Monthly Archives: October 2014

  • Mata & Must Announce Album Launch

    Mata & Must - Get Your Mind Right Album Launch Flyer

    Mata & Must Announce Album Launch

    Melbourne heads get down to the Get Your Mind Right album launch at Revolver Upstairs in Prahran, on Friday December 5th.

    Mata & Must are performing with long time friend and turntable veteran Dj Bogues, featuring guest appearances from Koots and Flu. With strong support from Broken Tooth's Gutz & Dj Buick, the freshly re-formed Microphone Addicts Crew and Slap 618, this will be a classic night of local Hip Hop.

    Head over to our event page for more details.

    Mata & Must Announce Album Launch 


  • New music clip! Thundamentals Ft Solo - Got Love

    Ft Solo - Got Love

    Thundamentals Ft Solo - Got Love

    Thundamentals have just released their brand new clip Got Love featuring the very talented Solo from local group Horrorshow. This feel good clip is well shot and features many different people throughout the clip giving a peace sign and showing their love.

     Check out the video below.

    Keep up to date via the links below.





  • Mata & Must have just released a new video clip.

    Mata & Must - News From The Underground


    Mata & Must - News from The Underground


    Pang Productions artists Mata N Must have just released their latest video clip 'News From The Underground' from their most recent album Get Your Mind Right. Shot and edited by Discourse, this dark and grimey clip gives the viewers  a glimpse into a few rooms that lie beneath the gritty city of Melbourne.

    Check out the new video below.

    Pang Productions Pang Productions
  • Artist Interview - Briggs



    Running a little overtime on media day, for Briggs today is all about the Q & A of recent album drop and subsequent upcoming national tour. However, when it’s your third album out and you’re a force in the scene to be reckoning with, people are interested in everything about the man. From the colour of his socks to what his daily routine is. Only Briggs is more interested in giving us the most brutal punch-in-the-face slice of Sheplife we can handle.

    The Briggasaurus, as some dare call him, hails from Victoria’s Shepparton area representing a strong rural Aboriginal community. Discovered by Reason for Obese, Hilltops took the MC in at Golden Era Records in 2009 and in 2014 he aims to etch his legacy all over this album. Wounds run deep on this tell-all affair, on tracks such as ‘Late Night Call’ and ‘Bad Apples’ both of which drive home the brutality of his honesty that he wants us to know. Or, in his own words; “If you wanna hear the real side to an artist, then there you go… Welcome to Sheplife.”


    How’s things shaping up for Briggs these days?

    Sorry I’m a little late man, a couple of interviews ran overtime. They wanted to know what kinda socks I had on.

    Well, that’s the level you’re at now. Three albums out and people wanna know this shit. I definitely don’t wanna know what colour your socks are. But I am interested in your last album. Been out for a month or so now. How’s the feedback been?

    It’s been positive man, it’s been real good. I really don’t take time to sit back and wait to see what people say. I’ve got a pretty good work ethic, I like to be on to the next thing. I don’t like to mill about too much unless I’m sitting down to watch a movie, you know what I mean? Other than that, I’m working on the next project. All the positive reviews and the four stars here and there is great, from what I’ve heard. When I’m making an album I don’t really think of that stuff.

    I guess you probably get that satisfaction that feedback can provide off a live performance, rather than reviews.

    My shows are a little different to most. I really enjoy interaction, talking to the crowd. Finding individuals in the crowd, wearing strange things. Sometimes they crack me up, they’ll be doing a weird dance. But, it’s hard to step outside of the work that you’re doing. I don’t look at it from any other way than as a project I’m doing, because I’m so involved in the process of it.

    OK, I’m with you, somewhat.

    Well, it’s like you’re building something from the inside out. And, because you see it at every different level and every different layer its hard to appreciate it as a whole, and not for the stages you’re going through. And somewhat critical of every stage, also. You know, does this knock hard enough. Is my point across on here. It’s hard to recognise a song as a song when you’re building it.

    It’s like if your friends and fam come over to visit and they are surprised at how much your kids have grown since they last saw them. You don’t notice that because you see them everyday, right? I dig. Do you wish sometimes that you could experience your work, as if you were not the creator?

    Nah, too involved in my stuff to step away from it. I listen to other people’s music. That’s where I get that enjoyment, you know what I mean? When I hear a Pusha T record.

    Dude, King Push?! Love anything he does.

