Billy Bunks

Billy Bunks is a character. There are no two ways about it. Melbourne’s resident rapscallion regularly resounds foul, alcohol-soaked raps over the grimiest of beats. His latest offering, Spit And Gristle captures the essence of this deviant individual through 13 filthy tracks and one Gargs remix. But scratching deeper than the sordid surface reveals a particularly charming sense of humour, unique flow and an ol’ fashioned willingness to tell a rip snorter of a story. Parental guidance is probably advised.

Spit And Gristle is certainly a long-anticipated release. Why the wait?
I’d like to say its because I’ve got billions of white hot irons in the fire. In between working full time, I’m currently finishing my fourth novel, learning a 5th language and in training for one of those birdman competitions where you jump off a bridge, but that would be a filthy fly blown lie. ‘Lazy bones’ is the main reason with ‘couldn’t really be fucked’ coming a close second and ‘got better things to do’ bringing up the rear. Better things to do, being of course, sit around.

Have you been satisfied with the response to Spit And Gristle, Were you even looking for widespread attention or is that secondary to making the brand of music you believe in?
Yeah I’ve been getting good feedback from people, which I’m glad about. No one wants to put out an album and have every man and his pooch tell them its worse than a wasp up the knob. Although having said that, I can’t say widespread attention is what I was after. Do I even have it? I dunno. I just make the kind of shit I like to hear, I think. I mean, fuck its piece of cake, I merely write down whatever’s going through my head when I’m gripping that rank bic in my disgusting, greasy, nostril fresh finger tips and ramble it off on a beat. So easy.

Can you give an insight into the recording process of the album?
Why sure, I’d be delighted in indulging in telling the general public the hidden secrets that have made Billy Bunks a multi-foil selling artist. Nostril fresh fingertips grab bics and write raps. Beats get sent from Brisbane’s Nick One. Champion of the people Bunks records raps over said beats at Broken Tooth studios in Melbourne. Nick gets the accapella files, fucks around with the beats, a bit, then Ciecmate gets that shit back and gets it ready to publish. So awesome. I’ve got a boner just thinking about it.

Was it a conscious decision to have one producer, Nick One, to handle all the production or were other producers originally going to be involved?
Yeah, well…. Nick had heard some of my 100% lyrical rap attacks on some shit somewhere and had sent me some beats to see if I wanted to do an mc killer hot 16 to da max rap attack on some shit he was working on at the time. I liked the beats he had sent so asked him to send me more. Are people actually interested in this shit? So he sent me more beats which, I liked. They made me want to write, so I asked him, more or less, if he’d like to produce the whole album, to which he agreed. I mean, don’t get me wrong, I have many of my favourite producers at my disposal, Tornts, Ciecmate, Trigga Trials, Joey Gargs, D.J Name Drop and so on, so I didn’t really need Nick One, per se, to do the lot, but I liked his sound, and I think it worked well.

A lot of the concepts you cover are repulsive, to civilised society at least, is this a style you have purposely crafted?
Drinking, women, mucking around, perversion….. it seems to me, mankind embraces these subjects without a worry or a care. Civilised society however, which is what an arrogant section of mankind likes to call itself, like to think they are above all these carryings on, these tasteless escapades and dalliances. I say to you, that despite their denials, not only are they not repulsed, they are in fact indulge in the goings on and vices mentioned. Good old fashioned get you kicked out of Eden indulgence, if you will. As for throwing shit at each other, you only need to look at our closest living relative, the chimp. Fling that shit. So to answer your question, I guess I did craft my style around a few of the many aspects cunting humans can lay claim to. How does that sound? Worlds worst animal.

Are all the stories you tell personally experienced or is it left to the discretion of the listener to distinguish between fact and fiction?
Besides Filthy Man, the stories and shit on the album are either true or largely based on actual events. Obviously theres a bit of dramatic effect used here and there, like ‘where I fucked her in the park now the grass don’t grow’… in actual fact it was merely a couple of willows that died, there’s still some grass in spots.

Is alcohol an essential ingredient in your lyric-writing process?
No way. Not a fucking chance. I have never written a song drunk nor hungover, not so much as a single line, and I will not, shall not, can not, ever EVER will. How dare you insinuate such absurdities. Performing live shows drunk is an equally preposterous notion.

