Hailing from the notorious district of South Auckland, New Zealand, P.Link & his mother crossed the Tasman at the tender age of 3 in search of greener grasses. Settling briefly in Melbourne’s outer east, His fam quickly decided that coastal life was for them after a weekend visit to his future home – Phillip Island. Along with his partner in crime, J.Mac, P was consumed by the artform and the natural progression to penning their own material was made.
A few years later alongside local MC’s – Downpat, Eazy, Lystic, Drummer – Lorne, Keyboarder – Brez & DJ – A-Tap they formed the 8-piece Tranquil Artillery. After many beer-fueled, school night Jams, Tranquil made their stage debut in 2003. After making a little noise locally they set out for Melbourne city, earning themselves a solid live rep including shows with – Lyrical Commission, Bliss N Eso, 360, TZU & countless others. After a few years honing his stage presence with Tranquil, P.Link took some time out from the group to concentrate on his new Project – The Aphilliates, consisting of himself, J.Mac & DJ Rellik, he aimed to take it back to the raw Melbourne sound he was raised on.
Within a little over a year they recorded and independently released The Aphilliates Mixtape & once again started earning themselves a solid live rep under the new moniker. While promoting the mixtape P also started gathering up old & new material to put together a small solo release. What started as a side project soon turned into his main focus and before long he had recorded a 6 track EP entitled In My Element.
In My Element is furious 6 track EP, recorded by Must at Pang Productions, featuring production from the man himself – Must, The King – Trem One & Canadian Aphillite – Engineer with cuts from DJ Rellik and one guest spot from fellow Rawthentic stable mate – J. Mac.
In My Element gives the listener a brief introduction to the Melburnite behind the mic, through graphic tales of heartbreak, friendship, betrayal and everything in between. Riddled with cuts and proper producto, In My Element stays true to the art with P.Link displaying a huner and presence very few ‘newcomers‘ can match. In My Element is available now through independent record stores, online via Soul Calp and coming soon digitally via iTunes.
Tracklist 1. Tell em its P – produced by Must 2. In my element – produced by Must 3. Welcome 2 Melbourne – produced by Trem 4. Told me she loved me – produced by Engineer 5. Its a shame – produced by Must 6. Fatal attraction feat. J. Mac – produced by Trem
This Saturday October 28, it’s Adelaide’s turn to be treated to the spectacle that is the Trem – For The Term Of His Natural Life LP release. Clinic 116, Ironlak & Unkut Recordings are pleased to present For The Term Of His Natural Life Listening Party to be held at Clinic 116.
Message from Trem: ADL Fam, please get down to Clinic 116 this Saturday the 29th Oct to join us and help celebrate my albums release. The first two were crazy in Melbs and QLD so I hope many of you will be able free up a minute in the arvy to come past and say g’day. The album will be bumpin in between a couple other classics and available on the spot direct from yours truly along with a small run of merch now only available from myself. Get in quick coz stocks are limited! A couple of my boys from Ironlak will be gracing the spot will some ill burners in the theme of the release and Im more than happy to tag up any items you got in the stash! Shit jumps off around mid-day at Clinic 116 – Hope to see you all there!
The Melbourne-based production company, Holscope, announced today that local hip-hop icon and Lyrical Commission founding member, Brad Strut, has been cast as Kurt Thorp in the crime actioner, Pinball. He will be starring alongside up and coming talent and recent VCA graduate, Kevin Kiernan-Molloy, who has been cast in the lead role of Clint Thorp.
Writer/director, Matt Holcomb, stated, “Brad has been a formidable force in the Australian and international hip-hop scenes for over ten years, and Kevin is a major new talent who blew us all away in the proof-of-concept “Pinball” short film. Brad and Kevin together onscreen is a thrilling prospect; I can’t wait to get to work.”
Pinball is the debut feature film of filmmaking brother team, Matt and Trevor Holcomb, with principal photography due to commence next month. Set against the backdrop of Melbourne’s criminal underworld, Pinball is a modern re-telling of the biblical account of Cain and Abel as a gritty crime actioner-cum-urban western.
