Well the “official” line up has been released for next years BDO and I was right. Well, not entirely, there is a chance BDO still doesn’t support local Hip Hop with NO Australian Hip Hop acts on the first annonoucment (what a fucking suprise aye) but there will be further annoncements today.

I haven’t heard from my source Re: Eminem, however It is pretty evident that things must have gone pear shaped towards the end of negotiations with BDO organisers promoting local band “Muse” to the headliners position.

Possibly (probably) cause they couldn’t get any one decent with such short notice.

Anyways here is the 1st announcement for those that care:

Muse, Powderfinger, Lilly Allen, Eskimo Joe, Groove Armada, Grinspoon, The Mars Volta, Ladyhawke, Dizzee Rascal, Karnivool, Peaches, The Temper Trap, Kasabian, Midnight Juggernauts, Rise Against, Magic Dirt, Mastodon, Lisa Mitchell, The Horrors, Bluejuice, Calvin Harris, Kisschasy, The Decemberists, Tame Impala and Girl Talk”

Yea, like, don’t classify Bluejuice as Austrlaian Hip Hop either:

“We really hate the Aussie hip hop tag,” Stone agrees. “As soon as people started saying that we were horrified because we knew it was going to three or four years or even more of just this constant tagging press. Half the time you don’t even get the time to be answerable to it.”

Link to story http://www.shturl.com//bjrfags

Guess what fags?  We never did.

Oh yeah and the pic? Well fuck all of those bands, Sophie Monks tits are far more impressive.

From an eager teenager taping shows from underground radio, to a DJ of world standing, the last five years have seen Australian spinner DJ Perplex soar. Set for the release of volume 2 in his ultra-fly ‘Digital Killed The Vinyl Star’ Mixtape series, Perplex has also been enlisted as the spokesperson for new Nintendo DS game ‘DJ Star’.

Having made a name for himself by taking out the Australian DMC title in 3 consecutive years, then going on to claim 7th place at the world finals in London late 2008, Perplex has established himself as an in-demand DJ, regularly playing the hottest clubs and festivals across Australia, Asia and Europe.

More than just playing record after record, Perplex’s highly evolved Turntablist skills play an integral part in his DJ show, as he mixes Electro, with Soul, Funk, Hip Hop and Baltimore, with layers of atmospheric undercurrents. The result is a genre-bridging mash-up style that is as original in its delivery as it is eclectic.

Approached by Madman Interactive to be the ambassador for their new game ‘DJ Star’, Perplex only needed to play the game once and he was hooked. Simulating life as a vinyl slinger, DJ Star challenges the player to mix together over 40 available tracks, with the objective of getting the crowd dancing and reaching the dizzy heights of world stardom. You can even create your own dance floor destroyer. The more people you get up dancing, the more points you win. With 200 unique audio samples to draw from, players can create tracks in the ‘Creation Studio’, bringing them into the game or share them with friends via the Nintendo DS Wi-Fi connection.

To officially launch ‘Digital Killed The Vinyl Star – vol 2’ and ‘DJ Star’, a special Melbourne event is happening at First Floor on Friday 23rd October. Perplex will be playing for 2 hours alongside his hand picked local lineup of B.Two (Simply Bread), Mu-Gen (Slap n Dash), Scattermish (Slap n Dash) and Who (The Late Show). To add some more sugar to the mix, there will also be a massive door prize and copies of ‘DJ Star’ given away throughout the night thanks to Madman Interactive.

Not sure why I am posting this Press Release at all cause nobody has sent me a Nintendo DS and I normally hating the arse raping corperates so let’s call it a one off.

Where: First Floor, Fitzroy
When: Friday 23rd October
Doors: From 9PM
What: A night of superb DJing and loads of giveaways!
Tickets: $10 on the door

Congrats to Melbourne MC Defron for taking out last nights Revolver Upstairs 11th Annual MC Batte.

Defron faced it off against MC Illuminate (last years runner up) to take the $10k in prizes. Condolences to Illuminate, who is probably nursing a hangover and a half, for being voted 2nd, 2 years running.

It is a great thing when an artists goes from an EP to a LP and shows progression and creativity and two years on from the well received ‘Coffee, Biros and Death’ Requiem has done just this with ‘Grassroots Anarchy’.

The ten track offering displays a defiant, angry young man that is using hip hop as his outlet to show his frustrations with the society we dwell in. Defiant dishes up the intro and the leading track ‘Apeshit!’ (listen to this track below) as Requiem attacks the industry and politics involved and why it makes him go this way.

Straight away you can notice his flow and voice are not your usual clear concise, there are certain lines and words that at first sound a little rushed but they work within his style and different verse structures.

A reflective hip hop influence track with a twist is offered on ‘Counter Culture’ as fakes are called out for the music they supposedly rep and Req tells us exactly what he listened to with a few surprises in there over a funky Wizard beat.

Req has stepped up his flow and presence on the mic, growing from his previous work and obviously taking advice and learning his own style to a more comfortable level when he is spitting. This is shown on tracks such as ‘Pacifist’s Dilemma’ produced by Doc Felix, and ‘Linephile Confessions’ produced by Pabstrakt.

Req has also stepped up on a story telling vibe with ‘The Violence of Love’, a tale of revolutionary Oscar Romero and also on his own personal tale in ‘It’s Getting Late’. Guest spots are kept to a minimum but at an effective level on the gritty ‘Street Journalists’ featuring Fluent Form and Maundz and produced by Ciecmate, raw.

To be honest I was not the biggest fan of ‘Coffee, Biros and Death’ and I was hoping this would rise above it. Not only did it rise above but it blew it the fuck out of the water. It has a vibe to the whole product which you get into. There is an air of anger with reason that works and the beat selection and topical matter sits well with Req’s delivery and style. Definitely worth a look.

By Gareth M

Requiem Grassroots Anarchy is available now from the usual outlets or gab it online here

Requiem – Apeshit! by requiem

Gully Platoon is a new crew consisting of three emcees; Pegz, Joe New and Dialectrix. Each as an individual has more than pulled their own over the past on their respective releases but can they pull of a formula that works as a crew over some production from Jase, J Squared and Plutonic Lab?

