Hailing from the sleepy Queensland capital city known as Boomtown, Dwizofoz has been around for more than a minute now. A big man with a big presence. At 26, Dwizofoz is a young leader in Brisbane hip hop who has earnt a reputation as an animal on the mic with his unique rapid fire flow delivery, honest and clever yet hard hitting and thought out lyrics and an undeniable passion for what he does.
The long awaited follow up to his Baked Not Fried EP (released 2009) is Art Intimidates Life. A collection of tracks that serves as an audiobiography of sorts, this album takes listeners on a journey to get to know who Dwizofoz is as a person, a father and as an emcee. Kicking off the album in a big way is In My Shoes a tale of how Dwiz used to have to make ends meet for himself at a young age growing up in housing commission communities. Other notable standouts on the album are Take What’s Mine and title track Art Intimidates Life feat. DJ Dcide, which represent Dwiz’s mission statement, that he’s in it for the long haul and isn’t going away any time soon.
Style with Bias B is a powerful example of Dwizofoz’s explosive way with words, and stands to cement Dwiz’s place as one of the best, if not at least most unique lyricists in the country. Dwiz also switches up the tone on the album with tracks like The Wrong One feat. Mr Hill, a track dedicated to scandalous bitches everywhere, Can Happen To You a short, inspired by a true story tale clearly close to Dwiz’s own heart and Her Letter a song written for his daughter over a spine tingling Mdusu instrumental.
With this album, Dwizofoz is sure to break free of the “battle host” tag he’s probably best known for and secure himself a reputation as a leader among the next generation of emcee’s coming out of our shores.
Track List 01. Intro 02. In My Shoes (Produced by MCRotheee) 03. Take What’s Mine (Produced by Mizari) 04. Art Intimidates Life Ft. DJ Dcide (Produced by Insideus) 05. Playground (Produced by Pyrex) 06. Style! Ft. Bias B (Produced by Swilo) 07. Micology 101 Ft. Exit Strategy, Flowz and Strooth (Produced by Insideus) 08. Steps (Produced by AussieOzborn) 09. The Wrong One Ft. Mr. Hill and Irrelevant (Produced by Double Digits) 10. Can Happen To You (Produced by Mizari) 11. Her Letter (Produced by Mdusu) 12. Last Of Me Ft. Sean B and eMCYTe (Produced by Sean B)
All other cuts by DJ Immaculate.
Launch dates: Melbourne – July 12 w/ Brad Strut and Kings Konekted @ Laundry Bar. Brisbane – July 26 w/ Exit Strategy, Kawz n KOZ and special guest, Brad Strut @ Coniston Lane.
Preorders available now by following the link here. Release date June 21, 2013.
Karsniogenics is mighty proud to welcome the latest addition to the K artist roster – Sussone ‘The Corax Type’.Karsniogenics have had their eye on this guy for some time now, and we’re sure you’ll be feline’ his style just as much as they did.
Hailing from Brisbane’s west line city of Ipswich, Sussone has been busy working hard at perfecting his craft behind the local hip hop scene for many years now. Since taking pen to pad for the first time in his teens, the 28 year old is ready to break out of the shadows and let people know what Sussone ‘The Corax Type’ is all about.
Born and bread on traditional ‘golden era of boom bap’ artists such as Nas & Gangstarr through to the gangsta rap predecessors like NWA and Ice-T, Sussone’s own signature sound is well foundered in the roots of dope hip hop we all love and respect to no end.
Sussone’s gravely and gruff vocal tones bring a brutally honest essence and rawness to his lyrical flows, further topped off with his outstanding story-telling prowess. Sussone first hooked up with Dontex of Kings Konekted fame through growing up together in the same neighbourhood, and after some years working separately they again found a mutual path in the mid 2000’s. In 2007 Sussone recorded his first demo tapes with Sammsonite (The Optimen) at Space Ghost Studios after forming the crew Risky Livin’ with Loose-Legid and the later addition of Susaz. Taking to the stage in 2009 with the Risky Livin’ crew, Sussone continued developing his career through making guest appearances alongside artists Rezadent and Kings Konekted on their respective releases The Way of The Intercepting Fist and Trials To The Underlair during 2009.
