First things first – it’s pronounced muh-DOO-soo, & it’s spelled M-D-U-S-U , lets just call the MC/producer from Hobart Duse or MD. Duse has recently released a ‘name your price’ EP titled the 88 1/2 EP. The Tape Death Collective member catches up with aahh to talk about the new EP.
What brought about the newEP? Basically, I’d spent the past year working like a madman on beats, rhymes, session muso work & post-production for a heap of cats (no arrogance, but I can almost guarantee that if you like hip hop from Australia, you’ve heard my work this year). I also joined the Tape Death production crew (all day, erryday!) & dropped a few instrumental & remix albums, but it’s been quite a while since I’d done anything as a rapper with my name on the cover. I pretty much woke up one day & thought “fuck it, let’s see how quickly I can write, record, mix & release an EP”, so I went through my archives of beats & raps, picked a bunch that still sounded fresh, & wrote the rest of it during a 48 hour bender on the contraband.
Tell us about some of the tracks and features found on the EP? A couple of the tracks (‘Four Hunnid’ & ‘Scarborough St’) were verses that I’d already uploaded to FB before, so it was just a case of re-recording the vox & tweaking the beats (‘Scarborough St’ has a new beat, as the OG track was just me spitting over the ‘Funky Drummer’ loop). The Class A & BVA features used verses of theirs that I’ve had for a minute now. The raps are still fire today, but the OG beats for those tracks sounded a little dated, so I whipped up a pair of new head-nodders for the vox, then hit them both up to see if they felt the v2.0 tracks. Luckily, they were both gracious enough to let me proceed with them, as I love both of those tracks now. As for the Rigby, Wiz Kid & Dunn D features, they’re my people down here in the HBT (Rigby’s my lil’ sis), so it was pretty much inevitable that we were gonna work on some ish together. Because we’ve all done so many shows with each other, we can get straight to the point in the lab, & get awesome tings done in a short space of time.
As soon as I wrote the beat for ‘Spread The News Around’, I knew that I wanted Dunn & Rigby on there with me. It only took 2 hours for Dunn to write & record his vocal (dude is a machine when it comes to hammering out quality verses), & about half an hour (if that) for Rigby to lay down the harmonies. Same deal with Wiz Kid – dude is a dope song-writer as well as a singer, so the only reason it takes us any time in the lab is that we’re trying out a million different ways the song could go. Originally, I was gonna get him in to co-write a hook for ‘Basin St Blues’, but I decided to keep the outro blank while I was editing the clip for it. A homie heard the ‘Doobie Brothers’ beat & commented that singing would suit it, so I wrote a quick hook & Anton KILLED it.
What can we expect from yourself in the next few months? I’ve got some more ish dropping soon – an album with my crew ‘Mic Dons’, a couple more producer/remix projects, & then my solo LP Ex-Samples will FINALLY see the light of day this year. Cheers for listening, MD.
Having dropped her exciting debut album Me, Me, Me and Him: The Secret Life of a Receptionist last year, Melbourne MC Class A is back and shows no sign of slowing down as she reveals new single Never featuring Ishu.
Her last record saw her collaborating with Aussie hip hop heroes M-Phazes, BVA, Urban Monk and Doc Felix, which gained loads of local buzz and saw her truly cement her position within the Australian hip hop scene. She’s shared the stage with the likes of Dilated Peoples, Jean Grae, Talib Kweli, Gift of Gab (Blackalicious) and J-Live, as well as national stalwarts The Hilltop Hoods, Urthboy, Mantra & Ozi Batla. The new track signals the beginning of a new direction for Class A, with a shady, moody electro beat coupled with Class A’s trademark, mellifluous flow. The track also features Ishu, with whom Class A is working on a new EP with. Watch this space…
“She presents a cool style to this scene with the ability to chop and change between rapping and singing, boasting and being insightful and being playful and serious. Her strength is in her versatility which, I feel, will overshadow a lot of other MCs, male and female.” – Triple J, Hip Hop Show’s Hau Latukefu
Australian hip hop pioneer Bias B has announced his retirement after an extremely influential solo career. His last show in Melbourne at The Corner Hotel was true testament to his genre-defining reign as one of local hip hop’s original kings. The venue packed out with representatives from all corners of the industry showing their support.