The Great Divide is a collection of pretty good tracks but the album seems to lack a bit of direction in topics and styles. Joe New and D-Trix have spat together on a heap of tracks and they bounce off each other easily in this sense, even at times confusing the ear as to who is spitting. Blue Mountains hip hop has its own style when it comes to flow and structure and both Joe New and D-Trix spit in this fashion. Pegz spits like Pegz. His flow is on point when lined up against the other two which could have been an issue as he has a unique presence but the contrast works well. Tracks such as “For Those That Don’t Know”, highlight the fact that all three emcees can seamlessly blend when done correctly however on tracks such as “Late Nights”, the slower tempo suits Pegz better than the others as ‘Bank Job’ works better with a quicker flow that Joe New and D-Trix bring. So overall it evens out but there are certainly tracks that suit each emcee better than the next. There is a lot of rap about coming up hard, hip hop and the Gully Platoon theme and vibe. It works on a lot of the tracks but after about ten tracks it sounds a little familiar, there are a few late charges with Late Nights and Where Do I Go which offer a more personal approach from the emcees but this could have been sprinkled throughout the album instead of pushing it into just a few tracks.

Production wise once the needle crackles and the guitar licks kick in you can kind of feel where this album is gonna go and that is large. With Jase and Plutonic Lab handling 99% of the beats it should sound large and in line with both these Oz Hip Hop kings reputations it bangs. There is a varying range of production from guitar heavy bangers, Bank Job, to the keys driven ‘Gully’s In Town’ and the electro bounce of ‘Nothing To Lose’. Production is on point throughout the whole album.

So is Gully Platoon the next big crew in Oz Hip Hop? They will be large that is for sure, with Pegz at the helm and the hunger of Joe New and Dialectrix it is hard to not see them killing it live and getting lots of deserved Triple J love. With an album full of solid production and good flow most should enjoy the offering but it doesn’t deviate too much from what you would expect from each emcee as a solo artist whether it is topics, flows or presence it is all there from each separate emcee and as a crew the formula should only get better.

By Sam P

Gully Platoon is – The Great Divide is out NOW. The Obese Crew will be touring near you soon, with the 2009 Block Party!

For More info check www.obeserecords.com

“Talking shit with a hero of yours, that’s a good vibe,
As good as the first time you saw Hilltop Hoods live”

The first time I saw Hilltop Hoods live was way back in 2001 (when most of you probably didn’t even know Australian Hip-Hop existed). It was the album launch for Left Foot, Right Foot at Cherry Bar in ACDC Lane – a venue that holds about five people. How far they have come since then, playing to thousands at sold out shows, and tens of thousands at festivals in Australia and around the world.

I have gone to a majority of the shows the Hoods have played in Melbourne over the years, including the Big Day Out and the massive Stopping All Stations Tour at Festival Hall, as well as two or three of the phenomenal four sell-out nights in a row at the Corner Hotel in 2004.

So did I enjoy this show as much as all the others? Well to be honest, no, not really. It was the same hits from the previous two albums that I’ve already seen a number of times before, with the addition of songs from the latest album, which besides Chase That Feeling (in my opinion one of, if not the greatest hip hop song to come out of this country) I’m just not really feeling.

It was great to see Chase That Feeling live, but aside from that, I spent the most part more in awe of seeing the huge crowd all getting into it. While the show itself I could take or leave, seeing three guys from back in the day rocking the stage, and thousands of adoring fans singing along to their songs and loving every minute of it, is a fantastic thing to see. We’ve come a long way from Cherry Bar…

And the atmosphere really was amazing, with the Hoods performing with the same energy as they always have. They are consummate performers, and second to none in this country.

If you’ve seen the Hoods before, you don’t need a review to tell you about their show because you already know how awesome the Hoods are live.

And if you haven’t…well, you’re missing out on a good vibe.

By Patrick Ho

Image provided by Kez Photography.

State of The Art is availble now, well, everywhere.  For those after a copy of this on vinyl,  it is now availble for a whopping $100.00. You might want to call a head before heading down to your local record store because chances are they aren’t stocking it and you will need to pre-order. I have no idea why it is so expensive but apparently it’s been blessed by a pope and the wax is actually made from the tears of small children. Ed

THORTS INTERVIEW

G FORCE (G): Congrats on your recent release Bleeding Heart Muzik. The album is a very personal piece of work, how long was it in the works for and do you think it took you longer because it was on that tip?

THORTS (T): Thanks bro, a few of the tracks on this album were originally Mankind tracks and there are a couple that are actually remixes by different producers. I worked on this album at the same time as I was wrapping up other projects and collabs and then once the music part was done all the other shit took time you know, I wanted to plan it out and make it the best release I could, I didn’t want to rush it and just get it out there like my other releases, I wanted to put everything I had into this release and making sure it got out there and heard.

G: I will admit to following your hip hop development closely as I enjoyed the old radio frees, Field Trip, Mankind and other Hungry Humans projects and I commented once that this is exactly where I thought your debut release would sit. Do you think this was a natural progression in your style as a solo artist?

T: Word! Yeh me and my crew use to always spit live on pbs the formula back in 1999-2001, those were some fun days back then, it’s a shame we never put anything out back then though it would have been fresh! Well actually me and Dan Murphy made a cassette under the name “The Alliance” the tape was called Blak Calix but it would be very hard to find now. I have changed a lot since then though, I was a teenager and on drugs so what I rapped about back then and what I rap about now are 2 totally different things. I progressed as a person first, through life experience, getting my life in order, having a family, working hard, so yeh of coarse this came through into my music as well.

G: From these older days we saw acts such as Lost Souls and yourself in Field Trip yet we have not seen anything new from either duo only solo releases from Raven with Humble Beginnings and now yourself. Why not a full length Field Trip and what made you as a solo artist keep pushing to put out product?

T: Well basically, me and 86 live two separate lives, we recorded the Field Trip ep when I was living in Melbourne, but after moving to Geelong 86 had a family and focused more on being a father than making music and I focused more on solo tracks, we basically went our separate ways, music wise, the last track we did together was in 2007 absolute obselenc which I think is on the Field Trip myspace page. I think also we have different tastes in music and what we wanted to do so I decided to branch out and work with different producers and try different things, where still good friends but just work on our own thing, As for Lost Souls I think it’s pretty much the same story although I’m not sure if Budsa is working on anything at the moment but I know Raven is always hard at work.

G: You are influenced greatly by artists that you enjoy and seem extremely passionate about hip hop. What are your current thoughts on the Aus scene and hip hop in general?