Pinball tells the tragic story of Clint Thorp, a talented Australian Rules footballer-turned-criminal errand boy, who is hired by his brother and aspiring crime boss, Kurt Thorp, to carry out a hit on an inconsequential member of Melbourne’s underworld. With his gun levelled at the target, Clint discovers he’s not the assassin he thought he could be and flees the scene, reporting his failure to a livid Kurt, who, in his fury, reveals the target was in fact notorious crime lord, Carmine Vigoda. Thus begins Clint’s descent into hell, marked for death, abandoned by Kurt and left to roam the original mean streets of Melbourne for as long as he can stay alive.
Check out the exclusive leak Brad Strut – I Need Change lifted from the upcoming Ciecmate Presents: Chess Sounds Vol.1 here.
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.
The second video clip taken from For The Term Of His Natural Life is here. Making it’s big screen début last week in Melbourne at the official listening party, Animal Kingdom features Dontez of Kingz Konekted with production from Beat Butcha. The clip was executed by Josh Davis, Heata, Discourse. Check the clip below.
Please remember this release is not available from major chains, it’s not an Urban or Skip Hop release, its real rap and available only from Hip Hop specialist outlets & Indy stores!!! The Trem camp also have street teams running spots around the country, keep an ear out for one on your block slangin the album. For those who cant wait to trek to one of the indys or aren’t fussed on holding physicals with liner notes and lyrics you can grab it from iTunes here.
The rundown on stockists holding hard copies of the CD goes a little something like this: VIC
This Is It – 396 Church St. Richmond Obese Records – 4A Izett St. Prahran Northside Records – 236 Gertrude St. Fitzroy Wax Museum Records ( Later this week)
QLD Crush City – 423 Ipswich Rd. Annerley Rockinghorse Records – 245 Albert St. Brisbane Rehab Records – 4/57 Brunswick St. Fortitude Valley (Gold Coast Stores TBA next week)
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
Arks is the young 16 year old Melbourne emcee bringing a refreshing style to local hip-hop. Arks started at the early age of 12 penning down his thoughts and rhymes to acoustic beats. Arks, although young knows too well about the trials of tribulations with stories of love, heartbreak, hardships and joy.
As his knowledge for hip-hop and the culture grew, so did his love for the art. At The Age of 14, Arks released his first mixtape The Dead Poets, based upon the famous Robin Williams film, covering such beats as Talib Kewli’s – Get By and Lyrical Commissions – Indicted. At 15 Arks had cracked the Triple J Unearthed top 10 Charts with ‘Get By’ and released 2 mixtapes within a year, Turning Dreams Into Reality and Causing Conversation.
Growing as a producer and Emcee, Arks became apart of the all Australian hip-hop crewGeneration Rhyme and local Melbourne trio Kids Of The Trade with fellow school mate Dibe, De La Krem and producer, The Architect. 2011 seams like a bright year for Arks with 3 mixtapes on the way and a respected fan base. So go and listen to the story of the underage Australian, Arks. Live By the motto. ‘Dreams Are Reality’ Coming soon. Krem De Le Arks – Parralels Arks – Everyday Correspondent Arks – Wanna Snuggle?
Needing little to no introduction, born and raised in inner west Sydney till the age of 13 before re-locating south to the boon-docks of G-Town, an hour south west of Melbourne, Trem, like most in his age bracket and on this part of the planet, gained his first look at hip hop through movies such as Beat Street and books like Subway Art in the early eighties.
Instantly falling in love with the phenomenon he dabbled in floor moves before turning his hand to graff. As a member of the Australian leg of a worldwide graffiti crew Run For Kover (originating in the U.K), Trem managed to cause his fair share of damage before making the slow transition from paint to microphones. Rhyming over pause tapes in and around 1989, inspired by not only his favorite U.S artists, but also local talent such as the A.K.A Brothers, he’d built a repertoire of battle raps and was showcasing them live and on recordings by 1990. After hooking up with DJ Frenzie, he and Raise (R.F.K co-founder and his rhyming partner at the time) went from strength to strength, showcasing their skills across Melbourne, at shows and on live-to-air radio. With Raise leaving the country, Trem One emerged as a solo M.C, and after hooking up with DJ Idem, initial plans were put in place for the recording and release of his first official-a six track tape in 1992.