Here’s what fellow industry innovators Reason, Ciecmate and Pegz have to say about the legendary Melbourne emcee;
“Being the first Melbourne based emcee I had ever heard, I’ve always drawn inspiration from Bias B. I have the esteemed honour of calling him a true friend, an honour I cherish. As an artist and as a human being, his influence has had a positive effect on my life and personal evolution. I wish him all the best in any future endeavours… I’ll be in the studio patiently awaiting his return.” Ciecmate
“I was blessed to be there from the start of Bias B’s illustrious career on the mic. He will always be remembered as an endorsement for the writers, the emcees and the punters who are truly passionate about Australia’s underground hip hop movement. I am thankful for all that he has contributed to not only the scene in general, but for his friendship and support throughout the years. Salute to you Bias B, for you are the epitome of what hip hop stands for!! Big Ups brother!” Reason
“Bias B is one of the most important artists in Australia’s brief Hip Hop history. His debut album Beezwax is arguably the most influential of all time and has inspired a generation of artists. Disclaimer: I refuse to let him go quietly and will be protesting in his front yard until he changes his mind.” Pegz
Interview with allaussie hip hop aahh: It was 10 or so years ago when we first heard your track ‘Hursty’, taken from the ‘Hip Hop Life EP’. It was around this time that we really recognized that hip-hop could be tailored to speak about Australian culture and local issues. Did you realize what you were doing then? Bias B: That actually came out in 2001. I had a dream the night before I started writing where I met Biggie on the street. He was real tall and dressed in a long black trench coat. He told me he liked what I was doing and to keep up the good work. When I woke up I had ‘Juicy’ in my head and just started writing. Came out of my head really easily. I never thought it would become one of my most popular tracks. It was more of a joke at the time that I wasn’t even planning on releasing. My whole career did start from me doing covers of classic songs like ‘100 Cones and Bonging’ and ‘Straight Outta Eltham’ so it was like a flashback to my roots.
aahh: Explain a little about the whole concept behind the ‘Biaslife’ album. We see hints of reflection, dedication and growth, all positive things but we can’t help but feel that there is this level of uncertainty as to whether this will be your last album or not, is that something you’ve even considered? (Editors note: Bias B announced his retirement soon after) Bias B: The original concept was an entire album talking about my relationship to the world as though I was in a relationship with it. That’s where Melbourne City & In Love With The Music was taking me. As it progressed I decided it might get a little mundane and repetitive so I just went whatever came t the paper. I feel it’s a more mature album and I could be heading towards my last. I’ve considered retiring many times. I’m a very up and down type of person. One week I’ll be inspired to write and love where I am at and then overnight I might just think – do I really want to keep doing this or pursue other interests?
aahh: Over the years you’ve gone about making hip-hop in various ways. The famous ‘In Bed With Bias’ release saw you write most of your rhymes in the mornings whilst in bed, to now where you’ll go months without writing until some creative spark inspires you. What are some of these inspirational moments or people who’ve inspired you along the way? Bias B: Lazy Grey beats always help for some inspiration. Often touring and sitting on a plane will inspire me. I remember when the Lyrical Commission album The Stage Is Set dropped and It made me want to write for days. I think it’s a combination of the right beat and the right mood. When they combine there is no stopping me.
aahh: ‘Full Clip’ directed the ‘Midlife’ single film clip, which also seems to tie in with the whole ‘Biaslife’ adventure. Did you guys get a chance to look back over the years while making this clip? Bias B: Heata did the Move On The Pavement clip for me. That was his first ever clip. I have not been happy with most of the other clips to my name, so it was only right to go back to Heata. We are close friends and work well together so I’m always in touch with him anyhow. We are currently working on another project that has to do with the old days and the foundation of the local scene so we are always looking back at the good old days.
