thing of the past, most emcee’s idea of an album these days is making 15 possible singles and collating them with no real feeling or emotion and very little thought. Dcide did the final mixing and some post production and really made it shine in that regard, while Proof’s production made it naturally cohesive. DJ Dcide runs Karsniogenics as professionally as a Rhymesayers, Rawkus or Stones Throw. He oversees the day-to-day operations, tours, shows and finances while Chubbs has started playing a management, A and R type role and he’s doing it well. The cohesiveness is definitely something that was deliberate, it had to play right and most importantly feel like it played right. Even with the album art, it has to feel like a whole package.
aahh: The lead single Deuce Deuce dropped with a killer film clip and also was released as a limited edition 7″ vinyl pack. Was it vital to drop something on wax for this release?
Jake Biz: Absolutely! Proof and myself are both massive vinyl heads but initially we weren’t too sure on how to approach Deuce Deuce, none of us really thought that much of it as a track and we didn’t even think it’d make it onto Commercial Hell. Long story short, I sent it down to Heata from Full Clip to get his opinion on it and he flipped out over it. I’d initially sent him F.A.G.S., cos I thought that’d make a for a good clip but then he called me up about five minutes after I emailed him Deuce Deuce and we spent the next two hours on the phone plotting how we’d approach it, that was February/March 2011. They (Full Clip) came up to Brisbane a couple of months later and we shot it over a weekend, it was then up to us as to what we’d do with it. When we saw their first cut we decided to put it out as the first official single off the album. The label and Runroyal.com really got behind putting it out on wax which can be a bit of a gamble these days, but we did quite well out of it. We pressed 300 and we only have around 30 left so we’re pretty stoked with the response. I give all the credit for Deuce Deuce to Heata, he had a vision for it and sold us all on it and it’s proven to be one of our labels more succesful tracks. If you’re a vinyl head then pressing something to wax is a must, more vinyl releases are on the cards for Karsniogenics in the not too distant future.
aahh: We have also just seen a drop for the track Flavor Of The Month feat. Lazy Grey, tell us a bit about the clip.
Jake Biz: My dude Heathen Stealberg took care of that alongside DCE and I couldn’t be more happy with the result. We had a shoestring budget for it and I reckon we came out with a really good clip. We shortlisted a few tracks we could do a “street clip” for and I chose that track more or less because Lazy’s on it. I think I’m probably the biggest fan of Lazy Grey and whats strange about that is the fact he’s one of my best friends. It’s a weird dichotomy being in complete awe of someone while also knowing him on that personal level. Lazy is hands down that dude in my opinion. The sole reason for me wanting to make that track the second clip is because I’m a fan first and foremost. I wanted to see Lazy in another clip, that’s it. He’s a mentor to me and I’m honored to know his daughter, missus, brother and family also, they’re all amazing people who’d go out of their way for anyone… But when Laze opens his mouth and rhymes words, it’s fuckin over with! I don’t think people will ever understand how daunting it is just rapping alongside him, most the time I’m just standing there in awe… Laze’s best work is still coming, he’s only getting better and more relevant with age, trust me on that one.
aahh: We hear that the album took around three and a half years to complete from start to finish, how much did the album change over that time?
Jake Biz: It didn’t change too much over the course of that time at all, Proof and myself always knew where we were going with it. Outside of ditching a few of the older tracks we stayed pretty much on target. I’m quite easily sidetracked though and that’s how the Purgatory downloads came about also, if I wasn’t with Proof I was over Dcide’s doing shit there. Purgatory 1 and 2 were the culmination of music that wasn’t for Commercial Hell that was recorded at the same time as we were recording the album, if that makes sense?! I was trying to keep the more focused material for Commercial Hell but then I’d write some shit like Getthefuckouttahere that I knew wouldn’t be on the record so we decided to do the Purgatory downloads to build a greater anticipation for the album when it finally dropped. Purgatory 1 and 2 had collectively over 3000 downloads so they did their job I reckon.