Appearing on a handful of guest spots over the following 2 years working with some of Brisbane’s finest, Sussone hit the studio with Karsniogenics producer Brookes Cullings of the Kill Floor studios and began working on further developing his own solo career, and hasn’t stopped hammering out his sound since. It’s now time for Sussone to let the heads know why he’s the next in line to take the underground crown, and damn this man’s hungry for it too.
With his debut EP Konekt Game well and truly on the home stretch, best keep you ears to the street for the next instalment from Sussone on Karsniogenics, as the future holds nothing but goodness for this hardened thoroughbred MC who’s destiny is now well sealed on the road to Australian Hip Hop greatness. Got you wanting more? Check out this latest gem just dropped – the self titled track The Corax Type; One hell of a fresh new joint, produced by Akidcalledchubz and Dontez plus tearing up the one’s & two’s – who else but the one and only Karsniogenics Head Honcho DJ Dcide.
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!
10 years ago, at a time when Australian hip hop was still struggling to be heard, Obese Records released Obesecity. Invited from all corners of the country, emcees and producers hungry to showcase their skills contributed tracks, unbeknownst of the powerful ripple effect it would create.
Bolstered by the humble independent label, the compilation birthed a generation of hip hop heavyweights, recognised today as the true pioneers of a flourishing industry. Hilltop Hoods, Muph & Plutonic, Bias B, Pegz, the late Hunter and more united to give the growing genre a voice.
To celebrate its anniversary Obese Records is extremely proud to present Obesecity 2. A dual-disc compilation showcasing the brightest and most promising new artists in Australian hip hop, handpicked alongside the genre’s most revered underground acts. With emphasis on the label’s distribution roster and independently established acts, Obesecity 2 will benchmark the scene once more.
The range of artists featured on the compilation varies both stylistically and geographically. With moments of progressive, electronic production, next to the more traditional sounds of BBQ rap boom bap. Obesecity 2 exhibits the extensive sonic landscape now occupied by the genre.
The diversity noted in the subject matter is reflective of age, circumstance and inclination, laid forth by the nation’s most unconventionally outspoken social conscience. Obesecity 2 is not only an ode to its genre-defining predecessor, but a time capsule, which will undoubtedly be prized for its conviction in this age of mass production and impersonal media.
Disk 1 1. Bingethinkers – Cannibals 2. Never Settle – Psychosis 3. Ciecmate & Mouf feat. DJ No Name Nath – Bags Not 4. Goatmob – Space Trip Oddity 5. Newsense – Hard Act To Follow 6. Class A – The View 7. Tommy Illfigga – Life Wouldn’t Be So Comfy Here 8. Dialect & Despair – Ghosts In A Shell 9. P Link – Turn The Tables 10. Spit & Mac – Firebrand 11. Dikitionone – Collision Course 12. Purpose feat. Joyride – Easy Listening 13. Calski – What You Do To Me 14. Mortar – Murder That 15. Tornts – Concrete Shores 16. Maundz – The Spiel
Disk 2 1. Lazy Grey, Jake Biz & DJ Dcide – Fitzgerald Enquiry 2. Fluent Form feat. Has-Lo – The Code 3. DVS – Dandenong Hip Hop 4. Mr Hill & Rahjconkas – Take The Blame 5. Cash Krzma – All Fonts 6. One Sixth – Nonsense 7. Miss Karleena – Ready 8. In Good Company – House Of Cards 9. J Point – Super Fly Aboriginal (Dope MC) 10. Moneykat feat. Candice Monique – Eye Of The Storem 11. Bigfoot – What I Do 12. Kid Selzy – Here I Am 13. Dwizofoz – Brand New Day 14. Eloquor – Himalayas 15. Johnny Row – Hell Yeah 16. Deathstarrs – Eulogy 17. Raven – Gun
10 years ago, at a time when Australian hip hop was still struggling to be heard, Obese Records released Obesecity. Invited from all corners of the country, emcees and producers hungry to showcase their skills contributed tracks, unbeknownst of the powerful ripple effect it would create.