On Devil’s Clay, you rhyme about slinging shit at strangers, what inspired you to cover such a subject and later, make a filmclip for it?
One time I was drinking on a roof because it was a nice day and a good view, but far too much effort to climb down. I climbed, I shat, I flung. To be honest I wrote the track as a fuck around, muck around kind of thing, and decided to record it for a laugh. I didn’t think it’d get this much attention. The clip wasn’t my idea, someone in Brisbane thought of it and wanted to do it. I was like ‘I hope I don’t get remembered as the guy who did the throwing shit at people track’. But that’s cool, not long ago I didn’t want to be remembered as the guy who wrote ‘Dr Suckbooze’ and ‘Legionnaires Cap Gangstaz’ before that. So who knows whats around the corner. Hopefully now I’ve got a few rank waxy ears leaning this way for my next move.

Did you receive any confused inquiries from passers-by during the production of the clip for Devil’s Clay? Any stories?
Not that I can recall. I think the cameraman strained his sight for focusing too close and had too look at something far away for a while, and maybe some birds were looking a bit too pecky at one point. I was drunk most of the time. 750 Rebels are a pack of untrained beasts.

Can you breakdown the ideas behind the track Hookers?
Its more or less just about how rap these days has grown fruitier with its popularity, and its starting to sound less like how it was when I got into it with that grimey 90s feel, which to me is where all the appeal is. After all, it is street music that’s spilled into the big flash recording studios, so unfortunately you get all these fucking so and so’s trying to copy that boom crash opera overproduced pantomime bullshit, when in actual fact, you know, they’re from round here. The cunt lives down the road, he buys mixed lollies from the same shop I do… whats he sounding like that for? The Bay area has a sound, New York has a sound, Melbourne has a sound, so does Brisbane and so on. I don’t want to sound corny, but really this shits about representing. Are you representing you and where you’re from, or are you representing a fairy tale?

You lament the perpetual absence of an ideal lady on the track Strumpets, describe the perfect woman.
I dunno. A good cook, who is smart and good for a laugh. Preferably brunette. Nothing large and towering. Not into hip hop, ha ha. Looks and smells good. That’s not too much to ask is it? Oh yeah, and none of those stoner bitches who call you ‘man’ or ‘mate’, all dribbling with like, a dreadlock with beads…. ‘whaat are ya doooin maaan?’ tuckin that rank flea ridden wick behind their ear. Vile. Rocking that rank knitwear. Get out of here.

Your role-model ‘credentials’ are presented on Tell The Kids. Could you condense your advice to future generations into one sentence?
Jesus, what about…get interested and involved in the world, however you want, ‘coz that’s all there is.

If someone were to examine the life of Billy Bunks thus far, would there be a specific point where ‘it all went wrong’-so to speak? Was this point being introduced to Hip Hop?
No, I don’t think its all gone wrong at all. Certainly not because of hip hop. That’s done nothing but given me something to do, a fuck load of good times, a common bond with mates all over the country, its had me all over getting blind and having a ball, and more. I think it encourages people to be proud of what they can do and stick up for what they believe in, which is why it gets my goat when you see all these fake fruity cunts pissing in its face. I’m pretty happy with my life, I’ve got good mates, I have a laugh, I got an income, I can get a feed when I want one, throw one in now and then and I’m right. Of course we all want more from time to time, but by and large I’m happy with the way things have gone and are going. Once you accept the fact losses and lows are part of the deal, its perfect. You know, Spit & Gristle isn’t a fully comprehensive insight into me, its just one part I’m letting cunts have a look at. If you don’t know me, its because that’s how I want it. I’m not one to flop it all out in the public arena. I assume of course that you’re referring to the sookier tracks on the album.

And finally, what is your poison of choice and why?
Look, I’m not a man of fine and fancy tastes. I’ve never been one to pick the pheasant with the pigeon liver pate. I don’t own a stable of only silver stallions. Most of the cutlery I’ve eaten with has been made of steel. Get me a Carlton Draught and I’m happy. A long neck, coz there’s more of it. Brought down to me on a platter of the finest sterling silver trimmed with black rhinoceros ivory and inlaid with rubies and gems, accompanied on its descent from above with the heavenly trumpeting of Gabriel himself, and I reckon that’d pretty much do me.