aahh: There are also some huge features on this album, Kings Konekted, Lazy Grey, Fluent Form, Bigfoot, Ken Oath, Tornts and more. You touch on this subject on the track ‘Fuck A Guest Spot’ (FAGS). What does a guest spot mean to you and how was this reflected in the artists that jumped up on Commercial Hell? Jake Biz: I just never really understood why local dudes here would want to cash some US rapper a check for a sub-par verse or production and then attempt to sell themselves off the back of that guest appearance. It was happening all over the country a year or so ago, damn near every local release had a big sticker on the cover saying featuring such and such. Me, personally I prefer to work with my friends. I try to sell my music off the back of my own skill and merit rather than cashing some third-rate Wu affiliate a check for his lack-lustre performance. I’ve been blessed to have been given a string of noteworthy guest-spots over the last three or four years alongside a lot of my friends, that’s something I cherish and as long as I’m making music I’ll continue to put my mates on my own product. F.A.G.S. isn’t a direct attack on anyone, it’s just me taking issue with what I saw as quite the trend at that point. I think if you’re an aspiring MC in Australia you should work hard and hone your craft even if that means years and years spent in the trenches with next to no recognition. That’s all this bullshit amounts to at the end of the day anyway. Hard work, there’s really no other easier option in my opinion. The limelight is nice but fame is fleeting so why place so much importance on it. I’m kinda old-fashioned like that.
aahh: Do you have plans for any launch shows for Commercial Hell and will we see you doing a Commercial Hell tour in the near future?
Jake Biz: Absolutely, though we’re still ironing out the details and working everybody’s schedules to fit. There’s gunna be some announcements about all that real soon. I won’t say too much more at this stage.
aahh: You’ve been a huge part of the hip hop community in Brisbane for many years now, what has been some of your best hip hop related memories from your area? Jake Biz: The end of the 90’s, into the early 2000’s were a beautiful time up here in Brisbane. We were all out there doing the same thing, drinking, partying and carrying on. It was a far more simple and enjoyable time, most of us were out there just trying to get laid. Dudes like us, K-West and The Optimen, Yuinhuzami, Rainman, Balboa, Ms Brown and DCE, Ken Oath and numerous others that came and went were all on the come up, doing the thing, no ego, no nothing, just good times. At that time up here Brothers Stoney were running things, Hams had all the latest releases at Rockinghorse, you could go to a handful of clubs and rock an open-mic on any given night, bounce from club to club drinking til dawn (running into most of those dudes mentioned earlier) and wind up at some writers party in the middle of fuck-knows-where the following night. Good times! I could probably never narrow it down to one memory because I can’t even remember half of what we used to get up to. There’s definitely a handful of shows we either played or attended in those days that’ll live on in infamy though… One for the history books I reckon.
aahh: Final comments? Jake Biz: A massive shout to all aussie Hip-Hop for the support and interview. Super shouts to the one and only Rebels Seven Fifty and the label Karsniogenics. Feel free to go cop Commercial Hell, available nationwide now! Stay tuned to all the relevant outlets for more info and coming news…
It’s been many years in the brewing, now finally Brisbane underground hip hop legend Jake Biz’s debut album Commercial Hell is ready for the tasting. Riding off the back of his highly successful debut single, Deuce Deuce, Commercial Hell is set for national release on Karsniogenics through Obese Records Distribution on May 18, 2012.
Commercial Hell was produced by Jake Biz’s long time friend and fellow 750 Rebel Overproof Pete –aka Brookes Cullings and features valuable contributions by crew members and old mates including the legendary Lazy Grey, DJ Lopsided, Bigfoot, Tornts, Ken Oath and Fluent Form.
Commercial Hell is a self-assured rap album without pretense, born out of a love and knowledge of the rap classics of years gone by and the south side working class suburbs of Brisbane. It is the antithesis of every record attempting to cross into the mainstream and whilst it may appear quite a confrontational album upon first listen, it plays out as more a tongue (firmly planted) in cheek observation of Australia’s hip hop scene in its current state.