T: Hip Hop is alive and well! Real hip hop is FAR from dead; you just have to know where to look! I am inspired mostly by American artists that I listen to and work with people like Pigeon John, Brother Ali, Atmosphere, Escape Artists, Sontiago, Living Legends etc there is so much good hip hop around but I suppose everyone has there own taste with what they like, I just like real, innovative, creative, blue collar sorta stuff. As for the Australian scene, there’s only a few artists that really interest me, I really like Subsketch, Crixus, Morgan Macmanus, all of my mates of coarse haha but yeh there’s not too much I can relate to really, not really my sound, I really just focus on creating my own music, I guess that’s why I don’t have a similar sound to any other artists in this country.

G: There is a range of production credits on the album yet a similar vibe and sound throughout the whole lot. How did you go about selecting producers, beats and how heavily did having a ‘concise, complete sounding album’ weight into this?

T: The producers I worked with on this album are all friends of mine, which is great, I basically just wrote to beats I dug and beats I dig usually gel together nicely, I am very happy with the way they work together, I dint think they would gel that easy haha.

G: Lyrically throughout the album there is a similar personal vibe. Be it through story telling or a first person perspective there is a heavy dose of honesty and emotion in there. Are these tales closed books now and what will we hear from Thorts in future rhymes?

T: Is life a closed book? Unfortunately I never really learn from all my mistakes haha I write what I feel at the time, there’s no great story really to why I write, it’s just whatever i’m going through at the time, my music is more like a journal entry, so unless I had a crystal ball I couldn’t really tell you exactly what to expect, all I can say is I will be working with some dope international producers and mc’s and my overall sound will just keep getting bigger and better!

G: Does it bother you at all that you may be pigeonholed as an ‘emotional emcee’ or similar tags and people may not peep your music because of this when obviously there is a lot more to it than just that aspect?

T: Well the only bad thing about being pigeonholed is that yeh some people might not check my music, I know that if people at least got to hear my music then they might open up to it but as for being labeled as an emotional mc haha I couldn’t care less, being real to yourself and expressing what you feel is called being a human, people do this day to day so I do it in my music. I’m not gonna be one person in real life then a totally different person on the mic, there are mc’s that do that shit and it’s not for me, It is what it is, I am who I am.

G: Your partner Kadyelle is also an emcee. Are you guys going to release anything together and how much opinions and influence do you have on each others content?

T: Me and Kady have tracks together on her upcoming releases. She has an ep with Fathom (u.s.a) and a full length album titled “silence the piano” they both should be out later in the year. At the moment we have songs together on her stuff and mine but nothing in set in concrete about doing an album together, I think my brother Esvee is first on that list! Basically we listen to the same music and share our lives together so in that aspect we have lots of the same influences but when it comes to writing and recording we do our own thing, don’t sleep on Kadyelle! She is diggity dope!

G: You have moved around a bit the past few years and had some life changes, did this impact on the topics you were writing about and put hip hop to the background a bit?

T: Well I have only had one move in the last 6 years so it hasn’t impacted me greatly creatively but yeh life changes, I have had a huge life change recently with the arrival of our little boy Isaiah Malekai and moving over to Bunbury w.a with my family that has definitely put my music on hold for a little bit, just trying to find myself here and get settled with a good job which I still haven’t done yet but once that is done im sure I will be able to get stuck into my music again.

G: You and Esvee vibe really well on the album and on past works and live shows as well. Any thing in the works with him and why we are on the topic what is next for Thorts?

T: Yeh me and Esvee first met back in 2005 at a show in Geelong, since then we have been best mates and made heaps of dope tracks together. He is a dope mc and a great person in general. His music is much like mine but he still has a distinct feel to his music that makes him heaps different. We gel together nicely and I hope to work on an ep or album with him sometime in the future. At the moment I am working slowly on a free digital ep with the help from Sydney producer Proph 1 who has some amazing beats! The ep is mostly filled with features with artists such as Reach (u.s.a), 1/6 (melbs), 7ravesty & Rival (Brizzy), Kadyelle, Marksman (Perth) & Morgan Macmanus (Canada/Brizzi), I’m just making this for fun and the chance to work with different artists while I’m trying to settle down. After that I have a couple of albums to work on with 2 different producers and some dope international and oz hip hop mc’s which I am really looking forward to, but that’s all I am going to say about those for now, Oh Kadyelle will also have a new clip up very soon and we will also have a clip together, both clips are for tracks off her new album so make sure you peep them once there up and if you haven’t peeped my new clip for my track “into the wind” then go have a look now!

G: A few tracks such as Sleep at Night are predominately made up of singing. I thought at times it was a bit of overload on something that I thought worked well with hooks. Can you tell us more about this style and the importance of these varied styles of hip hop to your music?

T: Well I am influenced by artists who do what they want when they want no matter what people think or say so I do the same. I sing songy hip hop so if that’s the feeling or vibe I get off the beat and that’s what I want to do then I do it. I know I don’t have a great singing voice but I enjoy doing it, that’s it!

G: There are quite a few lines spread across the album that I replay and really think they are poetic, not just a hip hop lyric. Do you explore other facets of art and rhyming such as poetry?

T: I don’t write poems as such but when I write I try to write in a way that’s poetic and not just straight up rhyming, I like to push myself to write differently each track, make it interesting you know, I think it’s most evident in my track “when it’s all been said and done” I really sat down with that one and though about what I was writing and how I was writing it and I will be doing this a lot more in the future with my new music too.

G: Thanks heaps mate. I really enjoyed the album and I think it is a solid piece of work. Any final shout outs, thank yous and the like?

T: No worries bro, glad you enjoy the release! I just want to say that I aint going nowhere! Music is my life and I will be doing this till the day I die! Peace

THORTS SOLO ALBUM – BLEEDING HEART MUZIK Is availble NOW in all good record stores. Featuring Esvee, Crixus, Class A, DJ Bogues, Amber, Mata, Must, JP, 1/6, Urban Monk & J.Waters plus production by Crixus, Saint Surly, Crytearia, Must, Simple Simon & Geko.

http://www.myspace.com/thortsthescorpion

G Force (G): Congrats on the release of the EP ‘Ritual Law’ fellas. Was it always on the cards to drop an EP after the freebie ‘Mixtaste?’

Deece: cheers dude. To be honest the original plan was to drop Mixtaste then the LP, but as always time gets away like a runaway bride. As soon as we looked like rapping up the album over a year had passed since mixtaste and we didn’t want to risk missing the stand up citizens of this scene suffering from short term memory lose. We re-jigged a few track arrangements and come up with a formula we thought would give peeps a good ear to who we are and what the LP will offer.

G: You seem to have a good idea of what you want to be doing with the timeline and progression of things. Not many artists would drop a video clip with an EP let alone having two of the four tracks with a clip, what’s the idea behind this?