    Yeah, he’s the man. But that’s where I get the fan’s perspective. I’m too involved, too critical of my shit to see it any other way.


    Well from an outside perspective, after playing the new album, Sheplife, Snoop’s (1995) Source Awards rant is a fucking dope way to bring the album in. I had the scene pictured perfectly as the beat kicked. That reps one of the hottest periods in hip-hop. Good call.

    I don’t know for how long I’ve been saying consciously ‘let it be known’ but probably ever since then when I was a kid.  I’ve got it tattooed across my chest. That moment with Snoop doing that was one of the catalysts for my interest in hip-hop, you know? I grew up in the 90s and that was the strongest and most outrageous thing I’d seen. “You’ll don’t love us?! You’ll don’t love Dr. Dre and Snoop Dogg?! You ain’t got no love for the West coast?!.. Well let it be known, then!”

    Snoop had the baseball bat he was waving with a chain on it too. Then you had the crowd thick with East coast heads and in the middle, big Suge and his entourage of Bloods. Fuckin’ gauntlet thrown down!

    Huge diss on Bad Boy, too when Suge Knight came up, like “If you don’t want your executive producer to be.. all in the video..” Just raised the roof on hip hop. That was the shit I was down with back then. For me to bring that to the table, not to make comparison to that in a matter of importance like when Public Enemy used Malcolm X (speeches), but that was a moment when I was a kid and I was like, “wow! This guy doesn’t give a fuck!” I mean, Snoop acting up at an awards is minimal in comparison to Public Enemy’s ‘Too Black, Too Strong’ but it is a tribute to my favourite rappers and the era I came up in. It’s a tribute to Snoop, and I just wanted that style of opening and it really explains that genre, you know what I mean?  I like to pay respect to rap as I go. I make rap music. I don’t try and hide this idea that I’m something more than what rap means. I make rap music.


    Similar to Game’s ‘The Documentary’ where he raps, “I am Ready To Die without Reasonable Doubt, smoke Chronic and hit it Doggystyle before I go out…” to Illmatic to Death Certificate, paying respects to all the dope albums that we, our generation grew up on. That, I feel is a parallel to the homage you’re paying here.

    You see, out here as well, we’d shy away from that Gangsta rap influence but that’s what I grew up on. I grew up with Gangsta rap - not to say that i didn’t appreciate other styles.

    I grew up on West coast rap. All the kings of L.A. reality rap scene.

    Yeah, from King Tee, Ice Cube, Westside Connection, Dr. Dre, Snoop Dogg, Eastsidaz, Dogg Pound, E-40.

    The Bay Area too, for sure.

    All that, even down South. The UGK, Bun B, Cash Money Click, Juvenile and No Limit. I was a huge No Limit Records fan. That’s what I grew up on and the only really east coast rap squad I heard growing up was Gravediggaz.

    For me it was Naughty By Nature. And Das EFX.

    My brother was really into Naughty By Nature. Also, LL Cool J was another favourite and one of the first CDs I ever had. I think my love for rap was Ice Cube.

    Ha, word! Me too. In my walkman I had the Predator cassette or Ice-T’s Home Invasion.

    ‘South Central L.A. fool! Where the Crips and the Bloods play!’ You know what I mean? Ice-T was the man. My favourite Cube album was Lethal Injection.

    Yes. ‘Really Doe’.

    You know, ‘Ghetto Bird,’ ‘Cave Bitch’. When someone asked me what top ten albums that have influenced me, you know, a lot of people wouldn’t say 50 Cent Get Rich or Die Tryin’ but man, I’m not gonna front. Get Rich or Die Tryin’ was one of the biggest albums when I was a teenager. You couldn’t avoid that.

    You couldn’t not have heard it.

    And I love it. I still listen to it today. Doggystyle, Lethal Injection, Gravediggaz, Westside Connection. All this stuff; Dr Dre’s Chronic, 2001, Marshall Mathers LP. These were the records that were around when I was formulating my style. My favourite rappers were Ill Bill, Xzibit, Kururpt, you know what I mean? 50 Cent, Ice Cube, Biggie and Big Pun. These were the guys in the early to mid 2000s when I was 13 or 14 that I was listening to non-stop. And growing up in the country that was the music that was accessible to me. We weren’t getting any underground rap. A lot of Melbourne guys came up on English hip-hop.That just wasn’t happenin’ in Shep!