aahh: If you have a quick look through the ‘Biaslife’ booklet people will quickly realize that you’ve got so many big names helping out on the album and most of them are close friends of yours. Do you think that’s one of the reasons you’ve been able to make music for so long? Bias B: I’ve always surrounded myself with creative people so it helps me to stay creative. As the saying goes “ You are only as good as the company you keep”. It also has to do with doing business the right way and not burning bridges. I’ve seen too many people get caught up in that way of life. I am all about doing right by others so they do right by me.
aahh: We hear you had a few objectives with ‘Biaslife’ release and maybe even a couple of boxes to tick with who you wanted to get in on the album? Bias B: In the beginning of Biaslife, Lazy Grey was going to produce the whole album but life commitments (work and family) got in the way. As time went on I was hearing other beats I thought suited the vibe of this record and slowly picked up some extras here and there. I wanted every beat to have a certain feel to it. Not sure if I had boxes to tick. It just fell into place with people I was in contact with at the time. But I definitely wanted Lazy and Len both rapping on this one.
aahh: ’Here I Come’ featuring Fluent Form and Lazy Gre’y is 3 straight verses of hip hop fire. Did you try to be as dynamic as possible throughout this album? Bias B: When you have guests like Fluent and Lazy on your album you have to make sure it’s tight throughout. I pushed myself a little more on this album and went back to change lines which didn’t seem good enough at times. Once it is released you can’t go back and change it and if this is to be my last album I wanted to do the best work I could.
aahh: Over the years you’ve featured on almost every format imaginable cassette, CD, Vinyl, MP3, itunes, etc. Do you think the CD is going the way of the cassette? And what was your preferred medium? Bias B: Although I love vinyl there is so much that can go wrong, that I got over pressing it. I believe CD’s like tape and vinyl will always be around and be available. They will fade away but never be extinct. It’s that nostalgic thing that people love.
aahh: We hear a lot of talk about the lack of money generated from CD sales for the artists these days and that all the cash is made in the live performance arena with touring etc. What are your experiences on this subject? Bias B: Depends on the artist. If triple J or Nova get behind it then yes there is money to be made both in CD sales and shows. Sad thing is 90% of artists don’t get that love and are lucky to pull 300 people to a show and lucky to sell 1000 copies and recoup for all their hard work. It’s a sad situation but that is the way it has become. No underground rapper is going to make a living off Hip Hop in this country. Commercial pop is the only thing that seems to get accepted by the majority of listeners. Each to their own though. You can’t hate on the next man for wanting to earn a living off his craft. That’s life.
aahh: The track ‘Rap Life’ featuring Maundz highlights some of the downsides to rap life, but ends on the note that making music is for the people who love it listening to it. Is this one aspect you’ve always kept in mind when making music as a hip-hop artist? Bias B: In the past I have. With Biaslife I just wanted to make something I was happy with and proud of. One of the greatest feelings is being told your song made someone cry or gave them shivers up their spine. It does not get realer than that. That only comes out of true honest music.
aahh: Over the years you’ve worked closely with Pegz and the whole Obese Crew, you’ve worked for street mags, organized events such as the Heat4Huntz auction and worked on numerous instrumental hip hop radio stations. What’s been some of your personal highlights from over the years? Bias B: The Formula radio show on PBS was a definite highlight. They were the days before artists had releases out. Stewbakka and myself gave people the chance to be heard and get experience on the mic. Some fun times were had and with that added feeling like, I had that little part in everyone’s development. Secondly I’d say Heat4Huntz auction. It was organized within a week and the response was awesome raising over $11,000. Made me really proud to see the love the scene had for one of their own in their time of need. Much respect to all who donated and bided throughout the auction. It made me remember why I love being part of this Australian Hip Hop scene.
aahh: We heard you jumped back up on ‘PBS’ the other night, could we see a return to the radio for Bias? Bias B: No its too hard with kids doing a late shift. I did a Friday day fill last week for the show ‘Rampage’ on PBS with Heata. Really enjoyed it. If it was a weekly thing though I think id lose interest. 10 years was enough for me. It’s nice to be asked by both PBS and RRR to fill in now and then though. They haven’t forgotten me yet.
aahh: In a recent interview we heard you talking about the graff scene and your Aerosol Era release, you seemed quite nostalgic about the whole thing? Bias B: The whole Hip Hop scene here started with the Graff scene. There was not a rap community back in the day. It was a writer community who became the rap community. That is why I always give respect to the writers. Without them, there would not have been a scene. And without me being involved in the early days I would not have traveled the path that I have to get here today.