“The title track itself addresses the “Australian Idol” mentality of many local rappers who search for fame and acclaim without investing time and genuine passion into their craft,” explains Jake Biz. “It also blatantly hints at the role commercial radio has been playing in pushing these stereotypical “paint by numbers” MC’s while completely ignoring far more deserving veteran underground artists.” The production techniques of Overproof Pete seamlessly blend with the Biz’s vocal style in a combination born of many years shared experiences.
“Having known Peter for so long, growing up together and entering the rap game together, no one else could’ve provided and crafted the sonic landscape for my raps,” says Biz.“Having Proof produce the entire record was a no brainer. We both share similar views on life and the same general goal and vision for street level rap music coming out of this country.”Jake Biz is rightfully proud of his debut long player and the blood, sweat and biff that have gone into molding every aspect of the final work. “Weeks of deliberation went into the eventual track listing while three and half years were spent in the studio attempting to hone both sound and substance,” Biz concludes.
“This is an album not a collection of tracks. We’ve attempted to craft something classic in the tradition of those albums that came before it and those albums that’ll be considered timeless ten years from now.”
Karsniogenics have put together a Limited Edition (300) Jake Biz package deal including: 1 x 7″ Vinyl (A-Side Deuce Deuce, B-Side Frontline Approach featuring the 750 Rebels including Lazy Grey, Bigfoot & Ken Oath). 1 x White or Black Jake Biz Commercial Hell T-Shirt. 1 x Digital Download Card with codes to reedeem bonus instrumentals and accapellas.You can grab this limited edition pack right now by following the purchase link below.
Commercial Hell is available on May 18, 2012.
Track List: 1. Introductions Aside 2. Commercial Hell 3. Anti B-Boy 4. Fuck A Guest Spot (F.A.G.S) 5. Gloves Off! feat. OVerproof Pete 6. Bitch, Don’t Touch My Records! Pt.1 (Skit) 7. Deuce Deuce 8. The Relentless feat. Kings Konekted 9. MC Who? 10. Flavor Of The Month feat. Lazy Grey 11. Mercy Killings feat. Fluent Form, Ken Oath, Tornts & Bigfoot 12. Bitch, Don’t Touch My Records! Pt.2 (Skit) 13. You Don’t Know Shit 14. Gin & Tektonic 15. Bitch, Don’t Touch My Records! Pt.3 (Skit) 16. Brisbane Bullshit 17. DJ Lopsided In Deep Masturbation 18. Frontline Approach feat. 750 Rebels 19. Shoutro
Karsniogenics Records is pleased to announce the launch of the first Jake Biz single Deuce Deuce in lead up the release of his debut album Commercial Hell. The Deuce Deuce single features production from Brookes Cullings and cuts by DJ Lopsided.
In celebration to the single which is out now, Karsniogenics have put together a Limited Edition (300) Jake Biz package deal including: 1 x 7″ Vinyl (A-Side Deuce Deuce, B-Side Frontline Approach featuring the 750 Rebels including Lazy Grey, Bigfoot & Ken Oath). 1 x White or Black Jake Biz Commercial Hell T-Shirt. 1 x Digital Download Card with codes to reedeem bonus instrumentals and accapellas.You can grab this limited edition pack right now by following the purchase link below. Be sure to check the new film clip executed by Full Clip for the new Jake Biz single Deuce Deuce.
aahh: The history between Vegas Aces goes way back to the days when Cam was working with Publik Relationz and you (4th) were apart of Pure Product, are we right? 4th: Yeah, I started sourcing beats for the Pure Product album and got put in touch with Cam through Mr Hill and Seven (Publik Relationz) and was just blown away at his beats, even back then. At the time I think he was just 18 and had only just started making beats, so I knew he was going to be someone to watch out for.
aahh: Fast forward to 2011. We now have the Vegas Aces partnership in full swing. Tell us a little about the new EP VA All Day? 4th: The EP really just started out us making a couple of songs and seeing how they turned out – which were Boomtown Shuffle and Two Sides. We really liked the sound that was coming out so we decided to do a whole thing. Originally we were just gonna make a few songs and chuck them out for free but as we made more, some friends of ours egged us on to release it properly.