Billy Bunks, Hired Goons, Booze Bastards…. The Gargoyle is coming.

www.myspace.com/billybunksbte

Billy Bunks - Spit And Gristle

Local larrikin Billy Bunks has teamed up with Nick 1 to present his alcohol-soaked, solo LP Spit And Gristle. With his uniquely distorted sense of humour and consistently inebriated perception, the Melbourne MC explores somewhat more unpleasant concepts generally frowned upon by society. Having said that, this is the essence of Bunks’ persona-a debauched, moral antihero. Examples of this supposedly repulsive individual’s twisted thoughts include: Hookers, Devil’s Clay, Tell The Kids and Filthy Man. Barnacle Bill’s black humour is ever-present on this 14 track offering.

It becomes apparent from tracks such as Devil’s Clay that Bunks simply does not entertain an interest for accepted lyrical concepts or certain schools of thought and style in Australian Hip Hop. He rhymes about literally slinging shit at unsuspecting strangers from a rooftop. The beat moves along nicely with a funky guitar loop and an understated string section. Nick 1 completes the track with some expert scratches. Interestingly enough, Devil’s Clay is the first single from Spit And Gristle with an accompanying filmclip. The moral deficiency of Bunks is clearly evident on Tell The Kids, a track highlighting the qualities not to be emulated by children. Nick 1 provides an eerie soundscape propelled by some fast-moving drums. Bunks deftly flows over this offering with ease, advising the kids to ‘…eat their leafy greens/and watch the streets coz their deep with fiends/the bottle’s got me/watch the laneways/packed with fiends with a cheap disease…’ Spit And Gristle takes an upbeat turn with the track Take The Bus. Nick 1 facilitates this change with a playful piano sample that contrasts with the remorseless theme of the lyrics. Bunks potently recounts a decisive dismissal of an anonymous dame he shared the previous night with. He thinks so lowly of her that she is told to ‘Take The Bus.’ It is a brief tale at one and a half minutes but amusing nonetheless as Bunks describes his disdain for the woman-typified by his soiling of her handbag. Take The Bus is an entertaining anecdotal track. Truth or fiction? You be the judge.

The first impression of Spit And Gristle is that of a typically aggressive offering from Melbourne’s resident booze bastard. But a deeper listen reveals a thriving humour and ability to tell an amusing story. Nick 1’s production is top notch, complimenting the contorted ideas often presented by Bunks. Spit And Gristle isn’t going to appeal to a wider audience through media such as Triple J, it isn’t going to rise to widespread acclaim but that isn’t Bunks’ intention. It is obvious he is content making his own brand of music regardless of other, less abrasive tendencies. This quality makes Spit And Gristle well worth a purchase.

http://www.myspace.com/billybunksbte

Hilltop Hoods - City Of Light

With each new milestone achieved by the Hilltop Hoods, the question of how did such a degree of success come about invariably arises. The Adelaide trio have transcended the expected parametres of accomplishment in the local Hip Hop scene and now constitute a valued niche of contemporary Australian music. It is an intriguing evolution that now resembles a formidable juggernaut encompassing fresh ideas such as ongoing collaborations with the Adelaide Symphony Orchestra and soul outfit, Lowrider. The apparent plateau of their success, the release of The Hard Road and The Hard Road Restrung projects, is exhibited in their latest DVD release, City Of Light.

The City Of Light DVD opens with Suffa sincerely describing the family affair behind the production of the track City Of Light. It is this insight and depth which remains throughout . The description of City Of Light provides a neat segue into the opening credits which feature beautiful moving shots of the Adelaide CBD interspersed with graffiti footage. The aforementioned depth of description surfaces again as the Hoods detail the processes behind the making of key tracks on The Hard Road album. Most amusingly, Debris describes the origin of the main sample for Clown Prince, recounting an anecdote most would be aware of. Debris also goes on to explain the equipment of X-Bred Production Studios and his constant thirst to maintain an advanced sound. One of the most interesting facets of this documentary is the interview with illustrator John Engelhardt who explains the development of the Hoods’ character Armageddon from the original concept to the advanced devices he now uses. The detail and layering of the artistic process is really impressed upon the viewer in an accessible manner. The entire documentary is presented in an engaging format in that each filmclip is examined and broken down into the concept and the elements which contributed to the final product which is then shown following the interviews with the animators and directors. It is this final touch which allows for observation of the clips in a different light than that of merely seeing them without the context of the interviews. Similarly, key tracks off The Hard Road are dismantled to the point of the original sample and explained both lyrically and musically. The Stopping All Stations tour is efficiently described by Debris with “…the Stopping All Stations tour was the most challenging tour to date…for our livers..” His casual evaluation precedes the vast collection of footage and interesting array of anecdotes that follow. One of the highlights of City Of Light is its treatment of the entire Restrung project from conceptualization to the incredible launch at the Adelaide Entertainment Centre. The interviews allow a sense of depth as those involved describe their experience as part of the project.