3 Quick Ones Favorite track off Biaslife? – Melbourne City
Rappertag experience? – In hindsight I should have called Heata.
Peakstreet 93 Mixtape track? – Thought about it. Have not got around to it. 94 was the better year. Stay tuned.
You can catch Bias B perform in Adelaide this Friday the 29th July for Da Klinic’s 10th Birthday Anniversary. Featuring Vents, Briggs, K21, Terra Firma, Koolism, Madcap, Shep, Faint 1, BVA, Sanchez, dL, Mula and Kirk One Check out the full details here.
aahh: 2010 saw the release of your debut LP Me, Me, Me & Him, The Secret Life of a Receptionist. What so far has been the highlight of this journey? Class A MC: The highlight of the journey was seeing it out and in JB Hi Fi. That was a big goal for me- to get it in stores. It was a very long and arduous journey and to see it finished, packaged and ready for sale was an amazing feeling. After the visit to JB, we then went and drank champagne and ate lots of dumplings to celebrate. The release date in general was pretty exciting, just knowing that it was finally going out into the world was a great accomplishment for me.
aahh: Where you going for the longest hip hop album title in history? Class A MC: haha um.. I just didn’t want something that was cliché or been done before and I wanted something that gave listeners an idea of what the album is about. There were a couple of strong themes throughout the album and I wanted to fit both of those in. It has caused some confusion, and radio dj’s not being able to get it right, but I wasn’t budging. Also, it reminded me of an Atmosphere album title so I liked it.
aahh: Your versatility on the mic has been described as one your strengths and it carries on through to the album with impressive fashion. Were your intentions from the outset aimed specifically on making a versatile album? Class A MC: Why thank you! Well I get bored with the same style, I like to switch things up a lot. I did want to show my versatility and to show all sides of my personality. I also didn’t want every track to sound the same. To keep it exciting, entertaining and diverse was the plan. I was just hoping it would all fit together and that it all wasn’t too different. I had to cut a few tracks to make it work, but I was happy with it in the end.
aahh: We don’t tend to see many female emcees in Australia with such character and style, what was it that lead you into this wonderful world of hip hop? Class A MC: I started getting into hip hop about 10 years ago when I heard it on community radio for the first time. I fell in love with it and the rest is history. I was already into Snoop Dogg and Salt N Pepa and Biggie etc. I started writing and kept it a secret for a while and I finally revealed my rhymes at an open mic and started hanging out with local emcees Fatty Phew, Thorts and crew who nurtured my skills and helped me create my music. I went to an all girls private school so nobody in my school was into Australian hip hop (except for a couple of girls). I hung out in town after school with the other rappers and kept the rapping pretty quiet for a long time at school. It wasn’t until I moved to Melbourne that I started meeting other female emcees, which was great.
aahh: Subject matter was obviously an important aspect on this album. Did you have any challenges in presenting an album that didn’t isolate the larger male audience? Class A MC: Yeah I was a bit worried that boys might not like the album, but I can’t help what I write, it’s all personal experience. I try to write songs that everybody will be able to relate to, but this album was very specifically about my life as a receptionist and my relationship with boys. I knew girls would definitely be able to relate to it, but I do think there are songs that guys can enjoy as well. Everyone can relate to being stuck in a job they don’t want to be in and fantasising about a better life.
aahh: Is the sexy receptionist we hear about on the album a bit of a persona/metaphor or more of a true representation of who you are as a person? Class A MC: haha no, I’m not really a sexy receptionist. I really was a receptionist, but I was a massive nerd. I guess I can be very girly and I suppose sexual at times, but I was that bored that I just came up with some fantasies of the milkman etc. I can be a bit of a daydreamer.