aahh: Vegas Aces is an interesting name, are you both massive gamblers or does it go a little deeper than that? 4th: Haha not at all! No gambling here – it was more so at the time there were a lot of those sorts of references in what we were doing. And the fact that we were in the same circle it was sort of ‘shuffling of the deck’ to be super-corny for us to work together. To be even more corny, it’s also a nod to Bris-Vegas. Corn.
aahh: How long how you guys been working on the VA All Day material for this EP? 4th: The actual music didn’t take that long at all. Everything on there was the culmination of Cam sending me a beat and immediately I knew what it was going to be about and wrote it in a couple of hours. If it didn’t work like that – it’s not on there. All the other behind-the-scenes shit is what took the most time. I’m pretty picky so there was a lot of back and forth tweaking etc. Sorry guys!
aahh: The depth of this EP is impressive, Are you guys strong believers in the old adage of quality over quantity? 4th: Without a mother-effing doubt! We really wanted to put out something really solid to make a good first impression. Because obviously we were a ‘new’ group we had to start from scratch again and really turn some heads to get the name out there. There are so many great acts these days you need to bring something special to the table to stand out.
aahh: What have been the some of main challenges you’ve faced in bringing this release to the people? 4th: The generic ‘being-on-a-small-label-and-lacking-a-big-budget’ one is pretty obvious as a factor. I don’t think being in Brisbane geographically is a hurdle in getting our music around the country though, for most part the scene here has been really supportive. I dunno, maybe because we started from scratch as a new group was our biggest hurdle? Hurdles have also been a pretty big hurdle.
aahh: A lot of artists talk about their influences and how it shaped their musical development. With such diverse backgrounds what were some of your early influences? 4th: I can safely say my influences now are pretty different to when I was starting out, but with that said, those early influences were very important! A few years ago I was pretty anti-mainstream which I’m sure every teenager goes through. My biggest influences overseas were probably early Eminem, Apathy, Copywrite… shit there is seriously too many to name, now I am really into Jay-Z/J. Cole, Evidence and Fashawn are getting a thrashing too, again though – waaaaaay too many to name! Locally though the biggest were Lyrical Commission, Left One, Lazy Grey + 750 and co, they made me wanna do it.
aahh: What do you think the most important aspects are to consider when constructing a track lyrically for your audience? 4th: That they can understand it and can picture what I’m saying. I find myself doing that when I write now. I more want to write shit that someone can relate to as oppose to having the most technical verse now.
aahh: For the gear geeks out there, what kind of equipment set up do you have? Cam Bluff: Im currently rocking my good old mpc200xl along with a m-audio key rig 49. Primarily i did start making beats on my mpc, however nowadays as i branch off into larger compositions i rely on my mpc as more as a midi controller than a beat machine. Accompanying my mpc and keyrig are also a m-audio profire 610 audio interface, a pair of behringer truths, a pair of stanton T.150′s and a 27” IMAC. I use Native Instruments complete 7 which is fantastic for laying down vintage or orchestral sounds. Keys,organs, retro 70/80′s synths you name it this package packs a punch. Its pricy though it pays off.
aahh: We’ve heard you’ve already started work on the full LP. Is it true that Cam has sent you a pile of beats but only one has made the cut so far. Has that been the general way you guys work together? 4th: Yeah I can be pretty notoriously picky with music. Lucky Cam is a fucking incredible talent and we are on the same page. There are actually a few beats that are definite now. Pretty much if I don’t love a beat and have a feel for what the song is going to be about straight away, then it most likely wont get used.
aahh: Can you give us a little insight on how the album will compare to the EP? 4th: In the early stages its more musical I suppose, Cam’s production is definitely moving forward in this way. Fundamentally I suppose it will be similar to the EP but I guess just ‘bigger better more’ (yo Opees!). We know what we want to do with it for this release, which I guess is a good thing.
aahh: How far into the album are you and will we see a 2011 release? Cam Bluff: We have a few songs written and roughly recorded and a few more beats picked out. And yes we are aiming for a late 2011 release.