    Haha, That just wasn’t happenin’ in Shep!

    Nah! It just wasn’t. Like, my cousins are all black kids. You know. They’re not gonna put on an English hip-hop album.

    True. They’re not gonna relate to that.

    They don’t wanna hear it. They wanna hear 50 Cent. You know, my cousins wanna hear Ludacris. They want Juvenile, they want Lil Wayne. You know? And I love that. It’s cool. People have this idea of what hip-hop is, you see? You can’t tell me that these dudes don’t influence with.

    Briggs 4

    Well, let me ask you. As an artist in the industry now and the rappers that you hang around with. And I know that you’re in some esteemed company, Hilltop, Funkoars. But more so, the younger MCs out there. What’s the deal with some of them not owning up, and I choose those words, not owning up to liking the Gangsta rap that we all grew up. Do they think they have to shy away from the stereotype of 90s reality rap?

    I was talking to someone about this the other day. I don’t know if it’s fear of having Aussie hip-hop injected with American hip-hop so much or if it’s their fear of just admitting that they listen to gangsta rap. To me it sounds strange. If you walked into a club in 2006 you were listening to ‘Disco Inferno’ by 50 Cent or ‘Candy Shop’ or whatever. You know? Stop acting like you weren’t listening to it.

    Yeah, try avoiding it.

    For me I’ve just embraced that honesty. Go listen to my music collection.

    You represent where you’re from. And you do obviously, your shit’s called Sheplife. And that’s number one in hip-hop; Rep what brought you here. Be real. Number two is, use what has influenced you, because that’s being real too. If you grew up on that hood shit, that west coast gangsta, then embrace it, put that G-funk in your music, style it like that because that’s what you grew up with. Don’t disconnect from it because you think, you’re Australian and you can’t do that. Nah, if you’re honest with what made you who you are as an artist then respect the shit you grew up on and use that to shape your music. That’s being real, I feel.

    Of course man, you know, there are rappers out there that are scared to call themselves rappers. Or they’re scared to say that they make rap music. They might squirm out if it, and say, ‘it has elements of pop and blues with a little hip-hop beat thrown in’ Man, rap’s been doing that since forever! That’s what rap music’s built on. It’s taking elements of other music and turning it into rap music. Like, I’m proud to be a rapper, I’m proud of rap music. I love it and it’s given me a platform where I can feed myself and help my community and spread my word and deliver a message as well.

    Love the video for ‘Bad Apples’ the kids you had there must have loved being in it.

    Yeah man, they loved it. They loved the fact that they were in a rap video. One of my nieces missed out. She wanted to be in it but couldn’t.

    She would have been spewin’ right?

    Man, she’s only young, She’s in prep. She’s like, ‘where am I?’ I felt so bad man. I gotta put her in the next one.

    Tell me about what’s behind the song. Pretty important track for the album, I would imagine.

    ‘Bad Apples’ is like the core of everything. it’s the spirit, the heart of the whole album. ‘Bad Apples’ is what this whole album is about. If you wanted honesty, if you wanted truth, here it is on a fucking platter. People talk about what they want in music. if you wanna hear the real side to an artist, then there you go, you know? Welcome to Sheplife.


    ‘Late Night Calls’ sounds like quite an honest grind in itself. Really sounds like you poured out some liquor on that one.

    Yeah, man. My cousin got stabbed, murdered. I knew I was gonna write about it, I didn't know when and I didn't know how. This was done on the same week. It wasn't until I went to the shops one morning to get my breakfast and his face was on the front of the newspapers. That’s when I clicked, you know what I mean? That’s when I knew how I was going to write about it. I’m looking at my cousin looking back at me from an article. This was my cousin’s son.  My second cousin. He was just 20. Over nothing. That’s the worst part. To get murdered, being my cousin or being anyone, and these dudes that are getting punched in the face for no reason. And there’s no second chance. There’s no coming back from that. The other side of that is the family of the dude who did it. They have to live with this as well. It’s not a great situation for anyone to be in.  That’s what I took on board when I wrote ‘Late Night Calls’. Me and my cousin were home and being from the kind of community that I grew up in, you get a few of these calls.  You know that when that phone rings at one or two in the morning, it’s from your Mum. Or it’s from your Auntie. You know exactly what the fuck these calls are about. So, that’s what that song is about.

