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.

With much speculation over the past few months about the future of Obese Records and Hilltop Hoods relationship, It looks like fans can put there worries aside as it looks like Hilltops have found a new home at Golden Era Records. While there was no public announcement from either parties it looks like they have parted ways mutually. Obese will continue with it’s rostered acts less Hoods, Funkoars and Downsyde and focus on Spit Syndicate,Muph and Plutonic and Pegz of course I am sure there will be more up and comers in the works.

It appears Hilltop Hoods have gone back to basics and started there own records label. But can anyone really be surprised by this? It looks like the Oars will now be signed to this label as well. Time will only tell how these fellas progress. But I think it is safe to say they won’t have any problems having gained a vast amount of experience over the last few years and knocking heads with world artists. The hoods recently played at the Glastonbury festival in the Uk alongside a shit load of other big acts I can’t be bothered looking up at the moment.

Visit the new Hoods online home here – Golden Era Records http://www.goldenerarecords.com.au/

There’s nothing I can’t stand more than fuckwit writers whose opinions I don’t care for. Normally this is due to there lack of understanding of our culture (hip hop) or the fact they pander to either one side or another. This blog will cover everything Australian Hip Hop wise and a little bit of overseas. While It will mostly be underground shit a little commercial may sneak in, probably when I find something amusing or feel like paying out on it. You can expect interviews with Aussie artists and articles from myself and other artists I can convince to share there opinion.