Bolstered by the humble independent label, the compilation birthed a generation of hip hop heavyweights, recognised today as the true pioneers of a flourishing industry. Hilltop Hoods, Muph & Plutonic, Bias B, Pegz, the late Hunter and more united to give the growing genre a voice.
To celebrate its anniversary Obese Records is extremely proud to present Obesecity 2. A dual-disc compilation showcasing the brightest and most promising new artists in Australian hip hop, handpicked alongside the genre’s most revered underground acts. With emphasis on the label’s distribution roster and independently established acts, Obesecity 2 will benchmark the scene once more.
The range of artists featured on the compilation varies both stylistically and geographically. With moments of progressive, electronic production, next to the more traditional sounds of BBQ rap boom bap. Obesecity 2 exhibits the extensive sonic landscape now occupied by the genre.
“Obesecity was released 10 years ago when the Aussie hip hop genre was very unpolished and misunderstood. Crews from across Australia had been linking up for shows and various other reasons, but the scene was relatively insular and invisible to mainstream society. What Obesecity and Culture of Kings managed to create, was a unity and strength, which in its exceptional nature forced people to sit up and take notice. Since that point, Australian hip hop hasn’t really looked back. We are now a thriving industry, and part of what defines modern Australia. Obesecity 2, in essence, is about reflecting on all of it, and realising how far we’ve come.” – Pegz
The diversity noted in the subject matter is reflective of age, circumstance and inclination, laid forth by the nation’s most unconventionally outspoken social conscience. Obesecity 2 is not only an ode to its genre-defining predecessor, but a time capsule, which will undoubtedly be prized for its conviction in this age of mass production and impersonal media.
Disk 1 1. Bingethinkers – Cannibals 2. Never Settle – Psychosis 3. Ciecmate & Mouf feat. DJ No Name Nath – Bags Not 4. Goatmob – Space Trip Oddity 5. Newsense – Hard Act To Follow 6. Class A – The View 7. Tommy Illfigga – Life Wouldn’t Be So Comfy Here 8. Dialect & Despair – Ghosts In A Shell 9. P Link – Turn The Tables 10. Spit & Mac – Firebrand 11. Dikitionone – Collision Course 12. Purpose feat. Joyride – Easy Listening 13. Calski – What You Do To Me 14. Mortar – Murder That 15. Tornts – Concrete Shores 16. Maundz – The Spiel
Disk 2 1. Lazy Grey, Jake Biz & DJ Dcide – Fitzgerald Enquiry 2. Fluent Form feat. Has-Lo – The Code 3. DVS – Dandenong Hip Hop 4. Mr Hill & Rahjconkas – Take The Blame 5. Cash Krzma – All Fonts 6. One Sixth – Nonsense 7. Miss Karleena – Ready 8. In Good Company – House Of Cards 9. J Point – Super Fly Aboriginal (Dope MC) 10. Moneykat feat. Candice Monique – Eye Of The Storem 11. Bigfoot – What I Do 12. Kid Selzy – Here I Am 13. Dwizofoz – Brand New Day 14. Eloquor – Himalayas 15. Johnny Row – Hell Yeah 16. Deathstarrs – Eulogy 17. Raven – Gun
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…
In a time capsule unearthed in an overgrown train yard on the outskirts of Melbourne, archaeologists discover a dirt encrusted artefact, a codex of the art and science of hip hop based on a blueprint etched in concrete during a period of innovation. It bears the marks of the late 1980s and early 90s when the elemental standards were laid down by a small elite.
The artefact in question is For The Term of His Natural Life, the debut solo LP from Australia’s finest lyrical craftsman, Trem One. To say début is misleading, though. With a small but revered discography including two sought after vinyl EPs and his work with the Lyrical Commission on his own Unkut Recordings label, Trem is an elder statesman. Finally, For The Term… makes good on all the promises of his back catalogue. Following up on 2010’s rapturously received teaser single Omega Man, this project hits every target set for it.
