Monthly Archives: February 2012

  • Trem One - Rap Diaspora


    Since FTTOHNL dropped a few months ago Ive had the opportunity to speak alot through some great interviews, this one was also right on the money. I was asked to contribute my 2 cents to a couple questions for an article that ran in the Big Issue Magazine re. the state of Hip hop in this country. The article featured a couple weeks back and some good grabs were pulled from my interview but considering the depth of the interview alot of things I touched on obviously couldnt make the short editorial which also included other  comments from various local artists.

    With the consent of the magazines interviewer, heres the full version. It may seem a little weird to read as multiple Q’s are bunched in at the beginning of certain paragraphs. It should all make sense though as it unfolds.
    Shout out to Dan Rule again for hitting us up on the topic…

    * Basic Background 

    - Just for context’s sake, could you let me know your age and where you grew up?

     I’m on the 40 side of 30, Born & lived in Sydney’s inner west (flats & commission housing) til relocating to Geelong, Victoria at the age of about 13 and right in the midst of my mind being blown by this amazing new culture that had been exploding on our shores for the past couple of years. Just as the major cities were flourishing with the Hip Hop culture I was dragged to a sleepy hollow an hour from Melbourne and an hour by train away from the action! After a while I made connects and began regular travel to Melbourne eventually moving here.

    * I’d love to hear about your introduction to hip-hop…

    - You came up in an era in which painting and graffiti culture was still very much intrinsic to hip-hop; were those two pursuits very much linked for you?

    - Tell me a little about the transition from listening to MCing/producing

    - Did you draw early inspiration from first generation Australian crews (if so who) like Def Wish Cast and co, or do you feel your chief early inspirations were golden era NY peeps?

    My initial introduction to Hip hop was in the early 80’s whilst still in Sydney. Its extremely hard to pinpoint the very first thing that grabbed me or even to put them in exact chronological order but the combo of those first couple of Rap tracks to bless our airwaves in 83/4 along with seeing a preview of the film Beat Street at my mates dads video shop on one of them old vids that just had upcoming previews on them, and of course the buzz surrounding this amazing new book at the time that was supposedly impossible to obtain “Subway Art”, were the main instigators that come to mind.

    Mum and I were without the oldman and we didn’t have the luxury of a car, so train was usually my travel mode, therefore those early, primitive but productive tags and pieces that began to appear from our station in West Ryde to the city captured my attention as well. The culture as a whole movement really struck our shores in a big way and all the elements grabbed me by the throat. I even enlisted in Breaking classes in Parramatta! But I would definitely say when it took a hold of me it was definitely as a total movement… Every aspect of it became part of me, so the two pursuits of graffiti and the music to me seemed one. It’s actually funny when I think about it now at how shocked I was to find out some writers didn’t even listen to Rap!

    As far as my shift from avid listener to becoming a participator, it really started to manifest in about 89/90. A mate and I had put two boomboxes face to face and recorded ourselves a year or so prior after “Down Under By Law” came out but Id say by the end of 89, start of 1990 Id started to put work into writing rhymes, they weren’t for anyone else’s ears but mine of course! Then after meeting and connecting with a fellow Geelong Graffiti artist “Raise” we started talking about the local rap that had been circulating, the new AKA brothers 12” Coming Out Large was just about to drop at the time and I mentioned to him that I had a few verses Id written. I spat something to him right there on the train on the way to Central Station Records and he didn’t believe I wrote it! I had to convince him it was mine and that I had more… From there the slow process started, pause tape style recordings and eventual hookups with others in Melbourne further advanced the process, til we hooked up with heads like Frenzie we didn’t have the first clue about production or multi track recording, break beating and pause tapes was all we new. It was still years prior to me putting on my production hat, but these connects led me to learning about digging and sampling etc…

    My first inspirations were obviously US artists but it wasn’t til I heard and saw the likes of A.K.A and other local artists actually put it to practice that I figured I could expand my secret rhyme writing to a larger scale. I’m a fan first and foremost and the thought of doing it was not only daunting but I always thought unless I was somewhere near what my heroes were doing then there’s no sense in airing it. I guess I saw it as an insult to not only them but the culture.

    * How would you characterise Australian hip-hop in the early days, both in terms of attitude/philosophy and community…

    - From my experience, the sub-culture of people making hip-hop and going to shows were something of a small village…everyone knew of each other and had their opinions, beefs etc. To be given any credence, you had to come up through the channels. Would you agree?