aahh: With the recent floods and cyclones to hit QLD, there have been numerous benefit gigs and money-raising efforts. Vegas Aces were involved in a Rap Relief track. Tell us a little bit about the track and how these disasters have affected you on a personal level and as a member of the community? 4th: That track came together through Chris at Soulmate Records and mutual friends Choose Mics, Seven and Syntax. I dunno? I kind of just jumped on board, Cam was making a beat with the same sample which was meant to switch up or be a remix but didn’t end up happening in time. Then Tom wrote and recorded the chorus after I recorded my verse and that was that really. I wasn’t affected directly by the floods but I know people who were and it was fucking horrible. As horrible as it was, it also showed how altruistic we can be as a city/country with all the donations and charity gigs and that was brilliant! The whole world seems to be getting reamed at the moment thought… shit is hectic.
aahh: What’s 2011 hold in store both as separate artists and for Vegas Aces? 4th: As Vegas Aces we are aiming to have the album out late this year. We want to tour. Tour. And tour again. Basically just stay building and making music. Hopefully I will getting up and finishing the Pure Product album. Cam Bluff: Damn so far 2011 has kept me busy. Along with the VA album i will be reconnecting with Spit Syndicate on their next release. I have another project im working on with Syntax. We’ve pretty much chosen all the beats and we are looking at a late 2011 release.
aahh: After years and years of waiting, we’ve finally copped the debut LP from “giant” of the scene Bigfoot. Why has it taken so long for us all to see a full length Bigfoot solo album? Bigfoot: I spent a lot of time working on music for other people, doing shows, moving house a whole lot of times, paying bills & laying on my back in hospital. I’ve never had somewhere stable to record everything, as evidenced by the number of different studios “Giant Steps” was recorded in, so I could never complete tracks to my satisfaction until recently. I could have put something out years ago, but I would have been looking back hating it, so I’m glad that I didn’t.
aahh: You’ve been involved heavily in the hip hop scene since the mid 90′s, repping The Burn. Tell us a little about your earlier days and also your role on the now legendary PBS Formula sessions? Bigfoot: I grew up listening to “Steppin to the A.M.” with DJ Krisy on 3PBS. That was the first place that I heard Aussie hip hop. All sorts of pioneers went through there and ripped it live. Bias B & Stewbakka took the show over about the same time I was getting my flows going, so I passed a 4 track demo tape to Bias through a mutual friend & was invited to go in there and spit something live. The first time I went in Strut was there & we exchanged numbers. I kicked it with Strut a little & went in there a few more times with me & him rhyming off of each other. Strut helped me out a lot in the beginning, hooking me up with supports & doing his backups, things like that. It used to be sick as a youngster to tune in & hear live freestyles every week. Radio is not quite the same these days.
aahh: Giant Steps – Massive album, massive name. Fully self-produced with a bit of help from Hired Goons mate Heata. Looking back was 2010 the year you felt that everything had just fallen into place for the album coming out or was there some rough time frame you were aiming for? Bigfoot: Things finally fell into place. I had too much other shit going on in Melbourne & was going ’round in circles, so I bounced to Brisbane to do some things with 750. Brisbane is a bit more laid back & slower paced, so I had a lot more time to concentrate on things, fewer distractions & I ended up with my own set up for tracking vocals. I could have spent another year fine-tuning, tweaking and bullshitting around, but I just decided to drop it and move on to the next things.
aahh: The production on Giant Steps is thick and diverse. We’ve got dirty funk samples, monster bass lines and banging drums plus some live guitar. Do you have a big experimental phase when you’re creating your beats or do you work in a more structured sense with a definitive sound in mind that you’re chasing? Bigfoot: I have no set ways of making music, it is different every time. If I am writing lyrics, I tend to get into the groove & keep writing for a few weeks at a time without even touching the MPC. For the most part it is usually a case of inspiration striking & banging out an idea that has popped into my head. Sometimes I’ll go through records & not vibe from anything, but when something catches my ear I get energized & go to town on it.