From 6-9pm tomorrow night in Fitzroy Melbourne, you can take part in something that’s usually only available to the industry heads, an Official Listening Party for Trem’s – For The Term Of His Natural Life. These words were posted on Trem’s website a few days ago.
“We takin it back with this one, but its something I always thought was a cool concept although generally initially catering to industry heads, why not flip it on its ear and invite everyone?The first of a series of listening parties, we are kickin off the album release festivities with a bang. Melbourne heads & touring interstaters, please join us at the Laundry Bar in Fitzroy on Friday the 7th Oct. between 6-9pm to help celebrate the release of this thing! Regardless of whether you’re an industry type, Trem fan or street urchin we’d love you to come along and help celebrate such a momentous occasion! I’ll be offloading the album as well so if you havent had the opportunity to secure a copy via pre-order and can’t hit up one of the dope Indy spots stocking it on Friday, I got you covered (while they last of course!) We’re also screening the first viewing of my new clip ‘Animal Kingdom’ a track produced by non other than Beat Butcha, featuring Donny The Chief of my Kings Konekted fam and executed by the Game Changers (Josh, Heata n Hank)! It’ll screen live to air on youtube as well round the same time but what better way to peep it than on the big screen! So if you’re free, on your way home, or on your way out, we’d love to see you there, the Laundry’s even offering half priced longnecks to kick the weekend off in style…”
There will be a couple of Listening Parties taking place over the month of October. Brisbane and Adelaide outdoor dates to be confirmed in the next few days. Stay tuned. If you haven’t already check out our recent interview with Trem on his For The Term Of His Natural Life album release right here.Trem – For The Term Of His Natural Life is out tomorrow.
In a time capsule unearthed in an overgrown train yard on the outskirts of Melbourne, archaeologists discover a dirt encrusted artifact, a codex of the art and science of hip hop based on a blueprint etched in concrete during a period of innovation. It bears the marks of the late 1980s and early 90s when the elemental standards were laid down by a small elite.
The artifact in question is For The Term of His Natural Life, the debut solo LP from Australia’s finest lyrical craftsman, Trem One.To say debut is misleading, though. With a small but revered discography including two sought after vinyl EPs and his work with the Lyrical Commission on his own Unkut Recordings label, Trem is an elder statesman. Finally, For The Term… makes good on all the promises of his back catalogue. Following up on 2010’s rapturously received teaser single Omega Man, this project hits every target set for it.
Long-awaited doesn’t being to describe Trem’s first full-length, but the notorious perfectionist was never going to release anything less than a flawless gem: “I could’ve dropped varying versions of a solo album many times over, but it wouldn’t be this one. This is the one that I envisioned.”
Having fine-tuned his production chops on two Lyrical Commission releases and Brad Strut’s acclaimed Legend: Official, Trem now steps back from the boards somewhat, producing three cuts himself and inviting Beat Butcha (UK), Amazing Maze (Germany), Thorotracks (NYC), Must, Wik and long time compatriot Prowla to contribute to the soundscape. The result is a coherent 14-tracker that evokes the early nineties with a reactionary vigour. For The Term… exploits the prototypes of finely crafted braggadocio, visceral storytelling and the art of metaphor epitomised by MCs such as Rakim.
Beyond the razor sharp battle verses, the rush of the mission is depicted on the vivid graf narrative Hard Yards and Trem talks like sex on the sticky and lewd Strips. Elsewhere, Ever Since and Reminisce trace the roots of his career back to the 80s while Kings Court is a time-honoured ode to skills over suitably regal beat from Prowla.
Throughout the album, artfully collaged vocal snippets are deployed in the place of a hook by Prowla, DJ Bonez, DJ Dcide and Trem himself. Moreover, Trem breaks down the fading science of crate digging and chorus cuts alongside a masterful example of the latter from California’s DJ Revolution on For The Record.