    Yeah, you’re on the money!

    Exactly that… It was a relatively small subculture; if you didn’t know someone personally chances were you knew of them. Although not everyone got along, far from it in fact, differing opinions and both verbal and physical beefs entrenched it, there still seemed to be this sense of unity in the fact that we were all working towards the same goal and for the right reasons. If you were an out and out sucker, toy or sellout, you were exposed. And the invisible guidelines were there and generally followed, paying dues was paramount, like you said to achieve any credence you had to earn them stripes via the channels set.


    * How would you characterise Australian hip-hop today?

    - It seems now that, with the vast popularisation and diversification of what might be considered hip-hop in recent years, the notion of Australian hip-hop as a genre or even community becomes problematic…

    - Your record, for example, and what comes out of Obese these days — let alone someone like 360′s record are so far removed they can’t really be linked via genre or philosophy or whatever…

    - Do you feel like you’re part of some wider Australian hip-hop narrative, or do you see yourself in terms of a smaller community of purists? 

    - Or, perhaps, do you understand what you’re doing as fitting into a wider tradition and diaspora of hip-hop chiefly from NY, Philly, Detroit et al…? 

     Firstly, I still struggle with the term Australian or Aussie / Oz Hip Hop. I don’t think I’ve personally called it that, ever. I totally see how and why it was used, and can appreciate that, but it seems like my worst fears have come to fruition with the current state of play and the people representing, using and riding under the term. I don’t think it ever needs to be mentioned, we are who we are doing our version, that’s all. Can you believe some youngsters not only, ONLY listen to supposed “Ozzie Hip Hop”, but they actually diss US rap in a manor suggesting their totally unaware that the music originated there and that we took from it and adapted our own? It’s just crazy. To me it’ll always just be Hip Hop or rap from Australia.

    Beyond the bad banner, the problem we have now is that the next generation (small pockets of knowledgeable heads excluded) don’t actually know Hip Hop from a bar of soap, or pop at least. If all they know is the garbage they’re fed and told on certain radio stations locally and the terrible crap from overseas that’s also passing as Hip Hop on the TV, how the fuck are they ever gonna know? They’re not privy to the exciting new movement I was in the 80’s,they don’t have the influx of classic album after classic album of the 90’s when it was impossible to put out music unless your talent was worthy of throwing dollars at. It’s up to all of us to teach them, or at the very least put it out there for them to see. Not enough of them want to explore the roots of the music and the culture itself and the fact its being grossly misinterpreted and misrepresented is where my biggest gripe is. Using the term Hip Hop to categorize something that besides potentially a couple words rhyming together has no bearing or relation to the music or the movement at all is ludicrous.

    I class my album as Straight Up and down Rap, Hip Hop Music, I’m happy with the terms real, hardcore or underground but don’t put me in the skip hop with the rest, please! I’m definitely a purist and at times a fraction jaded as any traditionalist would, but I never hate on people doing the kind of music they want, my discontent comes in when either the artist themselves or their label or even media go on to categorize them as Hip hop when they are far from it. Please, lets keep the Hip Hop section in the store, the Hip Hop stage at gigs and the Hip Hop reviews in media for the Hip Hop artists and releases, its not rocket science.

    * What drives you to still make records? 

    - I’d love to hear a little about what you wanted to do with ‘For the Term…’

    - It certainly describes a different side of Melbourne to what we’re used to hearing these days…

    - Everyone’s so swept up in the whole inner-city coffee-drinking garbage these days; your record describes scenarios that couldn’t be further removed…

    - The production, which is super rugged, dark and dusty also eschews current aesthetics, which are super brash and brassy and maximal..

    - What do you hope people take away from the record, both lyrically and musically?


    With regards to the album, it’s just me. It’s my rap life. It’s pretty much the album I always envisioned. It’s what I know, what I see, what I’ve done. I think it’s a real reflective and personal release that follows that traditional blueprint of a classic rap release. It wasn’t my intention to make something so removed from other stuff that’s out today, it just came out that way. There’s no doubt its got that golden era feel to it but I don’t think it sounds dated or throwback, maybe that’s just me? Minimal production with ill loops and bangin drums, straight up lyrics and cuts is rap music isn’t it? The new records I listen to similarly follow these lines as well so maybe I’m just in my own world?!