It is interesting to note the title of the Hilltop Hoods’ latest DVD release, City Of Light, this is indicative of the film’s secondary purpose of paying homage to the trio’s hometown, Adelaide. This documentary presents their phenomenal rise with a prevailing sense of humility as if they compiled it in their early days, just eager to show people what they do and how they do it. City Of Light is cleverly constructed and guided by the use of visually-stimulating moving graphics prior to a new chapter. There is obvious development in comparison to the Hoods’ previous DVD, specifically, the interviews are far more substantial and this is emblematic of the comprehensive quality of City Of Light.

Chasm - Beyond The Beat Tape

Sydney producer Chasm has an impressive resume. Many would have first heard his name following the subtle release of his debut, self-titled EP in 2004. This fanbase grew substantially grew in 2005 with the release of his critically acclaimed Cyanide Tip 7″ which also showcased the talent of Melbourne MC, Mantra. But the venture most will readily associate with the innovative producer is his production pairing with Sir Robbo in Elefant Traks’ powerhouse Astronomy Class. The dub and reggae of their debut LP, Exit Strategy, is a somewhat more understated component of Chasm’s debut solo LP, Beyond The Beat Tape.

One of the most enjoyable tracks of Beyond The Beat Tape is No Matter What Man featuring Sydney’s Urthboy. Chasm comes through with an intriguing concoction of sounds propelled by a prominent kick drum. An intricate guitar sample lies beneath and is balanced by the inclusion of a foreign-sounding horn sample as well as a subtle harp sample. Lyrically, Urthboy explores the concept of not allowing past discretions to influence personal attitudes towards both the present and the future. The title is based around his mentality of not allowing such a process ‘no matter what.’ The broad idea of the track is to demonstrate the futility of dwelling on prior adversities. Vicious Circle featuring Ivens and Muph is equally entertaining, not least because of the spectacle of hearing Ivens rhyme over a decidedly cheerful beat. Chasm has constructed an alluring, sunny atmosphere to contrast with the more sombre social themes of the two MCs’ lyrics. Musically, Vicious Cycle is a definite soundtrack to the concluding days of Summer. Dreamcatcher is easily the pinnacle of Beyond The Beat Tape. Chasm seemlessly fuses euphoric horn sections and dub-stained keys and the results simply shine through, communicating a commanding sense of optimism ably assisted by the equally beautiful, upbeat vocal stylings of Juanita Tippens. She lends a touch of class to the already-magnificent track. Lyrically, Dreamcatcher is essentially a testament to the personal construct possessed by everyone, the aspect of life that provides inherent inspiration and an uplifting influence to effect positivity in one’s actions.

Evidently, albums featuring a bunch of MCs lose a stylistic and lyrical continuity owing to the mix of styles and concepts presented by the spectrum of approches. This process is present in varying degrees depending on the ability of the producer tying this range together. Beyond The Beat Tape is an album which defies this process and exhibits Chasm’s skill and class in displaying his amalgamated style that simply works oh so effectively. Beyond The Beat Tape is a bright start to 2008 for Australian Hip Hop and Obese Records.

Note: Due to technical issues on the part of Certified Scribe, the cover of Beyond The Beat Tape is currently unable to be displayed.

http://www.myspace.com/chasm1

Rhythm And Poetry

Brendan Hay’s documentary film, Rhythm And Poetry opens with an aesthetically pleasing menu and an engaging, excellent score from M-Phazes. These visual and sonic elements establish a standard to which the remainder of the film does not waver. Comparatively, there has been a spate of recent films which have sought to document the ever-emerging culture of Hip Hop in Australia. For as many attempts, there have been as many degrees of success. It is evident that Rhythm And Poetry figures at the top of this pile.