aahh: The opening track on Giant Steps, Stepped On throws back to the days when the battle circuit was your stomping ground. Do you miss the battle scene these days? Bigfoot: I grew up listening to rap in the 90′s. Battle rap wasn’t a genre, it was just a natural part of MCing. KRS, Kool G Rap, Rakim, Big Daddy Kane, Ice-T, N.W.A., Geto Boys & Hieroglyphics all had a sick battle style. New school psuedo-journalists always seem to whine about rappers rapping about rapping, at the same time giving props to emo-rhymers for letting their feelings show. They seem to have no idea where this music has come from. I wasn’t catching the train as a teenager listening to Kanye trying to auto-tune, I was listening to classic b-boy shit. But as far as open mic contests are concerned, I don’t miss the battle scene at all. It went wack after 8 mile came out. All these kids had their rhymes worked out with gaps for inserting competitors names and things like that. It got so staged & fake that it thankfully self destructed as far as I’m aware.
“So ashamed of the state that the scene’s in. I’m enraged by the sights that I’m seeing. Bring hell on earth with fire that I’m breathing. Hit the mic screaming, driven by demons.” – Bigfoot (Let ‘Em Burn)
aahh: Let ‘Em Burn is a fierce commentary on the some off the younger emcees in Australia. What would you’re number one criticism be, or if you want to go the positive angle, words of advice for some of these younger cats? Bigfoot: I’d advise kids to be themselves, not follow trends, pay dues & make the music they want to make because they are driven to make it, regardless of whatever style the old guy at JJJ is putting on daytime radio…. That whole second verse in “Let ‘em burn” is referring to a near death experience that I went through. The line you quoted was basically me getting out of hospital & being fed up with the way things were headed after some time off & deciding to go hard on my own shit.
aahh: Hell’s Gate has been a much talked about track feat. Hired Goons. We hear a lot of discussion about tracks with catchy hooks and samples. This track flys in the face of that philosophy. What is it do you think that attracts people to a track like this one? Bigfoot: It goes back to the music that inspires me. All of the old school rappers always got their whole crew on one joint. Back to back verses just smashing on the mic, no need for a hook, the sentiment speaks for itself. “Bring it on” by the Geto Boys, “2 to the head” by Kool G rap “Symphony”….the list goes on. To get on daytime radio you need some catchy refrain between some inoffensive smooth talking. Obviously that is far removed from where I’m at. I make music that I want to hear. Why make more soft-ass cafe rap when the radio is already overrun with it? HG is my crew, so is 750 Rebels, so I had to rep them both.
aahh: What Goes Around… is 1.43min of pure lyrical murder. Tell us the reasoning behind this track. We also seen a film clip drop in the lead up to the release for the album (executed by Heat) had this one been in the bag for a while? Bigfoot: Those lyrics were written in the late 90′s. I changed a line or two, otherwise it is as written. It’s just a true story about someone who I knew through graf that rated out some writers & got caught up with. It’s pretty self-explanatory, I didn’t need to make up some abstract fairytale. We didn’t even draw up plans for the video, just went off the song lyrics. I think Heata shot it about 2 years ago at Pony bar. No need to fill the track with more words to make it 3&1/2 minutes when I’d already said my piece.
aahh: Over the years we’ve seen you work with the who’s who in hip hop, including Brad Strut, Bias B, Reason, Lazy Grey…the list goes on. Does it feel good to finally be able to call on some of these dudes after years of helping them out? Bigfoot: Yeah these bastards owe me!! I like bouncing ideas off other people when writing. Everyone on the album is a mate, no overpaid ring-ins. I basically made a name for myself over the years through guest spots, radio freestyles & live shows. My world revolves around music, so most of my friends are the same as me & it feels good to get it done together.
aahh: We always ask about the reasoning behind putting the lyrics in the album booklet and what the artists thoughts are on this? Bigfoot: All the classic joints had lyrics.. “Fear of a black planet” “O.G.” “Power”… I grew up rapping along with them, looking at the pictures & shout-outs. I put effort into writing the lyrics but streetpress misquote, people miss the double meanings & wordplay, so I thought I’d put ‘em in to avoid confusion. Discourse couldn’t get too busy with the design ‘cos there were too many pages of words, It also cost more to do, but I don’t care. All classic albums should have lyrics.