    As far as what people take from the album, I’m open, they will what they will. I certainly know it can’t be for everyone so it’s all good either way. I made it for me and the likeminded souls who feel the same; I guess I hope those who enjoy it take from it the same as I take from my favourite releases. Break down my raps like I used to Rakims, pick out the samples if they can, have an overall appreciation for the endless hours that went into not only crafting the rhymes and beats but the marrying of it all as one complete album I poured everything into over quite a few years?!

    I’ll always make records. I’ll always be doing this. I’ve done a few interviews lately and I always state the fact that Hip Hop as a complete culture found me and locked me in for life. It’s why the albums title is what it is. There’s no escaping this, I live, breathe, eat and shit the culture. You can’t escape it when it has you like it has me. I may only paint once a year but its still in my blood, I may put out an album every couple years but I’m still rhyming to myself daily, I’m still diggin weekly, my body doesn’t allow to attempt windmills at 38 but I love watchin heads spin, I play records every day. I’m still a fan first and that’s what keeps me hungry, that’s still keeps me inspired, when you lose that you might as well throw it in.

    By Dan Rule

  • Vegas Aces's First Single

    Vegas Aces

    Vegas Aces are ready to reveal their full hand and show it to the country. Day Dreams is the first single from the duo’s upcoming EP The Departure. 4th (MC) shares his daily battle between juggling ‘real’ life and what may be, accompanied  by flawless production from Cam Bluff.

    The two have refined their craft since releasing the VA All Day EP, mastering a truly unique style within the local Hip Hop scene. Not unnoticed,  Vegas Aces  have drawn praise from the countries finest as well as winning 2011’s JJJ Sprung Festival Competition to perform at Brisbane’s Riverstage.  Vegas Aces will join 360’s ‘Boys Like You’ tour during February and March, promoting their free EP The Departure. They will again hit the road in May and June with Seven and Mr Hill.

    Catch up with all there info here -

  • Hilltop Hoods Remix Competition


    In perhaps a world first, Hilltop Hoods are releasing the stems to their upcoming track Now That You're Gone (produced by Trials) BEFORE they release it on their album out March 9th.

    You’ll be able to remix/add your own sounds/or MC over the top before you’ve heard the finished product so you have complete creative reign.

    So if you're a producer or MC, download the parts from the link below, then upload the finished product to your new or existing triple j Unearthed artist page and add 'HHRMX' to the title.

    Not only could it be played on triple j radio and triple j Unearthed on digital radio, but you could meet the Hilltop Hoods backstage when they come your way on tour, plus get a triple j and Hilltop Hoods prize pack.

    Entries are open until midnight Sunday March 4th. Triple J will be playing the best tracks as soon as they are live on the site during the entry period, and will be picking five finalists after entries close to feature on the radio for a week from Monday March 12th, with the overall winner being announced on Tom & Alex on Monday March 19th.

  • Tour News- Kerser Nebulizer Tour 2012

    Kerser – Nebulizer Tour 2012


    You can’t change who you are, but you can change who you’ll be. For 24-year old emcee Kerser, these words are set in stone. Born and raised in Campbelltown in the South West of famous Sydney, the

    city sights he witnessed while growing up weren’t exactly postcard perfect – just try taking some snaps round the streets of C-town after the sun sets and see what scenes develop.

    But in dark places people shine. Blazing up from the underground thanks to a potent mix of talent, determination and the guts to try something new, Kerser is the name on everyone’s lips for 2012. He’s the rapper you hear coming from that car next to you at the lights, he’s the sound spilling out of that kids mobile on the train, he’s the guy in ‘that’ battle watched over half a million times in two weeks. He’s controversial, cocky and careless. He’s your girlfriend’s favourite. He’s the sickest.

    Teaming up with one of the country’s most exciting and original producers, Nebs, the pair have unleashed The Nebulizer, an album that has shifted the tectonic plates underpinning local hip hop, opening up uncharted territories with a fresh, new sound never seen nor heard in this country before. Rave, rap, electro, funk and r’n’b are ganged together – raw, snarling and unstrained, Kerser’s music is free to roam wherever the fuck it wants through his own razor sharp account of a life with drink, drugs, parties, violence, abuse, dreams and achievements – sometimes brutal, sometimes desolate, but always honest and always told with heart.