    To go off the title and completely misunderstand it, it seems more the Too $hort-style booty call song.

    Haha, that’s my other joint, ‘Late Night Texts’.

    But that’s the reality of it, man. That’s why I say late night call, because it turns something so meaningless, you know, a phone call into something symbolic of a heart-dropping, big moment. And that’s what I tried to portray in that song. Some people wouldn’t understand that when that phone rings at night, because my phone is on silent except for my Mum, Dad and my baby’s mother, that’s when you know something is up.

    You certainly conveyed that weight of emotion in the song, man.

    Cheers. The idea was just to tell a story, as I said, man with Sheplife all I wanted to do was deliver an honesty of my life in an album. Who I am as a person with all these things that make up my life. In this record you have ‘Late Night Calls’ with ‘Bigger Picture’ which is the birth of my daughter. These are the facets that make up the daily life that I live. And I’m not trying to pretend that I am something special.But my visions, my goal was the fact that I have a platform to say something. So I used it to say something that was real and needed to be said.


    That’s always the power of an artist, is to use it for a better cause or message. And you’ve done that. These communities do get forgotten about and I’d assume police don’t run beats through these areas to keep shit safe as much they would a higher class of suburb in the cities.

    Police are always gonna be police, man. I don’t like anyone who is allowed to shoot me. As long as I don’t talk smack to them. And I got a rule; Don’t talk smack to someone who is allowed to shoot me.

    Smart rule, man.

    That’s just the way I live, you know? I just tried to hold no punches on this record or album with trying to deliver a true sense of my story and the fact that I said to myself; ‘Alright, if this was the last album I ever did, how do I wanna deliver it?’ That’s not to say I’m quittin’ but that was my mindset going in on this. Imagine this is the last thing you ever say on an album. Or, this is the album last you will ever do. It wasn’t about making a third album anymore. It was about leaving a legacy.

    That’s the trend like Biggie and Pac’s last album titles. They recorded their last ones like it was their last. Like, Ready To Die, Life After Death or Makaveli. Their demise was their theme.

    That’s the way I live it, man. I’m working on the next one right now and I don’t just wanna come out with some whatever-whatever rap. I can do that for a mixtape. But I have this mindset that, whenever I deliver an album, I deliver a part of my legacy.  When my daughter is older and she looks back I want her to be proud of something that Dad did, rather than be embarrassed. She probably will anyway, haha.

    They all do to an extent, haha.

    But, I want a legacy that’s meaningful.

    You’re an open book, on this LP at least. Have you got anything left for your next album?

    I had so much pain and anger and just, disdain built up inside me that once I deliver this  record that goes through this disenfranchisement of the community where I grew up that I felt like I was going to lift some weight off my shoulders. But, when you’re in a community like this and when you’re a part of a movement and a part of something bigger than yourself, you don’t get to release the weight, you know? You put it all on the table and look at it. And now I’m looking at it and just because i spoke about ‘Bad Apples’ doesn’t mean that the story’s told. That part of the story is told, it’s like, do I have to drum this into your head every fucking album, until people take notice? Tupac had that on every record. A very strong, black influence. Public Enemy, had it on every record, Ice Cube, every record. And that’s what I intend to deliver, also. Not every track, but in everything that I do and everything that I am, that is my identity, you know? The other thing is, no-one is doing it in Australian hip-hop - on this level. So, I’m bringing it to the table the way I grew up among the politics. My father  sat down in meetings with (Professor) Pat Dodson while I was drawing on paper next to him. I’m not new to this.

    These are the influences that made Tupac such a soldier for social change in hip-hop. The awareness he grew up in, around Black Panthers, Mutulu Shakur, Geronimo Pratt, his Mother. Then the street and gang culture he picked up when he moved to the Bay Area as a teen. It’s the awareness he developed that fed him the intelligence for hip-hop.

    That’s the thing man. I’m still doing workshops. I am still in touch with kids in communities. I’m an accessible person.  If you email me, nine times out of ten I’ll email you back. That keeps me honest. I have to keep my feet and my ears in the community. it takes fuck-all for me to drop in to the workshop and give ‘em some dap and a few pointers and bail out and for them it means the world. That’s the thing with these kids, you only have to give a little bit of a fuck to make the biggest difference to their lives.

    They will remember you, too. man. And hey, let’s face it, when you’re already hard up against it as is, and no-one else is looking after you, you gotta do your bit I would imagine?