D: We’re both just mad fans of a good clip and of the opinion that a good clip can give a dope track a whole new dimension, plus there just mad fun to do. We’d do a clip for every track if we had the time.

B wiv: Were also lucky to have a few hook ups that have helped us out and I’ve been able to edit them myself so we thought why not?

G: The professional and serious approach extends to the final sound side of things, using Sing Sing for mixing and Jack the Bear to master. You both have a big interest in equipment and the recording process so did getting the right final sound play heavily on your minds?

D: Fuckin oath! That’s pretty much the whole reason it’s taken us so bloody long. We’ve always been on the hunt for the perfect vocal chain and the perfect mix. We’ve had the tracks written for a while but couldn’t bring ourselves to let them loose not sounding up to scratch. We’ve constantly upped our game in the studio on a mission to get our shit to what we thought was releasable quality. We eventually got the recording down but still couldn’t get the mix exactly we’re we’d envisioned it. We did some research and got onto Tony Espie (his mixed everything from the classic Avalanches ‘Since I left you’ LP to TZU’s latest ‘computer Love’). Working with Tony in a room full of vintage eq’s and compressors was unbelievable. He used what we had already done as reference then took it to the next level. Of course Jack then tied it all together to get it to sound consistent because each track really has a mind of its own sonically.

G: Production wise B Wiv has a pretty unique style, what are your influences and how do you go about your own production?

B: Man my influences range from DJ Premier, The Rza, Nu-Mark, Suffa, Trials to Rage Against the Machine, Bob Dylan and John Lennon. I have no set way I go about making my beats, I guess it starts with the sample or a melody I’ll have in my head and then I’ll structure the beat around that.

G: Deece, the track 40 days and 40 fights is a deeply personal track. Was hip hop a big outlet for you to relieve some stresses and emotions involved with this or was this track used as a closure to the experience?

D: It’s both really. I’ve been on the mic longer than I’ve been sticking myself with insulin. Something I don’t expected people to pick up on is the fact I refer to myself in the third person up until the time I’m diagnosed in the track. When I look back on life before the needle it’s like looking at a different person. I didn’t want the track to come across like I was looking for sympathy because I’m really not. Just being in the hospital after knocking on deaths door made me realize how lucky I was. I was in a bed across from a stroke victim in his 40s who was totally paralyzed and I was kept up at night listening to the nurses trying to shove a tube down is throat to feed the poor bugger. I had nothing to whine about next to that dude and many others around me so from that day onwards whining and wasting time was over with.

G: How would you describe your sound and how it differs from other Aus hip hop releases at the moment?

D: In one word I’d say aggressive. B wiv’s production can be simple or it can be epic, but most of the time it’s just plain epic. His got a good music brain and it comes across in his production, especially when there’s no sampling involved. It’s always suited my style and helping push it. If I had to put a point of difference between us and others it would be simply that we don’t sound remotely like anyone else out there at the moment. Although I see originality as a good thing it is a catch 22 in that it has also alienated us to an extent. I reckon it would take balls to say you think B wiv Deece is the shit to your one track minded hip hop buddies haha.

G: Being brothers you probably argue at times. How does this work with creating music together? Are you honest and critical with each other on both production and lyrics and has this led to any problems?

D: You know what? I probably argue with Mr Wiv the least out of the whole crew. We grew up 2 of 7 siblings and there was plenty of arguing no doubt, but our personalities are chalk and cheese and the only reason we’ve got this far. I’ve been involved in plenty of musical relationships and this incest situation has defiantly been the most productive. I’d say we’re very honest and critical of each other but in a positive way. One of the reasons we work so well musically is because we grew up sharing bunk beds with the same posters on the wall listening to the same shit. We both know what we like and have very similar tastes, so when he goes na that sounded whack, nine times out of ten I take a second listen and agree. The other one time I slap the shit out of him.
B: Yea that’s pretty much how it is except the complete opposite haha.

G: So, from here what can we expect? A full length release and when?

D: the full length is in the can awaiting its chance to shine. At the moment we’re pushing the EP to ready people for it. We’re also sorting out all the behind the scenes stuff like lable/distro. Ritual Law is a 100% independent release but for the full length we’ll be seeking assistance to get it out to as many suckers as possible. Regardless of how we end up releasing it, it should be out late this year.

G: Maundz features on the EP, any plans for him or other features on the full length?

D: Not at this point, however I’ve just recorded a verse for his upcoming LP ‘Mr. Nobody’. For the amount of time we spend in the studio together it’s lame how much we don’t rock tracks together. At the end of the day it’s probably just that we have such different styles that rarely relate to the same beat and concept. In saying that though we’re talking about dropping a joint 12” after we both finally get our LPs out but we’ll see.

G: What else should we be looking out for from B Wiv Deece, live shows, guest spots, production credits?

D: Defiantly some shows in the next couple of months. We’re working on getting interstate as well for some launches. As far as guest verses from myself go there’s not too much on the cards apart from the Maundz LP. I guess I’ve been so busy recording that foul creature as well as mixing the whole thing I don’t have time for much else. I then of course have to deodorize the house after he leaves, it’s a lot of work but it’s very nearly done!

B: I’ve laid down some beats and cuts for Maundzs LP, he pretty much gets all the B wiv Deece leftovers haha

G: I thank you greatly for your time, good luck with the release and do you have any shout outs or final words?

D: Go out and cop it! The easiest way is directly from www.myspace.com/bwivdeece via paypal. You get the EP + postage + your very own B wiv Deece stubby holder for the bargain price of $10! It’s a steal. It’s also in local shops and on itunes so keep an eye out.

B: You can also check out our clips on Vimeo or Youtube

What do you get when you mix a little Kanye West a twist of Cannibal Tribe and a whole lot of Shepperton based grass roots Oz Hip Hop? Well, you get Homemade Bombs the Debut EP from Briggs.

Actually there is very little of Kanye West styles on this EP, in fact quite the opposite but the opening track Greetings Featuring B-Pain does include some Autotune work which is an interesting tact for Oz Hip Hop. Are you still a pioneer of a style if no one else has done it locally? I don’t think so but it actually works well in this instance and is fairly limited.

Briggs tells it how it is with Bad Move and if one look at this bloke isn’t enough to make you cross the road, well then this track surely will…[insert witty analogy here, pass me another bong please] Luckily for you Briggs and Hazard productions have given us permission to let you be the judge.

