Every so often, an event comes along with the purpose of cementing itself a place in history. In a time where large showcases are usually catered towards the more mainstream listener, Matt Van Rooy and Catch Wreck have proudly assembled an impeccable line up of artists revered by Hip Hop aficionados and fans Australia wide.
This is a night put on by the fans, for the fans. Underground royalty, of this phenomenal caliber have never appeared together in this capacity to perform on the same night. Until now, Get ready to Catch Wreck. Catch Wreck will feature the legendary Lazy Grey with Jake Biz & DJ DCE plus Brad Strut, Simplex, Maundz, Fluent Form, K21, Raven & Myk Reid, Mata & Must, Smiley and more. DJ’s Heata and Discourse will be serving up some tasty treats on the 1′s and 2′s.
Tickets will be sold at Obese Records and here but be quick. Tickets are $30.90 plus booking fee online and at obese store, $40 at the door. Catch Wreck all goes down at the Prince Bandroom, March 1, 2013 in Melbourne.
After the success of his independently released debut album Chapters Of Substance, Fluent Form wasted no time in returning to the studio to begin work on his sophomore LP, The Furnace. The Melbourne MC and Crate Cartel member has been hard at work on his 3rd release, which is sure to be a must have.
Fluent release’s a free download titled Ricochet Rabbit. Produced by Must (Pang Productions), mixed and mastered by Geko. You can pick up Fluent Form – Ricochet Rabbit as a ‘name your price’ download.
Canberra producer Ghosts In The Room unleash his debut production album. Having assembled a team of Australia and America’s finest, this release will be sure to surprise listeners with its diverse soundtrack of soulful, dark and often unexpected collaborations.
In Its Your Life – Ghosts In The Room has teamed up with one time Dr Dre portage Bishop Lamont, Briggs and Armageddon for an inspirational track to motivate its listeners.
In Where I Come From the legendary Kool G Rap teams up with battle rappers Iron Solomon, Okwerdz and 360 who makes a return to his hip hop roots. In Timeless New York group Timeless Truth team up with Maundz who delivers a classic verse proving again that he is one of Australia’s best MCs. The album also features tracks with Chaundon, Newsense, NJE, Solomon Childs, Unda Dwella, Amor Jones, Omar Musa, Joe New, Mr Fab, Big Pooh, Prime, Has-Lo, Block Mccloud, Tornts, Fluent Form, Havoc (Mobb Deep), Willis, Cheap Sober and Dribbles. Ghosts In The Room drops September 14.
Track Listing Ghosts In The Room (Intro) – Chaundon Flow Motion – Timeless Truth & Newsense Its Your Life – Bishop Lamont, Briggs & Armageddon The City – Kool G Rap, Nje, Solomon Childs & Unda Dwella The Way It Use To Be – Amor Jones, Chaundon & Nje Home (Interlude) – Omar Musa Where I Come From – Iron Solomon, Kool G Rap, Okwerdz & 360 Timeless – Timeless Truth & Maundz City Of Gold – Joe New Live Your Life – Mr Fab, Big Pooh & Prime My Gun – Has-Lo The Night Hides Shadows (Interlude) – Omar Musa Dark Streets – Block Mccloud & Tornts Out Of Sync (Xanax Rap) – Fluent Form All About You – Havoc, Willis, Cheap Sober & Dribbles Feel – Cheap Sober A Feeling (Outro) – Omar Musa
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…
Maundz, the outspoken rascal of Melbourne’s rap-scene; has a heart of gold, a potty mouth, and an acid tongue. His second LP Zero, is the first release of 2012 from irrefutable hip hop collective Crate Cartel. Zero is a fast approaching sun on the horizon after what has been a long winter for Maundz fans.
Featuring collaborative efforts from New York’s number one man of the moment Action Bronson, ARIA award winning Drapht, Golden Era’s Vents and Sesta, Melbourne kings Brad Strut and Bias B, and of course Crate Cartel. Revered by the likes of Hilltop Hoods and Drapht as the “next big thing”, Maundz has become highly respected by his underground and commercially established cohorts alike.