Complementing the painstakingly composed verses and carefully considered cuts is an equal precision in selecting guests. Brisbane’s Kings Konekted is represented on two tracks, with the group’s Dontez providing the menacing chorus on second single Animal Kingdom. Both Dontez and Culprit commit verses to Russian Roulette, which also features Brad Strut. This grim and epic centrepiece to the album could be read as a passing of the torch from Lyrical Commission to one of the few new names worthy of carrying the flame.
Speaking of the rare collaboration outside his core crew, Trem notes: “I personally think they have the makings of something real special, but for whatever reason don’t seem to get the recognition of other new schoolers with half the talent. Konekted have crafted a mad original style that’s all they’re own but still sits within the blueprint’s guidelines.”
Another unexpected collaboration is a dream match up with Brisbane’s own old hand Lazy Grey on the vicious Vet Clinic, an interstate exercise in amateur euthanasia. In Trem’s words: “Collaborating with Lazy has been on the to-do list for a real long time and for various reasons it never eventuated. After tinkering with the idea for a while during the album’s making, it wasn’t til the right beat landed in my lap that I thought, shit, that’s the one! I am truly honoured to have the god on board.”
In a final surprise, lead single Omega Man is reprised and flipped with help from Brooklyn’s Q-Unique (ex-The Arsonists, and a guest on Lyrical Commission’s – Murderous Metaphors) and a fresh verse by Trem: “Being that there was a chunk of time between the single and the album I wanted to give it some new light. Instead of a traditional remix, I let that ill Prowla beat ride and rehashed my verse, adding a new dimension. Re-acquainting with Q on the track was a no-brainer.”
The sum of these parts is equal measures history lesson, skills seminar and classic storytelling. For the Term of His Natural Life is the culmination of twenty years of hard labour, an unapologetic exercise in hip hop artisanship that steps outside of time to take its rightful place in the Antipodean rap canon.
For the Term of His Natural Life will be available through independent records stores, directly from www.unkutrecordings.com and digitally via iTunes.
• Commencing with the album release, a Limited Edition Artist Series of merch will drop, each linking a leading Australian graffiti writer with a song on the album. Linz, who also painted the album cover, tackles ‘Kings Court’ for the debut t-shirt. Next up, Sofles will handle ‘Strips’, with later editions to be announced.
• A video for the second single ‘Animal Kingdom’ featuring Dontez of Kings Konekted, will drop to coincide with the album release, executed by Josh Davis, Heata and Discourse, who also delivered the stunning high definition clip for ‘Omega Man’
Tracklist 1. Intro ft DJ Revolution 2. For the Term of His Natural Life 3. Animal Kingdom ft Dontez of Kings Konekted 4. Omega Man 5. One man… (skit) 6. Ever Since 7. Hard Yards 8. Russian Roulette ft Brad Strut & Kings Konekted 9. Strips 10. Intermish (skit) 11. For the Record 12. Vet Clinic ft. Lazy Grey 13. Reminisce ft Brad Strut 14. A king is… (skit) 15. Kings Court 16. Same Shit 17. Naaaaahhh… (skit) 18. Omega Man Mk II ft Q-Unique
So now after many paths traveled Karsniogenics is heaps proud to announce the official release date for the long awaited debut album from The Statesmen, aptly titled Drama To The Finish.
Available at all good stores including JB-HiFi and iTunes, the album drops November 19th, through new distribution partners Obese Records. To fire it up a little the guys are dropping the next joint free in the coming weeks so keep yo ears to the tweet street for that one. In case you missed the first single download Whatever The Cost feat. Lazy Grey you can steal it guilt free below.
To many Brisbane locals, The StatesMen’sSean B & Dcide (aka DJ Dce), are synonymous with the city’s hip hop scene. They’ve not only spent 18 years collectively on radio and behind the boards with 4zZz’s PhatTape Hip Hop Show, but have also appeared as artists on a wide array of Australian Hip Hop releases, many since revered as pure classic’. Two years in the making, The StatesMen’s debut album, Drama To The Finish authentically defines the process for these two pioneering creatives, as the road here has been brutally long and seen many adventures, all of which are wrapped up in this graphic body of work.