The aspect in which Rhythm And Poetry excels above other similar films such as Words From The Street is the historical context it vitally provides. It is this context which allows a far stronger sense of direction and purpose for the film rather than a bunch of simplistic perspectives of the role Hip Hop plays in artists’ lives. Hay has explored the graffiti and breakdancing-oriented grounding of the Australian manifestation of Hip Hop from the 1980’s. This exploration of the humbler roots creates a medium for the interviewed artists to reflect on the stronger sense of community present in that period but also the inherent division that occurs with regards to values. This clash of values is no more acute than the played-out accent debate. Hay has provided a balanced set of perspectives, certainly far more than usual, by interviewing several who use, or advocate the use of false accents. However their arguments are somewhat flimsy in comparison to Danielsan of Koolism or Rivals, the latter of which recalls a conversation with DJ Kool Herc on the issue. One criticism that has and could be leveled at the filmmaker is that of placing an overbearing significance on the debate in Rhythm And Poetry. However it is merely emblematic of how much the scene has grappled with the matter and since the film is exhibiting the scene, the time spent covering it is justified. It is the accent debate which is so tightly entwined with the Australian sense of identity, especially when the scene isn’t perceived as valid by certain American counterparts. Personally, the words of those who were around in the 80’s, those who first decided to adopt the Aussie twang, those who pioneered the unique Australian identity will forever ring true, regardless of the direction Australian Hip Hop takes.

An issue which many of the recent Australian Hip Hop documentaries have suffered from is the ambiguous treatment of the immediate future of the culture, what growth that will eventuate from the ideas presented throughout the film. No substantial, decisive stance is taken by any of those interviewed towards the latter stages, other than the vague idea of growth in general. Despite this uncertainty, Rhythm And Poetry steadies itself wonderfully throughout with the regimented inclusion of relevant and meaningful quotations from significant tracks. The scope of Rhythm And Poetry is audacious and it certainly does an excellent job but covering the intricacies of a 20 year-old culture is a difficult task in just over an hour.

www.rapthefilm.com

2007 OzHipHop.com Awards

As it turns out your’s truly has been nominated for Best Hip Hop Journalist/Writer in the 2007 OzHipHop.com Awards. If you feel like showing some love, click on the following link and cast a vote my way.

http://www.ozhiphop.com/forum/viewthread.php?tid=87348

Cheers!

Red Tape Renegades

The Red Tape Entertainment collective dropped one of the tightest releases of 2007 with Red Tape Renegades Vol. 1-a booming collection of 13 tracks from the Queensland crew which consists of local stalwarts, The Optimen, explosive solo emcee, Robby Balboa and up-and-comers, Pure Product. To kick off 2008 for Certified Scribe, here is a recent interview with those involved on Red Tape Renegades Vol. 1. K-West speaks for The Optimen whilst 4th Degree represents Pure Product. Oh, and there’s Balboa too.

The Optimen

How was Redtape Entertainment developed since the release of Boomtown?
K-West: I guess the largest difference has been the solidification of the roster. With Balboa and Pure Product on the label now, it has driven us further to work on making the label something important in the scheme of independent hip-hop music in this country. We’ve now got a real logo too (word up to RealsOne) and have upgraded labs to the new Space Ghost Studio, where Sammsonite lamps on most days of the week. I guess, in short, the vision has been realised a bit more and I think it’s fair to say we’re all sort of aiming towards the same sort of thing with the label. We’re not trying to take over or make it our full-time job or anything, but we also don’t want to let that stop us from making our releases as good as we can.

What was the line of thinking behind releasing a compilation LP?
K-West: We decided to run with the Renegades compilation for a few reasons, but mostly to gain some exposure for the new crew, Pure Product, in lead up to their full-length debut, Eviction Notice, which is dropping in a couple of months on Red Tape, and at the same time to get people excited about Balboa dropping an official release of his own. No question, Balbovitch came through and killed it on this one, so anybody who gets down with Balboa’s goonism should make themselves aware of his wrath. We also knew that it had been a while now since Boomtown dropped and we didn’t want to have to rush our upcoming release in order to put something new out there, and this seemed like the ultimate compromise.

In the booklet for Red Tape Renegades Vol. 1, there is a photograph of a big pile of equipment. Was this purely to visually represent all the influences on your brand of music?
K-West: I guess that’s a pretty good way of looking at it. It’s sort of the kind of paraphernalia that our lives have revolved around up to this point, and even if those of us responsible for graffiti and other forms of vandalism and crime have chilled a little on those aspects of their lives at this time in their lives, it still represents where our heads are at and it also serves as a way for us to motivate anyone out there that’s into the same thing to get active. Plus we think it just looks pretty ill too.