Click >> Briggs \’Bad Move\’ from the HOMEMADE BOMBS EP

My Priority Featuring Reason is a hilarious contrast of personalities. Briggs a piss head, pie eating dole bludger and Reason a hard working family man who likes to spend his spare time investing in the stock exchange.

The final and feature track Homemade Bombs (produced by Trials), is a short biography and an insight into the mind of Briggs. Struggling with adversity and being pushed around by those who thought they where better than him is something we can all relate to.

Briggs plays at the Social Change Gig at The Laundry (VIC), this Saturday 9th of May. Go cop his EP now or beg him for a copy at the Gig or check him out online http://www.airbriggs.com/

It’s not the lack of good artists in Oz Hip Hop at the moment it’s the influx of absolutely shit ones that seem to appear overnight with a desire to be the nest big thing. Fortunately for us all, Melbourne rapper G-Force has been honing his skills for as long as I have known him and while others have dropped off or given up G-Force has provided us with a surprisingly fresh take at our beloved genre.

The album’s intro kicks off with a smooth beat appropriately called Welcome (beats produced by Xcise & Dutch) and by the time the 40 seconds is up you are nearly on your feet with anticipation off what what’s on next. Stop, Drop, Roll doesn’t disappoint, the production on this track combined with seamlessly perfect flow will remind you what good Oz Hip Hop is supposed to sound like. The feature track Clouded is a track about self reflection and is perfect for playing when you need some motivation. Just when you think this Album is going to be strictly grimey Drop The Beat (ft Vida Sunshyne) is the kinda track that your missus will remember and will have her jigging around to. Fed Up (Government Funk) similarly has a dope upbeat beat but with ironically…well ‘fed up’ lyrics. (It’s going to be ok man – Ed). The next track features Hunter. Burden of Proof is a real stand out for me. The raps on this track are superb especially Hunters lines, I did feel the hook was a bit weak but judge for yourself. Whoever came up with Since We Need an Interlude haha ya funny cunt.. Skipping forward a few tracks (fuck, you need to judge some of this wax for yaself) to Track 12 Game of life Ft Maundz is another standout. Some real grimey shit and kinda makes me wanna smoke some bongs and watch graff videos. I dunno check it out and see if you think the same thing. Gonna Be Mine Ft. Doc Felix is nothing short of pure awesomeness and with a DJ like Doc Felix (Top Billin) I didn’t expect anything less. Ahhh the Outro a perfect end to a Album that’s on repeat.

G-Force Clouded is OUT NOW on Run Of Play Records and proudly distributed by Obese Records.

Seems like a long time coming for a release that everyone has been sweating on, what has been happening in the life and times of Newsense and Ciecmate since the Hospice debuted to this LP dropping?

Since The Hospice’s debut? Shit, that was like 2003 that we put out Stormwater. A whole lot happens in 6 years. Basically we have been working on our own material and poaching from it for different albums and projects, helping other people with beats and so on (mostly Ciecmate in that regard). Also there was the epic Hospice Crew ‘Visiting Hours’ album and ‘Dental Records’ compilation that took up a bit of time and energy. We’ve always got a lot going on in our personal lives, alcohol binges (mostly me on that one), getting evicted and moving houses every 6 or so months and having to re-setup the studio, plus I’ve shifted between Canberra and Melbourne quite a lot which hasn’t helped.

With the advances in technology is the fact you are based in different cities irrelevant when it comes to recording music together? Or are you the type of artists that thrive off of each others energy in the room?

Most of our back and forth shit was written together in the same room, and most of the ideas and initial work is done while we meet up for weekend studio sessions or on tour. A lot of the time we’ll take shit away and come back when we got a verse because i find forcing a verse turns out shithouse. You need to write something around whatever mood you are in. It’s been good having the separation and meeting back up, both having totally different inspiration since we last saw each other. Of course phone calls and email help a lot for trading ideas and playing or sending beats back and forth… which is kinda how the concept for linking up the album and the intro came about. It became pretty essential towards the last two or three tracks of the project having Ciecmate send up the files to me via email and hit the studio up here and get them back to him to meet our final deadlines.

What sort of feel does the LP take? Is it mood music to woo your lady to or that typical no bullshit BTE hip hop? Are you surprised at the beat choices and song directions you found yourself taking?

Man we took it back to the hospice roots on this having some really diverse topics and concepts on there. After Visiting Hours and Dental Records people may have pigeonholed us back into just that braggadocio and posse track style shit. I mean, we love that stuff and there is that shit on there but we like dropping all sorts of shit and using all kinds of beats. The topics go from like a travel track in “Men Still Moving, to a ‘From Dusk Til Dawn’ type recreational drug track in “Club Meds”, to some dark story telling on a drug dealers downfall in ‘Labarynth of Shadows’, to some less serious shit about picking up cougars at the local pokie parlour in ‘Codename Cougar’. Ciecmate’s beats have a lot more depth as you can pick up the natural refinement in his shit over time and I’ve also stepped up to the plate and pulled a few beats out of the hangar.

When you look at how far hip hop has come in Australia in terms of exposure and acceptance are you excited or perhaps is it a feeling of worry as you look around at a pure product being diluted?

It’s a case of a little from column A and a little from column B. You do have these herbs out there that haven’t payed their dues trying to be the next big thing. In most cases Australia is pretty fortunate in that most of the people that are getting a heap of recognition have been on the grind with the same sound for years and just refining it and getting their live shows popping off more hyped. There isn’t too much of a case of people switching up their shit, but a whole gang of so called artists come out wack from the start! Shit does come down to publicity, marketing, and budgets, but Aussies aren’t idiots. They can sniff out a lot of the bullshit and not support it, but it can be a challenge getting it out there sometimes. There are a few that switch up their shit, but you find that they lose their initial fan base and end up on some whole other genre and different heads at their shows type shit. So I’m not really that worried… suckers will be suckers, and innovators and the skilled will just keep on keeping on. At the end of the day if you’re doing this shit for money and haven’t got the hunger or love, you will most likely give up a year or two down the track as the bills pile up!

How does the lack of radio support for BTE releases affect the label? Is it something that even enters your thoughts when looking at the music to make or artists to sign?

For starters, we don’t really ‘sign’ people. We’ve got a full roster that we are happy with and are all likeminded friends. Shit, we have enough trouble trying to give the heads we do have with us enough time and support! Our shit is under resourced on some Somalian shit. If someone is a mate and they are working on stuff we always keep our eyes and ears open, and it’ll most likely come up casually over a few drinks somewhere what they want to do with it and if they’d like us to help. Our mates know we’re always there to lend a hand even if we don’t have the budget or schedule to put their shit out.