    What I try and teach in these workshops is the fact that you don’t have to be a rap star, this is about you coming in and building the self confidence to pursue the interests that are right for you. If you want to be a writer, or photographer, dancer or if you like building fucking cabinets and laying floorboards, whatever you’re passionate about, you can. It’s giving them a sense of self esteem about themselves.

    That’s it. That’s setting foundations for the kids to grow.

    Exactly. I had two good parents who told me I could. Some of these kids don’t have that. I’m not gonna say I’m trying to be parents to these kids, but the kids that I can reach, the ones I can sit down with to make music I’m gonna tell them they can be whatever they like. They can. And I wholeheartedly believe that.



    Something else that you’ve done for the community and I don’t believe anyone  else has, you bought out Geoffrey Gurrumul Yunupingu. Very intriguing collab. ‘The Hunt’ was dope, his vocals add a timeless authority to the track. Not to downplay your part.

    Trust me, man I know that when we hooked up, you put the national treasure with the national problem. That dude, is that dude. He is the voice of Australia. He is The voice. So when they invited me to do a track I was taken aback.

    Oh, so they reached out to you?

    Yeah! That’s when it went haywire, you know? I thought, ‘OK, I’m doing something right.’ Having Gurrumul at the start was a conscious move. It was conscious, because what I wanted to push back and push forward to really drive home was that collaboration. That, this is not just Aboriginal stories or issues, this is Australia. This is your culture as well. They just need to be patient.

    Yeah. That’s a big step.

    It is, shouldn’t be. But it is. Triple J really championed the single and really put it on blast for me.  Trials produced it, who’s like, the unsung genius. Probably the best producer in the country. You know, he’s got plaques galore, man. He could make a coffee table out of plaques, this kid.

    He doesn’t look it, though.

    Oh, he’s a shoeless, dread-havin’, free t-shirt wearin’ motherfucker.

    He makes you look clean-cut, bro.

    Bro, he makes me look a million bucks. but his talent, man is unsurpassed. The fact that he can work between the Hilltop Hoods, Drapht, Ash Grunwald and Gurrumul and countless other rappers, artists he’s worked with, to even making music for that ‘Housos’ show.

    When I first watched that show, everything sounded Funkoars-like. And of course, I find out someone let Trials spin the music.

    That’s the thing, Trials isn't about wearin’ shoes but this dude is something special.

    Haha, yea. They said the same shit about Rick Rubin. Look at the dude. But wouldn't you fuck with him in the studio as much as you could?!

    You know what I mean? From LL, Run DMC to Beastie Boys to Danzig. To the joint with Jay-Z, you know? Forget about it.

    Fuckin’ forget about it.

    What else do you need to say to that. Just off the top of my head, all that?

    Bro we gotta end this, we can rap forever on these topics. No wonder your interviews are going over time.

    But, one last mention I will make; Love the Mike Tyson joint! First time I bet anyone’s thought of singing Tyson’s crazy rants so beautifully in the hook. I’d love for him to be front and centre at one of your show bellowing out the hook - only finishing the rest of his crazy ass rant.

    Tyson, is that excitable too. I showed him my Tyson tattoo of him, my portrait when I met him in Melbourne. He flipped! ‘Baby, baby, you gotta see this. This is beautiful. Oh my god!’ Insane, man. He’s wide too. Dude has massive feet and massive hands. He’s short too.

    He’s got perfect leverage. It was his perfect height that gave him that great bob ‘n weave style.

    And those powerful legs, up and under those guards. Boom. He was the best, dude.

    Forget about it.

    Fuckin’ forget about it.

    Cheers for your time, man.

    Cheers bro


    Interviewed by Rip Nicholson

    Rip Nicholson

  • New Years Beats 2014

    New Years Beats 2014


    New Years Beats

    With 2015 fast approaching and with no threat of the world ending Melbourne seemed like the perfect city to host NEW YEARS BEATS 2014.

    To help you bring in the new year NEW YEARS BEATS has assembled some of the best established and up and coming hip hop acts in the country: The Funkoars, Briggs, Vents, Joelistics, K21, Daily Meds, Mathas and hosted by Reason.

    NYB14 happens at the Prince Bandroom in St Kilda Wednesday 31st December 2014.

    Tix on sale Friday 17 October at 9am via and

    For more info head over to our Gig Guide.