aahh: You worked closely with some of the finest producers in the country on this one, including BVA, Dly Thomas and M-Phazes. In your point of view, is it vital in the creative process to be able to have that back and forth interaction/relationship with your producers? Class A MC: Yes, absolutely. I only worked with producers who are my friends as well so it makes it an easy and enjoyable process. I like working with producers in their studio and throwing ideas back and forth. That’s what works best for me and I think you get the best result from working that way. I lived with Akouo at the time, M-Phazes came over and recorded “So Bad”, and me and Dyl would talk on a regular basis about the tracks. Thank god for the internet for the times where you can’t get together, especially working with BVA (who lives in Adelaide). We became good friends after the album as we spoke so much. There was a lot of interaction between myself and the producers.
aahh: With such a range of tracks on the album, from straight up hip hop to funk and electro what were some of the most enjoyable tracks for you to record or write? Class A MC: I really enjoyed ‘So Bad’ with M-Phazes, that recording processing was fun as hell. He challenged me so much and was wouldn’t settle for anything that wasn’t the best. We ended up with a great product and in the end, that track was one of my favourites. Fitzroy was pretty enjoyable to write too, I went for drinks with Akouo during the day (he made the beat), came home and wrote the song in a fairly tipsy state. It was a beautiful sunny day, and I was high off life in Fitzroy. Writing Break It Down was also memorable, as I was at a holiday house with my mum and sister and best friend and just reflecting on the year and where I was at. I was at the end of the album writing process and realising how important music was to me. That was pretty special.
aahh: Everyone wants to know, have you scored the milkman yet? Has he heard the track? Is there a milkman? Class A MC: No I haven’t. haha. After I left reception, I didn’t see him again. The new receptionist fell in love with him after I left, and now he isn’t working there anymore. I don’t think I’ll ever see him again, which is fine. It was just a fantasy! We were joking around saying we should send him the track but I decided against it, I think he might be scared of me if he finds out.
aahh: You recently went Wildside with The Tongue on his album tour, which also featured Spit Syndicate. Even more recently a few shows with Syntax. What have these tours been like? Class A MC: It was so much fun! I brought Rachael Berry and DJ Mathmatics with me for a lot of it and we had a ball. Me and Rach were like two schoolgirls on an excursion, very excited and loved doing the shows. I’d have to say Joyride would have to be one of the funniest guys on the planet, loved getting to know the boys. Brisbane, Melbourne and Freo were the highlights, they went off. Doing shows with Syntax is enjoyable as well. He is a very funny man.
aahh: We saw a spontaneous twitter battle between you and 360 earlier last year. Do you get many rappers wanting to battle or trying to spit bars at you when you’re out on the town or whatever? Class A MC: Haha yeah that was fun. There needs to be more of those. I’ve only had a couple of people trying to battle me when I’m out, but I’m a lover, not a fighter. I don’t really like battling, I don’t like dissing people for no reason. I can with 360 because he can handle anything and we give each other shit all the time anyway. If anyone tries to battle me out I just find it funny, I’m just out to have a good time really.
aahh: Without sounding to cliché, even though the question is cliché as fuck. What would your words of wisdom be to any young female looking to push their skills further or even just to start writing some raps? Class A MC: Just be yourself, make the music you want to listen to. Be proud of what you do, don’t be too hard on yourself and work really hard. Don’t let haters get to you, prove people wrong. If you believe in what you’re doing, you can hold your head up high and push your music to as many people as you can. Oh and be patient!
This is the 28th installment of rappertag featuring Motion.
New LP Motion Picture coming soon.
So far it’s been: 18.) Class A MC 19.) The Tongue 20.) Tuka 21.) Drapht 22.)Sesta 23.) K21 24.) Vents 25.) Maundz 26.) Delta 27.) Simplex 28.) Motion
To Come: Dedlee
Adelaide hip hop crew Adroit Effusive are set to release their long awaited debut album – The Album.
‘Australian Hip Hop group to watch out for’ J-Mag, 2009.
The time has finally arrived for the quintessential dysfunctional hip hop family, Adroit Effusive. After toiling in the depths of underground hip hop, honing their skills, paying more than their share of dues, going through as many setbacks as one group could go through and making some of the illest music that nearly didn’t see the light of day, Adroit Effusive are ready. After years of being posed the question, ‘Where is the album?’ The Album is here. Adroit Effusive are set to deliver their opus.