aahh: “Can’t Fool All The People All The Time feat. Len One and Lazy Grey” as Brothers Stoney really put us in nostalgia mode and I’m sure we weren’t the only ones. Was this a bit of a nod to the old days with a killer dub step spin? Bigfoot: I’ve been a big reggae fan for a very long time & that sample was always in the back of my mind waiting for its moment. Lazy is big on reggae as well & Len one is a walking encyclopedia of all types of music. I could just hear the two of them on that track so we made it happen.
aahh: As an artist do you have any expectations of the listener? Bigfoot: Who am I to dictate who can listen to what? If you like it, bang it. whatever floats your boat, I just don’t appreciate misinformed criticisms at the hands of imbeciles.
aahh: The names on this album are huge but you also have some great DJ’s on the cut, including The Master. You obviously have a lot of respect for these guys and the role a DJ plays? Bigfoot: You’re the first person to ask about the cuts. I love the sound of scratching on a track, put people just bang shit out with no attention to detail these days. Master came through sick on this, so did Lopsided from 750, plus Discourse & Mixa on one joint each as well. A lot of cuts I had laid out & planned, but some, for example “crime wave”, the Dj’s just did their own thing and smashed it. A lot of Dj’s can cut but can’t choose a sample to fit a song for shit. That’s why I roll with these guys.
aahh: Will we see a tour, State album launches or any plans of those in the near future? Brisbane Step Inn - 22nd Jan 2011 Sydney The Sando - 8th Jan 2011 Both shows with Tornts + Jakebiz at Brisbane show as well.
With a string of recent guest appearances alongside some of Australias finest artists and the success of his Purgatory June 2010 release receiving some 900 plus downloads, Jake Biz returns with the second instalment titled Purgatory 2. In the lead up to the full length debut Commercial Hell droppin early 2011 on Karsniogenics, Jake Biz is set to blaze a hellish trail across the scene.
Purgatory 2 kicks off enlisting the talents of Australian legends Bias B and Lazy Grey to throw down on The Statesmen produced stomper Getthefuckouttahere – Remix, with the EP culminating in the 750 Rebels feature banger The Shakedown, a Brookes Cullings (aka Overproof Pete) produced mammoth that captures Brisbane’s most revered crew at their dream-shattering best.
Jake’s fellow Warpig member and frequent collaborator Bigfoot take it back to their Gangsta Rap roots on the heartfelt dedication to feminism How About It, while Jake goes it alone on The Statesmen produced joint Still Drunk. We continue the wait with fiery anticipation for Commercial Hell, the official debut long player from Jake Biz with longtime friend and collaborator Overproof Pete, and as such enjoy your stay in Purgatory for just a few moments longer.
With a string of recent guest appearances alongside some of Australias finest artists and the success of his Purgatory June 2010 release, Jake Biz returns with the second installment titled Purgatory 2.
A stalwart of the Melbourne music scene since the mid 90’s, Bigfoot needs little introduction to those with an ear to the underground. Etching out a reputation for thunderous production, aggressive flows and a formidable stage presence, Bigfoot has been a scene-stealer since day one.
Following the momentum created by his regular appearances on the now legendary PBS Formula sessions, Bigfoot began his reputation as a prolific guest-spot killer with his verse on Brad Strut’s Authentic LP in 2001, and he soon appeared on studio tracks and live bills with the likes of Bias B, Tornts, Hospice Crew, Brothers Stoney and Reason. As the buzz intensified, he released the Footprints 12″ in 2004 which has become a much sought-after collector’s item.
Building on his close ties with members of Queensland’s 750 Rebels, Bigfoot temporarily relocated to the Sunshine State, where he dropped yet another devastating guest verse on Lazy Grey’s – The Soundtrack. People were starting to wonder when he would drop a full length album of his own. Giant Steps is what the fiends have been waiting for. It marks Bigfoot’s emergence from the underground into the upper echelon of Australian Hip-Hop, and years spent building his strength as an MC and producer have paid off with this stunning debut.
“I didn’t want to just slap together a sub-par album and throw it out there,” explains Bigfoot “It’s been so long in the making that I had to make it worth the wait.”