  • Ghostface Killah - Australia & New Zealand Tour Announced

     GHOSTFACE KILLAH - Touring Australia & New Zealand - December 2014

    Ghostface Killah


    Trent Slingshot presents....


    GHOSTFACE KILLAH - Touring Australia & New Zealand - December 2014


    The return to Australasia of one of the most iconic hip-hop artists of our time, Ghostface Killah from The Wu Tang Clan will blaze up Australia and New Zealand this summer!

    Dennis Coles (born May 9, 1970), better known by his stage name Ghostface Killah, is an American rapper and prominent member of the Wu-Tang Clan. After the group achieved breakthrough success in the aftermath of Enter the Wu-Tang (36 Chambers), the members went on to pursue solo careers to varying levels of success. Ghostface Killah debuted his solo- career with Ironman in 1996, which was well received by music critics. He has continued his success over the following years with a host of critically acclaimed albums.

    His stage name was taken from one of the characters in the 1979 kung fu film Mystery of Chessboxing. He is the founder of his own label Starks Enterprises.

    Ghostface Killah is critically acclaimed for his loud, fast-paced flow,and his emotional stream- of-consciousness narratives containing cryptic slang and non-sequiturs. In 2006, MTV included him on their honorable mention list of The Greatest MCs of All Time, while the editors of placed him on their list of the Top 50 MCs of Our Time (1987-2007), calling him "one of the most imaginative storytellers of our time." Q magazine called him "rap's finest storyteller." Pitchfork Media stated that, "Ghostface has unparalleled storytelling instincts; he might be the best, most colorful storyteller rap has ever seen." NPR called him "a compulsive storyteller", and asserted, "His fiction is painterly."

    Australia and New Zealand get ready for this not to be missed hip-hop tour from one of the best on the mic!

    Australian & New Zealand Tour Dates and Venues


    Brisbane  - Dec 12th @ Wooly Mammoth

    Victoria - Dec 13th @ Meredith Music Festival

    Hobart – Dec 16th @ Republic Bar

    Sydney – Dec 18th @ The Metro

    Melbourne – Dec 19th @ The Espy

    Perth – Dec 21 @ Metro City

    Wellington – Dec 27 @ Bodega

    Queenstown – Dec 28 @ Loco

    Auckland – Dec 30 @ Northern Bass Festival


     For more info check out the links below.

    Gostface Killa

  • New Music Clip! Chase - My Serenade

    Chase - My Serenade


    Local artist Chase has released his latest clip from upcoming album 'From There To Hear'. This track gives fans a glimpse into the very private life of Chase while also giving a realistic look to the scene. Dolan from Df Des1gn has done a fantastic job with the directing and editing to really suit the atmosphere the song brought.


    Check out the brand new clip below.


    You can purchase more of his music via the links below.

    Chase - From There To Hear Cd

    Chase - From There To Hear Download

    Chase - Cut To The Chase Cd

    Chase - Cut To The Chase Download

  • Artist Interview! Profecy


    Still fresh, Brisbane MC, Liam ‘Profecy’ Wilson has not lost his rhyme stride over a beat. From taking on his local scene in 2010, Profecy rapped it, rode the beats and challenged the status quo as he saw it. Then, before he could take that next leap, he found himself trapped in the system. A timeout served well, with a 2014 return, Profecy is back in step with his new EP, The Release. How apropo.

    Time spent between albums only helped the rapper to explore the content of his character and develop the rapper. The Release goes in on the highs and the quite lows of what makes him who he is on the introspective joints ‘Truth or Truth’ and  'Standing In The Rain’. The momentum he is gathering is supported by Obese Records distro, their moves and reach and the circle of influence he keeps in the likes of Thundamentals, Illy and M-Phases allow Profecy to be seen and heard around Australia. Here, Wilson opens up on everything in between releases and what motivates him looking forward.


    Interview by Rip Nicholson on Thursday 28 August 2014

    Hey Liam, good to see you’re still grinding bro. What’s been going down, man?

    I've just been grinding man. Feels great to finally have this CD out, it’s been a long time coming.

    Your confessions on ‘Truth or Truth’, very deep and personal lyrics. About your father, too. if that’s your story, that’s very brave to bare it all on wax. Same with ‘Standing In The Rain’, you wear your heart on wax bro. Is that therapeutic?