Born out of the Australian hip hop melting pot of Adelaide, Adroit Effusivebring something rare to Australian hip hop in both their composition and their repertoire. The unique 8-man band, who are all capable of standing on their own feet as solo artists, crew-up to create a smorgasbord of production sounds and lyrical concepts to engage and get the head nodding to The Album.
It is an eclectic tapestry of boom-bap beats conducted by Adroit Effusive’s five beat makers, a thorough collection of 19 songs by all seven lyricists and razor-sharp relevant cuts by a master turntablist.
The soundscape on The Album is an amalgamation of layered psych rock, blues, hard rock, funk, Latin acoustic, jazz and classical sounds, all with a hard-hitting hip hop character. Lyrically however, is where Adroit Effusive really stray from the herd. This crew of big characters do not hold back on expressing their diversity on The Album. From the conceptual posse tracks Chump Change and Five Days of Work, to the role-playing lyrical feasts Espionage, War and Suspects, to the storytelling of Crossroads and A Beer and Big Talk, to the B-boy anthems Understood by Few and In the Street, to the retrospective No Aim and Yin Yang, Adroit Effusive come into their own. The songs on The Album are a testament to the depth, breadth and talent of Adroit Effusive.
After previously releasing two vinyl-only EP’s plus side projects by Conseps and Patti, Common Cause and Red Whine Presents…, Adroit Effusive are ready to go. After featuring on countless other albums and sharing stages with numerous international and Australian acts over the better part of a decade, the time has come. Adroit Effusive members Blockade, Conseps, Patti, Bornski, Motion, Devious Dev, Beats and DJ Ad-Fu have created something that justifies their long-time dedication to hip hop music in Australia. A solid nineteen tracks (115 minutes) in length, The Album is a celebration of the struggles of Adroit Effusive and the colourful characters that make up Australia’s most under represented crew. Under represented that is until now, as The Album sees the light of day.
The Album is distributed independently and will be available in independent record stores Australia-wide + iTunes.
The Album is the first single off the upcoming Adroit Effusive album of the same name; The Album, dropping in April 2010 Australia Wide. Cuts by DJ Ad-Fu. Lyrics by Beats, Conseps, Blockade, Bornski, Motion, Devious Dev and Patti. Produced by Ad-Fu.
This is the 27th installment of rappertag featuring Simplex
So far it’s been: 12.) Lotek 13.) 1/6 14.) Suffa 15.) Headlock 16.) Lazy Grey 17.) BVA 18.) Class A MC 19.) The Tongue 20.) Tuka 21.) Drapht 22.)Sesta 23.) K21 24.) Vents 25.) Maundz 26.) Delta
27.) Simplex
To Come: Motion
Emcee Simplex will drop his long-awaited solo joint on Obese early next year titled Audiobiography. One of this country’s most talented (and under-rated) hip hop talents to grace this country. Simplex’s solo album is slated for a mid-year 2010 release. The album is pretty much a collection of tracks that Simplex has been working on for a few years now, ideas he had wanted to get out from inside his head and inside his computer. Simplex also admits that he is using a bunch of beats that span around eight years of production styles. He is trying to keep the album as varied as possible.
Simplex will spit on pretty much every track on the release, plus a few guest emcees featuring. No word yet on who these guys are, but we’re sure there will be some big name amongst it. Simplex has recently signed a deal with Obese Records, and has reveled that it is a two-album contract. So expect to see a lot from Simplex over the next 12 months. Fans of Terra Firma, have been put on notice that the Simplex album is going to be ‘kinda different’, but shouldn’t stray too far away from the sound they have.
This is the 25th installment of rappertag featuring Maundz!
So far it’s been: 1). 360 2). Urthboy 3.) Brad Strut 4.) Fraksha 5.) Bias B 6.) Newsense 7.) Briggs 8.) Hunter 9.) The Master 10.) Hau 11.) Nay 12.) Lotek 13.) 1/6 14.) Suffa 15.) Headlock 16.) Lazy Grey 17.) BVA 18.) Class A MC 19.) The Tongue 20.) Tuka 21.) Drapht 22.)Sesta 23.) K21 24.) Vents 25.) Maundz
To Come: Delta
A 3 Camera Breakdown of the Maundz Rappertag (25). Filmed & Edited on 3 cameras simultaneously at the Crate Cartel Leisure Suite by Full Clip (Heata & Discourse) & Josh Davis.