Produced entirely by Bigfoot himself along with Hired Goons accomplice Heata, Giant Steps is a sonically diverse opus constructed from all manner of eclectic sounds, ranging from dirty funk samples and jazz infused live guitars, to ghostly synths, monstrous bass lines and hard hitting drums.
Opener Stepped On is a driving electro-fuzz stampede laced with an unrelenting verbal tirade that harks back to Bigfoot’s days spent on the battle circuit, while What Goes Around and Stop are mercilessly dramatic street stories detailed over eerily hypnotic backdrops. Can I Kick It? is an energetic workout that sees Bigfoot teamed with Bias B for some tongue in cheek verbal sparring, with the Melbourne veteran also trading rapid fire verses over Burnin’ Hot, a blisteringly paced microphone meltdown. With Giant Steps, Bigfoot proves his versatility: one minute it’s the smooth fusion of Bigfoot and Dialectrix on We Got That with dialogue delivered deftly over the fluid instrumental.
The next, it’s Bigfoot and his Hired Goons crew letting loose on Hell’s Gates, with Tornts, Fletchrock, Billy Bunks, Gargoyle and Ciecmate all proving their prowess over an ominous track. Sucker M.C.’s finds Bigfoot and the 750 Rebels paying homage to their influences over a spine chilling banger laced with old school hip hop, and Round & Round takes us on a bleakly introspective journey tinged with a touch of soul courtesy of Muph and Miss Brown, lamenting the burden that comes when every- thing feels like it’s about to fall in on you.
Rounded out with additional appearances by Brad Strut, Fluent Form and Brothers Stoney, Giant Steps is an epic ride through the mind of a Melbourne emcee and producer at the peak of his powers, not just living up to expectations, but surpassing them. Keep an eye out for some music videos on their way!
Tracklist 1. Stepped On 2. Let ‘em Burn 3. Can I Kick It? (Featuring Bias B) 4. Hell’s Gates (Featuring Hired Goons) 5. What Goes Around 6. Crime Wave 7. Can’t Fool All the People All the Time (Featuring Brothers Stoney) 8. Eliminate (Featuring Brad Strut & Fletchrock) 9. Devil’s Rejects (Featuring War Pigs) 10. Burnin’ Hot (Featuring Bias B) 11. Round & Round (Featuring Muph & Miss Brown) 12. We Got That (Featuring Dialectrix) 13. Damage (Featuring Fluent Form) 14. Sucker MC’s (Featuring 750 Rebels) 15. Stop
Jake Biz – Getthefuckouttahere Film Clip
Executed by Heata 2010.
Produced & Art Directed by DJ Dcide.
Beat produced by Sean B (The StatesMen)
750 Rebels & Karsniogenics in association with http://www.runroyal.com present for free download: Jake Biz – Purgatory EP.
After a decade deeply entrenched in Brisbane’s underground hiphop scene, 750 Rebels and Towndrunxxx key member Jake Biz is primed and ready for the release of his upcoming solo debut Commercial Hell.
In preparation for the album’s long-awaited release, Karsniogenics is proud to present Purgatory, the unofficial EP prelude from Jake Biz. Only available via FREE download, Purgatory marks five exclusive tracks recorded in and around the Commercial Hell sessions, featuring production from fellow label cohorts Lazy Grey, Bigfoot, Sean B, andChubbadubbed of 4zZz Radio’s PhatTape Hip Hop Show.
While Commercial Hell is the focused effort of Jake Biz alongside fellow 750 Rebel and long-time collaborator Brookes Cullings (a.k.a Overproof Pete), Purgatory is the culmination of downtime spent in the studio of Karsniogenics head and 750 backbone, DJ Dcide.
The unofficial EP lives up to its name as the intermediate musical state between here and Commercial Hell, offering a hefty taste of things to come from the anticipated debut.
With guest spots from Ken Oath, Bigfoot and the 750 Rebels featuring the stomper single Rebel Forces, Purgatory’s fistful of tracks sets precedent within the confines and aesthetics of raw underground rap music.
Enter a state of hip hop Purgatory and download your free copy exclusively available at www.runroyal.com or from here.