Unfortunately the tape was never completed and the one finished track Arrest My Brain never saw the light of day. Although continuing to build skills and still regularly appearing live at shows and on radio throughout the mid nineties, it wasn’t until Trem formed an alliance with Prowla and Jase of the Nuff Said Crew, that recording would eventually begin on his first actual solo release. Sheer Talent, released on Unkut Recordings, an independent label formed by Trem and Robbie Ettelson (Unkut.com fame), was a limited edition, four tracks, plus instrumentals 12” that certainly showcased Trem’s lyrical ability, atop slow, bass-line heavy bangers. Closely followed by his highly sort after second 12” Amateurs, that delivered more of the same. It was during this time that Trem and his team devised the ‘super-group’ Lyrical Commission, equipped with an arsenal of raps, they tore apart mic’s and stages across Australia, and have since gone on to become one of the most reputable underground Hip Hop acts to emerge from the continent.
With two incredible landmark releases under their belt and some awe inspiring collaborations with the likes of Ex Arsonist front-man Q-Unique as well as The Grand Daddy Grenade himself- Celph Titled (Demigodz/AOTP fam) the crew solidified its rep not only on these shores but also garnered acclaim in certain pockets across the globe. Not content with making his mark as top M.C, since 2001 Trem extended himself into the beat making game in a major way. After cutting his teeth as a co-producer/engineer on all of his earlier solo work, and being entirely responsible for the beats behind both L.C classics The Stage Is Set and Murderous Metaphors as well as 4/5 of Brad Struts classic offering Legend:Official, It aint hard to tell he’s gone on to become as equally prevalent behind the boards as he is in the booth.
His production has also begun to emerge on artists projects not tied to his label, giving that raw boom bap L.C flavor to varying emcees and their projects. His eagerly anticipated full length L.P For The Term Of His Natural Life is on its way, with a release date set as September 11 this year. Trem has also recently been announced as a support on Celph Titled and Action Broson’s Australian tour with Brad Strut.
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: The history between Vegas Aces goes way back to the days when Cam was working with Publik Relationz and you (4th) were apart of Pure Product, are we right? 4th: Yeah, I started sourcing beats for the Pure Product album and got put in touch with Cam through Mr Hill and Seven (Publik Relationz) and was just blown away at his beats, even back then. At the time I think he was just 18 and had only just started making beats, so I knew he was going to be someone to watch out for.
aahh: Fast forward to 2011. We now have the Vegas Aces partnership in full swing. Tell us a little about the new EP VA All Day? 4th: The EP really just started out us making a couple of songs and seeing how they turned out – which were Boomtown Shuffle and Two Sides. We really liked the sound that was coming out so we decided to do a whole thing. Originally we were just gonna make a few songs and chuck them out for free but as we made more, some friends of ours egged us on to release it properly.
aahh: Vegas Aces is an interesting name, are you both massive gamblers or does it go a little deeper than that? 4th: Haha not at all! No gambling here – it was more so at the time there were a lot of those sorts of references in what we were doing. And the fact that we were in the same circle it was sort of ‘shuffling of the deck’ to be super-corny for us to work together. To be even more corny, it’s also a nod to Bris-Vegas. Corn.
aahh: How long how you guys been working on the VA All Day material for this EP? 4th: The actual music didn’t take that long at all. Everything on there was the culmination of Cam sending me a beat and immediately I knew what it was going to be about and wrote it in a couple of hours. If it didn’t work like that – it’s not on there. All the other behind-the-scenes shit is what took the most time. I’m pretty picky so there was a lot of back and forth tweaking etc. Sorry guys!
aahh: The depth of this EP is impressive, Are you guys strong believers in the old adage of quality over quantity? 4th: Without a mother-effing doubt! We really wanted to put out something really solid to make a good first impression. Because obviously we were a ‘new’ group we had to start from scratch again and really turn some heads to get the name out there. There are so many great acts these days you need to bring something special to the table to stand out.