    Yeah definitely, I’m an introvert so music is pretty much my only outlet for expressing deep personal shit. Songs like that just come so naturally and it definitely feels like a huge weight off when finishing a song like 'Truth or Truth.' It’s actually weird you mention both those tracks because a lot of the 'Standing In The Rain' lyrics were taken from a rough version I did of 'Truth or Truth' it was just way too long so I decided to split them up into two separate tracks.

    I see you started a CD to raise money for depression & anxiety, last year, was it? This is a cause for which you must feel pretty passionate about?

    Depression and anxiety is something I struggle with regularly so bringing awareness to it is definitely something I’m passionate about. I launched a possible campaign for it but we didn’t reach the target, hopefully next time because it’s still something I’d love to do.

    Back in 2010 you said your next EP for 2012 would feature Corbert and he’s still with you today. Do you like keeping your own team who know your signature sound?

    Corbett has such a dope voice and his production and songwriting ability is next level, I’m not sure why he isn’t super famous already but as long as he keeps writing back to my emails we’ll continue to work together.

    Walk With Me’ is really smooth bro, got a nice bounce to it. It’s very Illy-sounding. (hope you take that as a compliment, as was intended.) Corbert was on the money with production behind you. I’m sure now you’ve got that reach to hit up M-Pheezy for some of his world-famous tracks, if you really wanted?

    Thanks man. Yeah Illy is dope, I’ve been a fan since he released a freestyle on Ground Up Mixtapes back in like 2007 so I’m sure I would’ve drew some inspiration from him throughout the years. Huge fan of M-Phazes too, it would be an honour to work with him, hopefully next release.

    You have been hanging out with Thundamentals in the studio, sharing stages... have they been mentors to you, are you playing grasshopper?

    I got to support them on tour in Brisbane and Byron Bay but have only met Thundamentals. Those guys are awesome and definitely gave some good advice along with plenty of drink coupons.

    Being in the company of the country’s dopest rap acts, the experiences and the exposure with these guys, is this a big part of what it’s all about when you sign your EP with Obese to help your push?

    Yeah for sure, I sent Obese a copy of Let The Music Play back in 2010 and they were the only record label that got back to me with encouraging words and advice. Every year since then I’d send them all my latest songs and finally this year instead of giving constructive criticism they sent a contract. Being a rapper is pretty disheartening most the time so when you get a cosign from a label like Obese it’s such a good feeling. I still feel like I’ve got a long way go but it’s comforting to know I’m on the right path.

    Tom Wearne was outstanding with his delivery over the hook on ‘Find Your Way’

    That guy is crazy talented, I sent him the beat and he sent back the vocals the next day. I’m a massive fan of his band ‘Sleepy Tea’.

    So, why the choice to keep this new EP digital only? What’s the game plan?

    That was Obese’s decision. I’m going to do a short run of CDs independently, maybe put a bonus song on there or something like that. I’m gonna try get that done over the next few weeks.

    Why the name, ‘The Release’ is there a metaphorical meaning or story behind it?

    I was locked up for a few months last year so a lot of the songs were written in prison, it’s a very depressing place so being able to focus on writing this new EP and looking forward to recording it when I got out gave me some solace. The title track is similar to ‘Truth or Truth’ where I just share a lot of personal shit and like I said before music is the only outlet where I feel comfortable in doing so.

    In 2010 you were studying music business at the JMC Academy. Is that still the ultimate career move, to be behind the business of music rather than the talent in the long run?

    I’m pretty indecisive about what I want to do in the long run but I do a bit of publicity work on the side and I really enjoy that, but at this stage it’s not something I can live off. To be successful in the music business you gotta be out there networking all the time and that’s never really been one of my strong points. If I could land any sort career where I’m surrounded by dope music all the time that would be the dream.

    Thanks for your time again Liam, appreciate it. Good looking out and all the best with The Release for Friday’s release date.

    Thanks a lot bro, always appreciate the support.

    Keep up to date with Profecy via the link below.


  • New Music Clip! Loose Change Ft Jeswon - Grown Up(Unearthed NIDA 2014)


    Triple J unearthed and Sydney's Institute of Dramatic Arts (NIDA) have released the winners of their annual music video competition. As one of this years winners Loose Change got the chance to film a clip with post graduate students (NIDA) and the result is a hilariously  dance filled one take shoot.


    Check out the new clip below.


    Keep up to date with Loose Change on the links below.

    Big Village Records



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