Radio play is always a factor if you are concerned in moving units. We get some pretty strong support across community radio and myspace, plus the internet obviously makes shit a lot easier. Having Hau hosting the hiphop show on Triple J has seen a bit of a lift as well, he’ll give a track or two of all of our different artists a play here and there. Basically most of our shit isn’t made for the masses, so we understand why it doesn’t get played to the masses. Just makes things an uphill struggle financially, but we’ll always keep on the grind!

How does the release feel to you as its creator, are you happy with the end package or are you still picking up bits and pieces you would like to tweak?

If there aren’t bits and pieces you still want to tweak when you get something out then you are either an arrogant fuckwit, or have become too complacent. As an artist there should always be shit you wanted to do or improve. I mean, I’m pretty happy with what we put out – but there was so much more we wanted to do with a few skits and more songs we wanted done… there’s a few bits and pieces in recordings and beats I look back in hindsight and wish I had time to flip. At the end of the day you gotta just get it out or it will sit in the studio for years and never see the light of day cos you will feel it’s too outdated. It’s just the nature of the beast!

The release has been out for a little while now how is the feedback going? Are people feeling the overall sound and content?

The feedback has been dope! There are tracks on there that are like 6 years old, some that are less than 6 months old. Some of them I just can’t listen to cos we’ve had them sitting there so long – but the heads hadn’t heard them yet. I was pretty much over most of the shit by the time it went to press and was a little apprehensive as to how people will feel it after its been on the back burner for so long. We’ve gotten some really positive feedback from artists and fans alike though, which has been great affirmation of the efforts we put in.

What’s on the cards next for both yourselves as a duo and the label as a whole?

As a duo we’re starting to get our tour dates booked to try and cover as many places as we can. We’ve got a few beats and concepts left over from the project that we’ve talked about forming the basis as a follow up, so perhaps in another 6 years you will get another one! nah seriously, After we’re done touring we’ll talk more about what time frame we will need to bang out another joint album and it won’t be a 6 years in the making thing again. Ciecmate & myself will both have some solo shit in the pipeline, and we’re starting to spread some murmers through the label of a Dental Records Vol 2. There’s a few artists that are always diligently working away, and heads will be happy to know that Bigfoot’s album is really coming along. I’m amped to get that one cranking, personally!

The label seems to be one of the most respected by fans Australia wide, is that far more important to you than accolades such as awards or hottest 100 charts?

Fucking oath! We don’t make chart music, we don’t try to make chart music. Radio play, commercial viability, and all that shit is the furthest thing from our minds in the artistic process. If something does get some strong radio support, that’s dope, but wasn’t really what was on our mind when putting pen to paper or sampling something. We just want to make some banging shit we like and that our peers can relate to. It’s great when shit spreads wider, but if they don’t understand what we are talking about then it kind of defeats the purpose. Having a random keeno chew your ear about how you are ‘a mega fresh rapper’ sucks balls, but having a head come up and comment to you about the way a message in a song is conveyed, something that you have done out of the norm, or generally the way you artistically did something means a lot. It’s for our peers, and most humans don’t get down on the same shit we do.

Finally some up the album in 3 of your own words….

THATS THE SHIT!

By Shane Scott

A Tale of Two Cities is OUT NOW on Broken Tooth Entertainment and availble where all good Hip Hop is sold.

Click the Image to download album or click below to here the title track “Chapters of Substance” produced by Trem.

Fluent Form – Chapters of Substance

You may know Geko from the ‘We are Animals’ EP with Raven, or from his guest spots on various Hungry Human and Crate Cartel releases. If you don’t know, wake the fuck up. Hitting us with his debut full length release, we see 18 self produced tracks where Gex brings his unique style to not only the mic but the boards.

Creating a sound for himself that floats between dark and moody such as ‘The Rain’ which sees dope use of strings and deep horns over snappy snares to the more upbeat ‘The Blood’ featuring Luke Mac, Geko has production covered. There is a diversity here that people will like; Geko has a pretty punchy aggressive delivery that is balanced out by the slick production. There is something in each beat that will catch your ear and have you listening again to try to pin point it each time. Gex flexes his production depth on three instrumental tracks aptly title ‘One’, ‘Two’ and ‘Three’ which are each different but all excellent. From massive layered sounds such as ‘No Match’, to the simpler loops of ‘Hit the Floor’, if you can’t feel this, then stop listening to hip hop.

If there is one thing our country has over others when it comes to producers who emcee, most of ours can actually rap. Geko is no exception to this, his lyrics, delivery and flow comes just as on point as his beats. An aggressive flow that hits hard combined with lyrics that reflect his up bringing and lifestyle, Geko pulls no punches as he is joined by Raven, Sesh 1, Fluent Form and Luke Mac. There is a definite lyricism tip flowing throughout the album with many multis, metaphors and structures that will impress most wordsmiths out there whilst not alienating those who just wanna here a good flow as highlighted from the kick off on ‘My Time Pt 1’; “So don’t push the pacifist that push the pencil through it’s paces”. Ranging from straight battle spits, tales from the street, to the rise of Geko himself through life we see a lot of passion thrown into a unique style that Gek rips consistently.

This is how a self produced album should sound. It has a continually developing sound base that Geko brings when his producer cap is on but it is more importantly matched when the emcee hat is on. Whether spitting or mixing Geko brings heat and The Crate Cartel is a great example of a label that has already released high quality albums and will seemingly continue to do so.

By Gareth M

Geko- The Crate Cartle is availble now from all good Aussie Hip Hop is sold or via myspace.com/cratecartel

From www.bigspin.tv have a Merry Christmas and a Happy New Year. We will be back next year bigger and better than ever.

Special thanks to Brad, Leon and Gareth for your reviews.

Big ups to the record labels and industry folk who have taken some interest in the site. We hope you like where we are heading and continue to work with us in 2009

Image in this post is courtesy of obese records.

Within the first thirty seconds of Tornts third album “Hells Burn” you know exactly what you are gonna get. Scrap that, within the first 5 seconds of deep dirty bass, strings and drum loops you are taken straight into Hell with Tornts as your guide. “Tornts Is Back” picks straight up where 2006 release “Decimation Recordings” left off.