The lead single Take It Back featuring the legendary Bias B is full of nostalgic imagery and vintage beats and cuts, the track revisits cultural icons of the 80’s and 90’s. Its accompanying cameo-rich music video gained an extensive amount of exposure within weeks of its release.
Take It Back is characterized by its early 90’s inspired production –courtesy of Wik, catchy call and response chorus (prevalent of the era), and of course the nostalgic references. Throughout the tongue-in-cheek homage collage Maundz and Bias B divulge their own era-reflective stories. Take It Back proves that no matter when you grew up, the cultural impressions of your youth shape you.
“Bias B, Wik and I wanted to make a track that would take people on a little time-machine trip back to the good old days. We get on a bridging the gap type of feel with this one.” – Maundz
Maundz – Zero is available through Crate Cartel on 25th May 2012.
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
Crate Cartel presents The Take It Back Mixtape, which marks the lead up to Maundz’s upcoming album Zero set for release on May 25th. Take a step back in time and listen to all the classic Maundz tracks including live radio show goodness, rare tracks, and the collaborative efforts from some of the scenes finest.
Take It Back has 22 monster tracks including the recently released track Take It Back feat. Bias B. The mixtape also features Fluent Form, Geko, Rave, Aetcix, Dialectrix, Fatty Phew Deece, Rigby, Force and Awbs. Take It Back also features production from Wik, Geko, Discource, Plutonic Lab, Alter Ego and Doc Savage.
Tracklist: 01. Blue Collar Scholar 02. Wild Wild West feat. Deece 03. Comin To Getcha feat. Fluent Form, Dialectrix & Rigby 04. Pink Shirts (Alter Ego Remix) 05. Melbourne (Live On 102.7 RRR Top Billin’) 06. Cake 07. Human Heads feat. Aetcix, Raven, Geko & Fatty Phew 08. Blue Murder feat. Geko 09. Locomotive feat. Fluent Form & Fatty Phew 10. Set Sounds 11. Cypher (Live On 102.7 RRR Top Billin’) 12. Drama 13. Anti Pop feat. Awbs 14. 50 Thumbs Up 15. Agent 99 (Doc Savage Remix) 16. CC Camora feat. Goatmob 17. Take It Back feat. Bias B 18. Duck Down feat. G Force & Deece 19. Spring Rolls 20. Rap Life feat. Bias B 21. Lazy Sunday feat. Fatty Phew & Deece 22. No Concern
The Maundz – Take It Back Mixtape was released through ozhiphop.com as a free download. You can grab it here.
This is the brand new film clip for Melbourne MC Maundz, the new track Take It Back is taken from the upcoming album titled Zero. Shot over a hot weekend in Preston Melbourne, the throw back clip features many notstalgic memories from back in the 90′s. The clip features a who’s who of local hip hop and is sure to get that head noddin’.
The clip is executed by Full Clip (Heata & Discourse). Additional skate photography by Andrew Dorny. Beat produced by WIK, mixed & mastered by Geko. Maundz - Zero will be out soon on Crate Cartel.
Clip stars: Maundz, Bias B, WIK, Fluent Form, Aetcix, Geko, Discourse, Raven, Bigfoot, Tornts, Sherrif Rosco, Nevs, Funky Jen, G Force, Alyson Murray, Briggs, Rob, Chenie, Hamish, Dorny, Cass Bowman, Deece, Royalz, Grega, Natasha, Chris Maunders (AKA Mini Maundz), Cyclone Rebecca, Sabina Turner, Howie, Rex Mundi CO, Deon Williams, Tim Barling, Haycha, Nath, Carson & Fraksha.
Make sure you check out the whole animated GIF set over at Peak Street, posted in celebration of this release, truly classic stuff.