Do you think that the Queensland scene is slightly slept on by the southern states? What affect do you think Redtape Entertainment is going to have on this perception in the near future?
K-West: It’s really hard to say. It definitely felt that way a few years back, but there has been some level of recognition at least since things like the release the Boney and Stoney EP, the formation of the 750 Rebels and the Coalition Crew, Lazy Grey’s solo LP and also Boomtown, but on a more local level I guess there is a lot going on in Queensland (and not just in Brisbane) that interstaters would benefit to know about. Class A Records are a good example of this, with Clinic, Proclaim and Stricknine and KingsKonekted (who feature on the Renegades compilation) both killing shit on the local scene. But it’s just a matter of a time, I guess. Hopefully Red Tape can continue to push Brisbane to the forefront of underground Australian hip-hop, but at the same time, we’re just trying to promote quality music. We’re as interested in working with people all over Australia as we are with people in Brisbane.

Can you briefly describe the acts you have signed to Redtape Entertainment so far?
K-West: Sure. Balboa is that barbaric battle rapper you’ve come to know and be confused by. You either love him or you’ve just been loved by him and you now feel ashamed while reaching for your wallet. But he won’t accept your money, so set that thought to mute and count backwards slowly from 100 while he places a mask over your face and gets your head open like Tony Robbins to the beat.
Pure Product are emcees Marvel, Tendancee and 4th Degree and DJ Butcher, and they’re pretty swell… I guess. Haha. They’re a team of hungry young motherfuckers that are bringing an intensity and technical ability to this hip-hop thing as much or more than anyone in Australia right now, so look out for their Eviction Notice album when it drops. Boom!

Robby Balboa

You have kept a relatively subtle present in the scene up until now, featuring on 4 tracks on Red Tape Renegades Vol. 1. Is this all part of the build up to a solo album or new group venture?
I don’t give a fuck about the scene. The scene is toy as fuck. Every cunt raps now and every other cunt that raps has a mate that wants to rap. I don’t go to shows much anymore because everytime I hit a spot I have some Hep C-having mother fucker spitting syphilis into my face. That shit is wack and shows half of these new breeds have no manners. I am a gentleman deep down and although I have been bad I still open doors for women and I’m laying off the booze which means less of me trying to fuck your girlfriend or your little sister or whatever I was trying to do. I fucking hate booze man. I never did none of that shit when I was on drugs. I was a fucking scholar of niceness then some yobo fuck put a beer in my hand and bang. I’m a fucking terror and I have court dates and shit. Fuck that. So yeah. In between then and now I’ve just been smartening up and kicking all of the shit so the man can’t get me for being too cool or throwing glasses off the balcony at the Uber because I am too sober and intelligent now to really stand for that. I’m a nice man and with my solo adventures I really want to let people into my world a little and show that I can take care of them.

How did the collaborations with Anonymouz come about?
I was at my parents house many years ago with the flu or something similar doped up on home made medicines and I couldn’t sleep so my brother actually put me onto this site that used to exist called Oregon Chat because he had been on there talking smack and throwing dirt onto herbs. I had nothing better to do and prior to that the only other experience I’d had with the net was at my cousins house in Sydney. To cut a long story short they closed that site down and I moved onto some msn rooms and found some mates there and one of them turned out to be Anonymouz. I didn’t speak to him again until he popped up on my msn a few years back and played me some kill they had been working on. He is a move maker so he sent Sythe over here shortly followed by his good self and we set it off straight from there.

Despite not having any releases out, you featured on the track Blue Blooded Allstars on the Hilltop Hoods’ latest album The Hard Road. How did this collaboration come about?
I guess just right time and right place, mate. From how I remember it being told to me, Mr. Trials was chilling with Hoods and they were trying to find somebody from Brisbane to rep on the track and he dropped my name and seeing as I was already down in Adelaide recording some stuff with Vents it wasn’t hard to tee up so they ran with it. Layla from that Western Australian crew Syllabolix was supposed to be rapping on that part of the beat I hit and I never got my lyrics to Suffa so the versions in the booklet is all wrong too but at the end of the day it was a cool opportunity and I’m glad I got to hit it like that so one love to all of the Certified Wise crew and everybody else I got to connect with through that track.