Tornts skills still lie in his dark imagery, his lyrics capture a seedier side to the city streets and put it forward in such a manner that the listener begins to look around them and start to notice exactly what Tornts is on about. Take a line out of “Final Warning” for example “Stumbling in tuned Air Max 2008 down Smith St. / Iceheads are twisted Torvill and Deans with schemes up their sleeves”. It is here the difference between those who choose to ignore or accept what is happening around them is highlighted. Certainly not preaching but painting the picture of the real world is one way of looking at Tornts lyrical matter, “It Is How It Is” is another perfect example of this style of lyricism.

Production once again is handled by Tornts himself and he has certainly progressed on this side. Still full of obscure samples and loops but this time with a heavier, bigger bass influence. Part grimy, part horrorcore, all MPC driven head nodders. Once again crafting his own soundscape works perfectly for his style of aggressive, take no prisoner hip hop. The production also suits the other emcees that appear on the album. Guest artists venture outside of the Hired Goons for the first time on a Tornts album, although not that far. With appearances from Brad Strut and 750 Rebels the verses are just as intense and aggressive and will not disappoint those who know what to expect of these beasts. Hired Goons are represented with spots for Bigfoot, Gargoyle, Fletchrock, Diem and fellow Booze Bastard Billy Bunks.

The main difference in Tornts new album are the lyrics that go that little deeper. Whilst in his past two releases it has been all about taking aim at various people who piss him off, in this there are quite a few glimpses into Tornts and his life. “Corrupt” delivers insights such as “Non forgiving psyche/ since I was a youngin rackin slyly/ raised up in the weatherboards entirely/no life of riley”. Similarly in “Rank Tale” we get a hung over tale including mistakes we have all made “I should have turned my phone off/ who did I ring/ ah fuck/ I severed those connections/ flashbacks of heckling/ and telling them I hate them”…”Torntski you’ve only got yourself to blame”. It is almost an acceptance of the negatives and consequences of certain actions. Once again this is where Hells Burn differs from the continual onslaught in past albums.

Overall this is a Tornts album, full stop. Aggressive, hateful and gritty. However this offering appears to have a more thoughtful landscape when it comes to the subject matter of the last two. No longer is it just hippies and toys within the scene being torn, Tornts is looking around the whole fucking world to pick out what he doesn’t agree with and he certainly lets it be known.

By Gareth M

Hellsburn is distributed by Shogun Entertainment and is available now in all good record stores – Go cop it, while it lasts! Ed

Trem, thanks for your time and joining me today.

No dramas, thanks for the chat..

I understand you have been working on Fluent Form – Chapters of Substance. Tell us a little about that and what else have you been up to, oz hip hop wise etc ?

Yeah I got a beat on Fluent Forms forthcoming CD, it’s actually the title track and last joint on the album I believe… I haven’t actually worked on the release as such just the one instro…

And it kinda came about when I first decided to offload my production to the open public, for years I’ve been approached about selling beats etc. But always kept em in house for the crew, I guess I finally thought I had enough to go around and bein in between releases it was a good opportunity to slang beats to other heads in the market for my production. It was honestly a hard decision to make at first, one I struggled with a little, tussling with the notion “What If I sell a beat to someone and they completely destroy it… you know, In a bad way?”, Id actually had discussions with other producers who warned me off because this very thing had happened to them… but eventually I bit the bullet and reached out to those who’d approached me along with some other up and comers and from there the first batch of beats went like hotcakes.

Aside from Fluent Forms release I got beats on Kid Selzys new stuff, a new crew on the way called The Aphilliates, a bunch of stuff on the Kings Konnected forthcoming project/s, my boy L-Flows copped some shit, plus a few others here n there… I’m actually in the process of getting the next stash up n runnin to throw out there to keep the wolves at bay…

Aside from the Production thingy I’ve been busy with other operations ranging from maintaining label shit to mixing, since The Mahogany room shut doors I’ve still been mixing tracks n projects for heads, so that still keeps me on my toes, just been cleaning up Struts new release “The Fallout Shelter” recorded in London, organising some stuff for his other release “Rejuvenation” which with out saying too much is a remix project he’s putting together with heads from all over… And of course plotting and piecing together the Trem LP in my spare time!

What is a normal day in the life of Trem?

Hmmm this is probably best broken into a week to give you a better idea-

Generally the first half is day job steez, I’m lucky (or unlucky) enough to have a casual day job I can shift to suit music life, allowing me to work as much or as little according to Unkut Biz and how hectic it is, but as a general rule 3 days of my week (give or take) are spent there which allows me Thurs. Fri. Sat. to focus on Music be it Production, Mixing, Writing, Recording, Admin, Label shit, whatever the case may be… Sundays a leisure day… 2 years ago, even a year ago, this wasn’t in the picture, but as age has taken its toll I need a day for myself to relax, clear the head, chill with wifey, paint, go to the footy whatever…

You are regarded by many as one of Australia’s best lyricists, were you are aware that three of your solo albums have been collectively sold for over $1400 on Ebay recently?

Cheers, Ha, Yeah the releases were 12”s, we didn’t even market them as E.P’s let alone albums… just 12”s jam-packed with your moneys worth! (Keeping in mind we were sellin em out the hand for like 12-15 and wholesale for a tenner or thereabouts) And I did see that Sheer Talent one go for what, $730 or some shit??? Crazy, Delta actually rung me and said peep that shit!!! And some one mentioned to me not long later Amateurs was up for a bit too…

Did you ever think that Sheer Talent and Amateurs would become such collectors items when they where in production 10 years ago?

No idea at all, this was 10 years ago, I simply did those releases for me. I was always hellbent on droppin wax first up… it was always something i was gonna do… its the main reason why I didn’t drop product til 97 alot of that shit was more 94 stuff but I wasn’t content with rockin a tape so accumulating funds to form the label and press vinyl took a bit of time… I guess in the long run tho limited quantity pressings on vinyl are always gonna become semi valuable in someone’s eyes, As I said though, I merely dropped em on wax because to me that was Hip Hop. They have they’re little place in History but in hindsight Id be more comfortable if both 12”s were compiled and released as a tape back then, they were both pretty much recorded around the same time along with another 2 or 3 tracks so I actually had enough to drop a full length tape… woulda been a hell of a lot more viable financially back then, but maybe not so much now for the heads rakin in monstrous profits on their investment!!!!

Ive got the official numbers pressed down somewhere but it was fuck all and the cost was ridiculous. Smart business sense wasn’t an issue when it came to local hip hop then and we were all willing to part with our doe to put out music… Put it this way, I never made $730 off the entire run…

With that in mind, can we expect anymore solo work from you in the near future being that there is obviously a high demand for your solo work? I hear talk on the grapevine but nothing yet? Is it that you prefer to work with other artists?