aahh: What have been the some of main challenges you’ve faced in bringing this release to the people? 4th: The generic ‘being-on-a-small-label-and-lacking-a-big-budget’ one is pretty obvious as a factor. I don’t think being in Brisbane geographically is a hurdle in getting our music around the country though, for most part the scene here has been really supportive. I dunno, maybe because we started from scratch as a new group was our biggest hurdle? Hurdles have also been a pretty big hurdle.
aahh: A lot of artists talk about their influences and how it shaped their musical development. With such diverse backgrounds what were some of your early influences? 4th: I can safely say my influences now are pretty different to when I was starting out, but with that said, those early influences were very important! A few years ago I was pretty anti-mainstream which I’m sure every teenager goes through. My biggest influences overseas were probably early Eminem, Apathy, Copywrite… shit there is seriously too many to name, now I am really into Jay-Z/J. Cole, Evidence and Fashawn are getting a thrashing too, again though – waaaaaay too many to name! Locally though the biggest were Lyrical Commission, Left One, Lazy Grey + 750 and co, they made me wanna do it.
aahh: What do you think the most important aspects are to consider when constructing a track lyrically for your audience? 4th: That they can understand it and can picture what I’m saying. I find myself doing that when I write now. I more want to write shit that someone can relate to as oppose to having the most technical verse now.
aahh: For the gear geeks out there, what kind of equipment set up do you have? Cam Bluff: Im currently rocking my good old mpc200xl along with a m-audio key rig 49. Primarily i did start making beats on my mpc, however nowadays as i branch off into larger compositions i rely on my mpc as more as a midi controller than a beat machine. Accompanying my mpc and keyrig are also a m-audio profire 610 audio interface, a pair of behringer truths, a pair of stanton T.150′s and a 27” IMAC. I use Native Instruments complete 7 which is fantastic for laying down vintage or orchestral sounds. Keys,organs, retro 70/80′s synths you name it this package packs a punch. Its pricy though it pays off.
aahh: We’ve heard you’ve already started work on the full LP. Is it true that Cam has sent you a pile of beats but only one has made the cut so far. Has that been the general way you guys work together? 4th: Yeah I can be pretty notoriously picky with music. Lucky Cam is a fucking incredible talent and we are on the same page. There are actually a few beats that are definite now. Pretty much if I don’t love a beat and have a feel for what the song is going to be about straight away, then it most likely wont get used.
aahh: Can you give us a little insight on how the album will compare to the EP? 4th: In the early stages its more musical I suppose, Cam’s production is definitely moving forward in this way. Fundamentally I suppose it will be similar to the EP but I guess just ‘bigger better more’ (yo Opees!). We know what we want to do with it for this release, which I guess is a good thing.
aahh: How far into the album are you and will we see a 2011 release? Cam Bluff: We have a few songs written and roughly recorded and a few more beats picked out. And yes we are aiming for a late 2011 release.
aahh: With the recent floods and cyclones to hit QLD, there have been numerous benefit gigs and money-raising efforts. Vegas Aces were involved in a Rap Relief track. Tell us a little bit about the track and how these disasters have affected you on a personal level and as a member of the community? 4th: That track came together through Chris at Soulmate Records and mutual friends Choose Mics, Seven and Syntax. I dunno? I kind of just jumped on board, Cam was making a beat with the same sample which was meant to switch up or be a remix but didn’t end up happening in time. Then Tom wrote and recorded the chorus after I recorded my verse and that was that really. I wasn’t affected directly by the floods but I know people who were and it was fucking horrible. As horrible as it was, it also showed how altruistic we can be as a city/country with all the donations and charity gigs and that was brilliant! The whole world seems to be getting reamed at the moment thought… shit is hectic.
aahh: What’s 2011 hold in store both as separate artists and for Vegas Aces? 4th: As Vegas Aces we are aiming to have the album out late this year. We want to tour. Tour. And tour again. Basically just stay building and making music. Hopefully I will getting up and finishing the Pure Product album. Cam Bluff: Damn so far 2011 has kept me busy. Along with the VA album i will be reconnecting with Spit Syndicate on their next release. I have another project im working on with Syntax. We’ve pretty much chosen all the beats and we are looking at a late 2011 release.