Pure Product

What can you tell me about your upcoming LP Eviction Notice?
4th Degree: It’s the debut album from Pure Product. There are a lot of varying songs on there, from topical and conceptual stuff to the braggadocio songs, personal shit and social commentary. We run the gamut. Production is handled primarily by the Optimen (Sammsonite and Dats with K-West finding a bunch of the samples) and our man Dizz has a beat on there too. It has some of the dopest Brisbane MC’s as features, including, The Optimen, Clinic and KingsKonekted. It’ll be out around March or April - hopefully sooner rather than later.

Can you explain how you became acquainted with The Optimen and the rest of the Redtape crew?
4th Degree: Well we first met K-West when we went into 4zzz to go on the Method Show hosted by Robby Balboa (which is where we met Balboa too) and we did some verses live on air. He offered to talk to Sammsonite to see if we could record at the Space Ghost studio–so we did. I dunno, we just recorded some songs and I guess the boys saw some potential and took a punt by signing us to Red Tape. We jumped at the opportunity because we knew the type of beats and professionalism we would be fucking with. Who wouldn’t? Now the Renegades are one big happy family, haha.

I was very impressed with sentiment behind Puppet On A String. Can you describe what or who inspired the lyrics?
Marvel: No one thing inspired the lyrics to this, it was more of a conglomeration of thoughts and opinions about the music scene as a whole. I had heard this topic being explored in some songs I’ve heard and I wanted to give it my own spin and also express other issues that didn’t get said. Needless to say, I hope I got my point across…

Can you describe some other significant influences on what you write?
4th Degree: The beat and the samples its comprised of is really important in creating the vibe–if the beat bangs then lyrics come pretty easily once we agree on a topic. Our songs are about what we live–our personal experiences, love for music, doing live shows and all that jazz. Normally groups don’t really delve into personal things and keep it group oriented but I think it’s definitely a strength that we bring that personal shit to the group situation. We are good mates too so its easy to vibe off each other when we’re coming up with that next hit! Haha. But really, we’re aiming for Eviction Notice to be a solid first release–so let the music speak for itself.

http://www.myspace.com/redtapeentertainment

Renovator’s Dream-Renovator’s Dream

Renovator’s Dream are a relatively new act to emerge from the Melbourne scene, consisting of emcees Antics and Seizure. They have quietly amassed a sizable tally of impressive live shows. The pair have enlisted American producer Unconventional Science to provide beats on their self titled, debut LP. It is his beats determine the general atmosphere of the album as it takes on an understated, casual vibe that makes for favorable listening. Lyrically, Renovator’s Dream is an LP free of pretence, instead Antics and Seizure opt to articulate their unique perspectives in a comparatively relaxed fashion to that of the production. It is this lyrical and musical synchronisation which makes Renovator’s Dream an intriguingly excellent release.

Perhaps the highlight of Renovator’s Dream is the ultra-chilled ambience of Streetscapes. It is the casually insightful lyrics from Antics and Seizure which really make this track. They rhyme about the unwavering realities of city living, the processes which subtly manifest before your very eyes when walking through a generic city. It is obvious that their hometown Melbourne would have stimulated the track but it is one of an anonymous city. Common concepts and ideas. evident in any city, are touched on. The gentle guitar combined with the alluring vocals of Nina, who features on the hook, make for a well-rounded, enjoyable listen. In Pieces is another high point of this LP, certainly the highlight in the production department. Unconventional Science provides a superbly dreamy beat which perfectly determines the tone for the Antics’ romantic musings. The combination of the musical elements present on In Pieces is highly effective. Again, this includes the gifted, jazzy vocals of Nina. The beat is ideally proportioned, no sound is overdone which nurtures the flow of ideas from Antics. He introspectively rhymes about the morning after a big night in which he casually examines himself in a mirror only to shatter it with a blow. The fallen pieces metaphorically symbolise a dialogue with the interrogative aspects of his sub-conscious with regards to actions of the previous night. The mirror effectively typifies his state of mind.