MAUNDZ INTERVIEW FROM EARLIER IN THE YEAR
Melbourne emcee Maundz released his full length LP yesterday, titled Mr Nobody. Let us tell you, it’s one you want to get your hands on. Distributed by Obese, mixed and mastered by Deece at Omni Hieroglyphic Studios, Mr Nobody is Maundz’ social commentary on a world that doesn’t seem to have a clue…and boy does it do it well. We caught up with Maundz to have a quick chat about the release of his highly entertaining album Mr Nobody.
Your debut album Mr Nobody dropped only yesterday, how are you feeling about it all? I feel fucking great man, feels good to have a big load off my shoulders. I got a phone call from Sheriff Rosco yesterday morning congratulating me about the album dropping, and i thought “ohh yeah?, thats today isn’t it?”. It’s turned a lazy man in to a busy man, so im a little behind the 8-ball at the moment.
What kind of reaction do you expect from the heads regarding the album? I can’t call it, man. I’ve heard nothing but great feedback at the moment from the people who have copped it/ the promo heads and all those good folk. We’ll have to wait until it circulates the traps a bit more perhaps. I’ve gotten props from some of my favourite artists and that shit keeps a fella’s head high. 17 tracks aint a small album, so there’s plenty of room for people to pick and choose what they do and don’t like, but at the end of the day, im feelin all 17 of em, and that’s a big part of what matters, right?
You’ve had some great reviews off the back of the album, Rap Reviews with a classic you aren’t really that angry are ya? Haha nah I’m all cool mate, just some of the tracks I wrote when I was in a shitty mood got reviewed, we all get them days.. Like Masta Ace said “Mad at the world, mad at you, mad at my girl mad at my friends and anybody drivin’ a Benz”.. People know my music to be humorous, some people might take that the wrong way.
You released a 7″ a few years back on DoubleBeef, did you think that the Mr Nobody album was ever going to happen? I had days when I didn’t wanna do it, losing files, dude’s going back on their word and all that jazz. I came close a few times to putting it up for a free download or something like that. But fuck it, gotta stick to your guns yeah?
You have a few great features on the album including Shawn Lov, Briggs and Fluent Form do you enjoy the collaborating process? I like the mixed and mastered result, the anticipation (short-term haha) of what I’m gonna hear and that’s about it. I don’t like chasing people for shit, luckily all the people who threw verses my way, were very professional about things.
Brutally honest, humorous, entertaining and downright gritty to the bone is how a few have described the album, does that sit well with you?
Yeah I like that haha, chuck physically flawless in there and I’ll print it and frame it.
The album in our opinion, is one the best of the year so far. Lyrically entertaining, great delivery and top-notch production, tell us a bit about the guys on the beats? Much appreciated !! I tried not to drop my guard on the album cos I couldn’t have these cats over shadow me too much haha.I love EVERY single beat on this album, man. This is another reason why it probably took so long to come out. People that know me through the music thing know that I am prick of a dude to work with when it comes to choosing beats. I sifted through a lot of other peoples beats including the dudes that were on it and these were the winners in my opinion. All of those dudes have their own distinct sound, it amazed me how well it all sat next to each other considering there are the tunes of 8 different sets of ears on there. Whoever the fuck thinks that the bigger name producers will always make a better beat don’t know jack. Next album I’m sticking to one producer, and that producer being WIK. Were 6 beats into it already and this dude is a fucking boss!! I can’t keep up!!
Should we expect to see you touring around AUS anytime soon? Were getting off our lazy backsides and sorting things out at the moment, in the meantime I’m playing all around Melbourne and I should have ADL locked in if all goes to plan. Were coming to your city, hopefully the masses dig the album.
Any last words? Your just in time for Mother’s Day, people!! Do Mum or Grandma Agnes a favour and give her some of that real Melbourne shit she loves Cheers!! Mr Nobody, out now!