Sean B’s first love for hip hop sparked deep within during his early days growing up in Melbourne. In the late ‘80s, the emcee recorded his first tapes with DJ Idem as the crew Positive Direction before moving to far north QLD where he established Cairns’ first hip hop radio show on 4CCR in the early ‘90s. After laying down roots in Brisbane in 1995, Sean promptly joined DJ Katch at 4zZz radio station and continued to host its PhatTape show for just over a decade, earning it the title of Australia’s longest running hip hop show. It was during this thriving time in the river city that Sean honed his production skills and was equably encouraged by the results – he was instrumental in the beginnings of the well renowned and commercially successful Resin Dogs.
In 2000, he further flexed his flair producing and appearing on releases from underground kings including Lazy Grey’s and Brad Strut’s debut albums, to many guest spots on various compilations since. A seasoned digger and traditionalist at heart, Sean’s true depth as an artist is explored and expressed throughout Drama To The Finish, with both his skills on the mic and on the beats delivering the solidarity you’d expect from a veteran player such as Sean B.
With a history crossing borders of graffiti to designer to producer and DJ, Dcide (aka DJ Dce) needs little introduction to most aus heads in the know these days. He’s spent the better part of his conscious life devoted to hip hop, period. Dcide’s early days consisted of prolific writing alongside some of Australia’s finest pioneers, to being somewhat instrumental in establishing some of today’s more infamous crews. Since directing his talents to djing and production as his creative hip hop outlet after becoming a fulltime Art Director/Designer in the late ‘90s, Dcide’s musical credentials and prodigious output speak for themselves. Just take a peak at his comprehensive discography to date as proof. He joined 4zZz’s PhatTape crew in 2003 and 7 years on remains as the Executive Producer and Co-host. Add to that designing over 15 album covers, countless promotional artworks in print and online, plus Director/co-owner of Karsniogenics, its apparent Dcide is not shy of bringin’ ‘n’ maintainin’ the heat the ‘K’ name is well known for. Coming fresh off the release of Lazy Grey’s critically acclaimed ‘The Soundtrack, The StatesMen’s – Drama To The Finish is the next installment in an already healthy career for this Australian hip hop all-rounder.
Throughout their long and respective roles in hip hop, Sean B & Dcide have gathered a loyal fan base, appearing alongside international and national acts of the highest caliber, such as Ghostface, GZA, MOP, EMC, Lord Finnesse & Roc Raida, DJ Jazzy Jeff, The Liks, Tim Dog, Kool Keith & Kutmaster Kurt, Jean Grae, Lyrics Born, Black Eyed Peas, LoopTroop, Swollen Members, Scribe, Hilltop Hoods, Koolism, Bias B, Lyrical Commission and The Hospice Crew plus many more.
With their state of affairs well in order, The StatesMen are set to ‘blam the shitta outta yo speakers’ early 2010 with their epic debut album Drama To The Finish; featuring guest appearances from Lazy Grey, Bias B, Jake Biz, Bigfoot, Miss Brown, Marvel (Pure Product), Milesago and Marvin Brown.
For now, you can enjoy the free download of Whatever The Cost feat Lazy Grey, grab it below… Make sure you check out the guys webpage here. Stay tuned for more!
Tracklist: 1. Drama To The Finish (intro) 2. Whatever The Cost – feat. Lazy Grey 3. Phat Tape Radio (interlude) 4. Come One Now – feat Milesago 5. Phat Tape Radio 2 (interlude) 6. Rip The Cut 7. Read Between – feat Bias B 8. Soul Provider 9. The Lost & The Fiends 10. Brothers Corrupt – feat Lazy Grey, Bigfoot, Jake Biz 11. We Don’t Play (interlude) 12. Wake Up – feat Marvin Brown & Lazy Grey 13. Highly Slept On – feat Marvel (Pure Product) 14. Skit Like A Kite – feat Miss Brown 15. So What’s Ya Fate 16. In Conclusion (outro)
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.