Renovator’s Dream is a release which by the pair’s own admission, invites the listener to approach things differently. This could have only been achieved with diversity and vibrancy, release, qualities which are most certainly present. Perhaps the only aspect with which the LP can be faulted is at times, it could have retained a certain spark or compelling facet throughout to really capture the ear of the listener. Facets such as the vivid imagery of Streetscapes, the jilted rhythms of Sandman’s Nemesis or the raised intensity of the chorus on Lines In The Sand. Despite this, Renovator’s Dream is a wonderfully chilled collection of 11 tracks which retains a firm individuality. Definitely an act to keep your eye on.

http://www.myspace.com/renovatorsdream

Mankind - IIWII

Mankind consists of Geelong MC Thorts and Brisbane producer V. The pair have been making tracks under the Mankind banner for several years now. 2007 sees the release of their debut LP IIWII(It Is What It Is). The pair have released it through their own label, Kent and secured distribution with Obese Records. Mankind have enlisted the talent of Class A, Lost Soulz and DJ’s Bogues and DCE who all feature at various points of IIWII.

Thorts teams up with fellow crew member Class A on the track The Simple Life. The pair discuss their perspectives towards consumerism and supposed financial security. In place of these pseudo-valid concepts, they list the simpler aspects of life which are truly deserving of significant consideration. V underpins these insightful lyrical musings with a gentle beat, primarily colored by a light acoustic guitar and hard hitting drums. DJ DCE compliments the track with some adept cuts. The first sound to emerge from the track Everyday Hustle is that of a soul-soaked electric guitar. Along with an equally soulful bassline, the beat-another superb contribution from V-perfectly supplements the heartfelt themes explored by Lost Soulz MC’s Raven and Budsa as well as Thorts. The trio explore the monotony of blue-collar work with a contradictory vibrancy. The mundane and repetitive constructs of everyday living are converted into a sonically-attractive offering. A classic exponent of catharsis. The thoughtful collection of ideas of Everyday Hustle is followed by another collection of apparently excessive thoughts on the aptly-titled Too Many Thoughts.

Mankind’s level of notoriety is in no way indicative of the duo’s talent. IIWII is a proof of the all-round musical skill of V in the capacities of live instrumentation, sampling and turntablism. Thorts has composed a series of lyrical manifestations which pose questions with regards to his lack of widespread recognition. He is a seriously underrated MC and his lyrical scope displayed on IIWII demonstrates this opinion. IIWII is an intriguing and stimulating LP which deserves broader attention.

http://www.myspace.com/mankindcrew

Elf Tranzporter - Ethereal Lotus Fleet

Admittedly, Elf Tranzporter is eccentric. He doesn’t conform to a strictly conventional model of Hip Hop. But isn’t that what it’s about? Being yourself, doing something different and all of those associated clichés? It would seem that even this concept has had a set of hypocritical, creative parameters fashioned by many. Elf Tranzporter is a prime example of the results of moving beyond these boundaries, frequently being labeled as ‘hippie-hop’ or whatever bullshit that any similar halfwit can think of. Unfortunately such tags seem to determine how valued Elf’s genuine talent is, a talent which is evident on his new LP Ethereal Lotus Fleet.

Elf’s strong political consciousness is never more acute than on the track I Awoke. DJ Wasabi and Count Bounce provide a reggae flavoured base from which Elf lets forth his political ideas and attitudes including concepts such as: class struggle, capitalism, military dictatorships and consumerism. The lyrics are preceded by a very telling sample of the US president George W. Bush. Elf’s lyrics are a timely reminder of the nature of both our society and that of our close ally, America. Another high point of Ethereal Lotus Fleet is How We Roll featuring Maya Jupiter. The pair put forward their attitudes towards their involvement in Hip Hop. Again, the production duo of DJ Wasabi and Count Bounce excel, supplying a frantically-paced beat with a heavily distorted bassline and distant, reggae-tinged keys. Elf Tranzporter takes a sizable lyrical stab at religion on the track Custom Religion. Unfortunately it lingers in the ambiguous area between spoken word and conventional emceeing which makes it difficult to fully enjoy the track but that is the essence of Elf’s individuality. The depth of the lyrics manages to save the track despite a slightly uninspiring beat. Elf exhibits the purposes of religion in a modern context. He also highlights the obvious shortcomings and hypocrisies of organized religion. Lastly, he outlines his own ideas of spirituality.

Overall, Ethereal Lotus Fleet is a thoroughly stimulating LP both lyrically and musically. Elf Tranzporter’s, at times, soulful tones vaguely evoke parallels with the formula of Hip Hop and Soul employed by Mos Def. Elf displays a political consciousness similar to other, more boom-bap orientated, emcees in the local scene, only in a zanier, more eccentric way. This must be why so many find it difficult to see beyond simplistic ‘hippy’ tags.

www.myspace.com/elftranzporter