    As today’s kids continue to turn their back on sickly sweet, mainstream bullshit – the force of the underground backlash builds and builds. At its helm is Kerser, backed by a growing army of supporters, embracing this sound as their own and ready to back him all the way. Hate him if you want. Put down who he is, were he’s from or what he stands for. But know that this name will not disappear, this sound will not go away and that no matter what you do or what you say, whether you like it or not – Kerser is the sickest.

    Kerser is gearing up for his biggest move to date as he prepares to embark on his first national tour. Hitting all the major touch points throughout the country, The Nebulizer Tour will see Kerser and Rates mixing it up as only they know with a raucous live show plus a few surprises thrown in for good measure. Joining them along they way will be a host of friends and guest performers in what is shaping up to be a defining moment for one of Australia’s most exciting underground artists.

    The Nebulizer Tour Dates
    Fri 10th Feb – The Gaelic – Sydney
    Sat 11th Feb – The Cambridge – Newcastle (U18)
    Sat 11th Feb – The Cambridge – Newcastle
    Sun 12th Feb – The Wall – Sydney (AA)
    Fri 17th Feb – The Gov – Adelaide
    Sat 18th Feb – The Gov – Adelaide (U18)
    Fri 24th Feb – Brisbane Hotel – Hobart (U18)
    Fri 24th Feb – Republic Bar – Hobart
    Sat 25th Feb – The Espy – Melbourne
    Sun 26th Feb – The National – Geelong (U18)
    Fri 2nd Mar – Prince Of Wales – Brisbane
    Sat 3rd Mar – Never Land Bar – Gold Coast
    Fri 9th Mar – The Civic – Perth
    Sat 10th Mar – Manning Bar – Sydney w/Mickey Avalon
    Thu 15th Mar – Fanny’s Nightclub – Newcastle w/Mickey Avalon
    Limited release tickets available from – & 1300 762 545

    With selected special guest appearances from:
    That’s Them, Anecdote, Brundles & Alex Jay, Hyjack, Fortay, Tycotic, Dunn D, Prem Bedlam, Lariken, Dwizofoz, Noonie & C-Reks, 6.0 Krew, Fowl Mouth, Kaye One, New Breed, Lopez, Skae, Nhostic, Jay Dee, Gravity Ponds.

  • Australian Hip Hop Supports Canteen

    Aussie Hip Hop fraternity to gather in
    Perth to launch charity album

    Artists and music industry people from all over the country will be flying in to Perth to celebrate the release of the Australian Hip Hop Supports CanTeen album on Saturday the 11th February at the Bakery in Northbridge Western Australia.

    Three hundred lucky VIP’s will get a chance attend the national album listener party with celebrity DJ’s manning the decks and the 32-track album played at intervals during this most auspicious of hip hop nights.


    The charity album was the final project directed by the late Robert Hunter who died of cancer aged 36, a few weeks short of its release and is available nationwide in record stores and on iTunes.

    More than forty artists including ARIA winners Hilltop Hoods, Drapht, and Koolism donated a brand new track to the late Robert Hunter for inclusion on a charity album which is raising funds for CanTeen, an Australian charity that supports young people living with cancer.

    “It’s going to be strange without Hunts being there but I’m looking forward to getting together and listening to the album with all the crew.” said Layla who’s track Love Times Pie Recurring.. is receiving airplay on Triple J and indie stations throughout Australia.

    “With this many artists in one room anything could happen” said Porsah Laine, who also features on the album “Spontaneous collabs on the mikes are likely… this will be a night that we won’t be forgetting in a long time.”

    The album is proudly sponsored by MGM the Groove Merchants, Media Arts Lawyers, Streetpress Australia, and Monster Energy.

    Doors open at 8pm for this 18+ listening party. For your chance to attend this VIP INVITATION ONLY event, read X-Press, Drum Magazine, and The Wire this week and check the project website for full details.

  • New Music! Tomorrow & Everyday - Occupy All Beats EP

    Tomorrow & Everyday - Occupy All Beats EP

    Available now for purchase


    Tomorrow & Everyday - Occupy All Beats EP Tomorrow & Everyday - Occupy All Beats EP

    Tomorrow & Everyday present their debut EP “Occupy All Beats” on CD & Vinyl.