Yes you can. To say a Trem solo is overdue is an understatement, and I can’t thank the fans enough for the patience they’ve shown in waiting for it… But anyone who knows me knows these things- When we kicked off L.C that crew became my life… I devoted more of my time to the crew than you would to your own new born, to our hustle and music, everything. I’ve always enjoyed workin in a team environment more than a solo one… I love team sports, cricket/ football etc, fuck golf n tennis. So I put the crew and the crews projects first, then when I saw what Strut had cookin with his second solo I loved it, believed in it and wanted to be a part of it so when we put the L.C stuff on hiatus I gave everything to The Legend Official release and the mix-tape preceding it. So with all this going on, my own solo gets pushed back further and further, but thats all good, Im not blaming these releases, that was my choice, but I’m just relaying these points to the punters who think I’m a slack fuck. Ha… So then I state Im not gonna be involved artistically with any other Unkut product til my solo is done, thats something I put on myself, but still cant help but say to Strut “shoot the recorded files my way and I’ll do a clean up/ initial mix of your new project!” Plus here I am on my spare days tinkering with production to sell etc instead of writing. At times I’m my own worst enemy!

Adding to this, believe it or not, I’ve never been the fastest rhyme writer on the planet, not to mention I’d probably be the pickiest…
So all in all, the solos in the works… without giving too much away about 5 tracks in.

Stay tuned for more details…

Now that Brad has moved to London and Balans is busy with his family is their any future for LC? Rumor is that you guys have officially split up ?

Nah we haven’t split up, we family. As I said before tho, we put crew shit on hiatus for an undetermined time tho to focus on other stuff including solos etc. Like you said, Struts in the UK getting busy, Bobs takin care of his family, you know doin exactly what a man should do… And I’m on a never ending quest to eventually smash out this fuckin solo! So there’s valid reasoning for the Crew to be on hold for a while… At some stage I’ve got to get this LC DVD eventually out too! But yeah we always on each others product and Id like to think shit will come full circle eventually where we can all be on the same plain, meet minds and build a crew album to end all!

What are some of your favorite artists to work with either beats wise or mc’ing?

I’ve pretty much enjoyed working with everyone I’ve had the opportunity to over the years… I mean I don’t get out there and jump all over dudes tracks n shit, but the few I’ve worked with have all been on point. I love workin with Strut prolly most of all, when it comes time to do our thing we just seem to click… When I push beats his way he spins me out at times with what he comes with, then when we hit the studio, it seems simple and enjoyable, from an engineer’s perspective that is… He’s straight pro, knows the routine back to front and I feel I operate along the same lines so we vibe a bit then bang, smash shit out easy peezy. He use to lob to mine and do like 2-3 tracks a day, plus you know were like brothers so we are straight up with one another…
It was a mad experience when Q Unique swung past the Trematorium to work on Murderous, that was a highlight for me, just to see how they were doin it in BK, like I said most heads Ive worked with have been dope at what they do. On a beat front, Im cool to rock on anyones beat if it gets me goin… Im really feelin Beat Butchas shit at the minute, hes got a bunch of shit on my solo, Ive put the word out there, if any heads have beats shoot em my way for a listen Im compiling the remaining tracks for the album!

Who are your up and comers you would like to work with or work more with?

Yeah you know It’s always hard to work out… I guess I kinda got burned once so am a little more sceptical bout givin Trems touch to the cause… This was also something I had to juggle when it came time to sell beats to possibly rappers I’d never heard before… But on that I been lucky (and also a little strategic) that those who’ve blessed my tracks outside the fold have been on point so far! I’m working pretty tightly at the minute with my boy Stricknines crew –“Kings Konnected” without blowin too much smoke up they’re ass, I really feel they’re on the right path, hopefully they stick with it. But with the knowledge I have of what they’ve got in the works, I’m actually slightly amped about it, hopefully everything falls into place for them. Theirs a bunch of semi established, yet still new to the gamers I’m watching, but we’ll see where they head next… I’ve done bits and pieces of work for bunches of young bucks comin thru and to be fair, a chunk of them really do have varying potential, I guess its whether or not they capitalise on that potential and more importantly it comes down to what they see fit and where they wanna head with their music. What I see as dope isn’t everyone’s cuppa…

What is the future for Hip Hop in Australia? Do you see it getting stale? How do you see it evolving ?

Who the fuck knows? It’s certainly been a see-saw for the past 5-6 years. I guess leading up to its explosion it was a lot more stable, you know, you new what you were getting and only the strong survived, or even attempted, you’d get shut down quick for bein half arsed no doubt. I wouldn’t say it could get entirely stale as far as the music being made, but I think its heading towards a stalemate as far as how far it can go, whats next, has it hit its plateau etc… Although we’d all love sales to exceed and make proper doe off it, I personally think, if it hasn’t already, it’ll scale back to something like the days of old… Its gotta… bandwagon jumpers only stay on for a bit, then when they see its not all its cracked up to be, they leg it… Dwindling sales won’t allow labels etc to invest time and money into wak product and wak artists who expect everything to be done for them won’t bother with it any longer. True heads in it for the music sake will keep on keepin on, and those true heads lucky enough to maintain a loyal fan base can hopefully continue to pay to press up quality product and maybe have a lil left to grab a couple records a pizza and some beers…

Is their anything in particular you hate about hip hop at the moment ?

I have my moments where I hate heaps, but then i hear those diamonds in the ruff and get excited again… ha… I’m a jaded fucker tho…

For future Trem and LC updates please check out :

www.unkutrecordings.com
www.myspace.com/tremlccrew
www.myspace.com/unkutrecordings
www.myspace.com/lyricalcommissioncrew

Trem Portrait by- Linz – www.thekingsapprentice.com

Ultramagnetic Bronx Emcee, Tim Dog, supposedly owes Obese records owner ‘Pegz’ 3 Large. And Pegz wants to fight him for it. Tim Dog who rose to fame with his release of “Fuck Compton” back in the earlies 90’s due to his despise for the gangsta rap mentality that had been brought about by NWA and the apparent lack of love from record executives, will apparently be back down in Australia later this year. I have no further information on that gig at this time. Pegz posted his message last night on ozhiphop.com but it had mysteriously dissapered by this morning. Maybe it was a joke or maybe he remembered revenge is a dish best served cold. Either way if something was eventuate I don’t think their would be any doubt in punters minds on who would win this fight. An aging rapper or a rapper in his prime?

My money is on Pegz $1.03-$3.90. Comment is being sought from both parties.