    A solid debut effort featuring a half dozen tracks with production by Tomorrow & Everyday and Rotten Produce and guest cuts by Debonair P of Low Budget, this EP is recorded and mixed by Koolta.

    Available Now For Purchase Here.

  • Mac Miller - Australian Tour 2013


    Debut Australian Tour


    Mac Miller Tour 2013 Mac Miller Aus Tour 2013

    Not satisfied with sell-out tours by Kendrick Lamar, Tyga and Macklemore & Ryan Lewis, Niche & Live Nation are proud to announce the next smash event of Summer: the debut tour by watershed Rap artist Mac Miller.

    In a blossoming hip-hop hotbed of talent, Malcolm “Mac Miller” McCormick is next up out of Pittsburgh, PA. A graduate of Taylor Allderdice High School, Mac caught the eyes and ears of Rostrum Records, inking a deal in July 2010. A multitalented musician who can play numerous instruments and a young novice of the freestyle/cipher/battle circuit of his hometown, Mac has been paving his way to super stardom in his blue-collar hometown for years. Born in 1992, Mac taught himself to play piano, drums, guitar, and bass by the age of 6. Then, after learning to compose songs in a variety of musical genres, he began studying the art of rhyme. Influenced by the styles of artists such as Big L, Lauryn Hill, Outkast, and A Tribe Called Quest, Mac soon developed a reputation for delivering jaw-dropping freestyles in Pittsburgh.

    Recording his first songs in the Fall of 2007, Mac went on to form a duo called The Ill Spoken. By 2009, Mac began recording solo records. During this time he released “The Jukebox” and “The High Life” and began to generate a legitimate buzz in the streets and online.

    By July 2010, Mac’s buzz became undeniable. With a handful of offers on the table, the young phenomenon decided to sign with independent powerhouse Rostrum Records. In August 2010, Mac released his Rostrum Records debut “K.I.D.S.” and took the internet and music industry by storm. The Source Magazine says “The sky is the limit for this 19 year old Pittsburgh native,” while HipHopDx labeled Mac as “The Steel City’s next superstar.”

    Mac was featured on the cover of XXL Magazine’s coveted Top Freshman in January 2011. The Pittsburgh Post-Gazette says “Miller’s skilful rhymes,humorous themes and upbeat demeanor are catching the nation by storm.”

    Complex Magazine calls Miller “The Steel City’s newest rap poster boy.” while

    URB Magazine calls Mac “a young emcee who is the real thing.”

    Mac’s music is also a mainstay on popular hip-hop sites such as Nahright, 2dopeboyz, Rapradar, TheSmokingSection, Allhiphop, and Illroots.

    Mac’s greatest strength though could be his ability to shine in front of the camera. Soon after signing to Rostrum, Miller was thrust onto several national

    Radio shows for interviews and impromptu freestyles, which have now become YouTube viral video classics. To coincide with his debut Rostrum free albums “K.I.D.S.” and “Best Day Ever” Mac continued to team up with hometown filmmaker/videographer Rex Arrow Films. Mac’s videos have now surpassed 165 million hits on, including 6 with 15 million plus views a piece. The success of his early street buzz and social media dominance have now transitioned Mac to sold out shows across the world with The Incredibly Dope Tour upstreaming to the internationally sold out Blue Slide Park Tour with almost 200,000 tickets sold in the past year.

    2011 also showcased Mac’s selling potential as his debut Rostrum EP, “On andOn and Beyond,” sold over 60,000 copies digitally alone. Mac has also sold over a million singles total with little to no radio airplay. His debut LP “Blue Slide Park” was the first Independent album to go No 1 in the USA since 1995 (Selling nearly 150,000 copies in the first week).

    Mac’s new album ‘Watching Movies With The Sound Off’ comes out next year. Watch ‘One Last Thing’ video

    Niche Productions & Live Nation presents Mac Miller + Special Guests

    Wednesday 20th February - Enmore Theatre - Sydney


    Thursday 21st February - The Palace - Melbourne


    Friday 22nd February - The Arena - Brisbane


    Saturday 23rd February - Metropolis Fremantle - Perth


    Tickets on sale for Niche and Live Nation members pre-sale for Friday 14th Feb 9am,

    General Public on sale of Monday 17th Feb 9am.


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