Hey Peoples…

Throwing back to an earlier piece on Australian Slam Poet Champion Omar Musa, the man’s released his first studio album of Australian hip hop with a unique twist.

Always the gentleman, he’s decided to post the album online for free download for all of those looking for some new materials to chill out to this coooooooooooooooold winter! so head on down to www.obmmusic.com to take a listen.

Press release comin at ya:
Omar Musa is a rapper cut from a different cloth. The 26 year old from Queanbeyan, Australia, won the Australian Poetry Slam at the Opera House in 2008 and believes his debut album “World Goes to Pieces” sets a new standard in poetry and genre-bending in Australian hip-hop. Produced entirely in Seattle, USA, with rock veteran Geoff Stanfield (Sun Kil Moon, Black Lab) it is jam packed with chunky beats, thoughtful lyrics and outright weirdness. From the wild, industrial opening track Nomad to the luscious ode to summer and love Pura Vida (The One), the Malaysian-Australian MC brings a poetic flair to “World Goes to Pieces”. He bears down on wide ranging subjects such as Aboriginal poverty on What We See, his hometown on Raise Up, his relationship with his father on Sunshine and one night stands and “black-lit dreams” on the space age Neon Address.

An ambitious representation of a young man caught between activism and partying, love and depression, Musa says “I treated this album as if it was my last, so everything had to count.” Stanfield and Musa called in help from inspirational keys player Dave LeBolt (Paul McCartney, David Bowie), French jazz pianist Pierre Savoye, as well as Bay Area rappers Young Murph and Mighty Joe. The artwork, an original painting by Vancouver’s Ben Tour, is a testament to this perfectionist approach.

“I know Geoff was influenced by Massive Attack, Bjork and Portishead, but you can also hear the West Coast influence on there,” says Musa. “In terms of lyrical approach, I took influences from everyone from Kanye West and Ben Okri to Gil Scott-Heron. We weren’t afraid to push things a bit and I wasn’t afraid to be brutally honest about my life. Considering the cookie cutter music out there at the moment, it seemed the natural thing to do.”

enjoy

…bs

Maya Angelou – Phenomenal Women
“…it’s in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
‘Cause I’m a woman
Phenomenally.
Phenomenal woman,
That’s….

“mihi – to greet, pay tribute, acknowledge, thank
rangi – day, sky, heavens, heavenly realm, heaven, weather, tenor, drift, tune, air, melody”

What would you expect at a poetry evening at the State Museum of Victoria? Wine?  Sure. Couches?  Possibly but only one at the front. A loop pedal?  Oh hell no, wait!  Is this the right room? How about the introduction to “the maori princess of funk” who’s rocking a diamond shape tãmoko in the centre of her forehead? I shit you not, this is what they call a ‘poetry evening’ these days and I lapped it ALL up.

Through hypnotic live looping, Mihirangi opened this particular poetry night with diversity and roots based flavor, with an original song, “No War”. Infusing Te Reo Maori and English languages effortlessly throughout her performance, Mihirangi’s infectious joy oozes from her very being, and captured our hearts at the answer to “how did you come about all of this?” “Oh, because I couldn’t get the band motivated to tour so I left them behind.”

Mihirangi’s mix of beat boxing, vocal harmonies, percussion, acoustic guitar and flute combined with potent lyrics addressing indigenous and environmental issues have ensured her place as one of the most exciting, original and conscious solo performers of Australasia. Her one woman show has been mesmerizing audiences all over the world, and she has quickly become a favourite at world festivals performing with the likes of K’Naan, Public Enemy, Michael Franti and Spearhead, Lee Scratch Perry, Blue King Brown, The Resin Dogs, Salmonella Dub and Ladi6.  This girl has got so much raw talent and enthusiasm it is an honour to watch her perform.

Mihirangi - Live at Womad

Performances at “Power to The Peaceful” Festival in support of social justice, non-violence, and environmental sustainability in San Francisco, to an audience of 60,000 people and to an audience of globally active artists including The Dixie Chicks, the Red Hot Chilli Peppers, Pierce Brosnan and Martin Sheen at their 30th Anniversary Benefit concert in LA.
Mihirangi’s credibility comes down to the fact she is so fucking honest.  With her music, her audience and herself and she sends a clear message to all that hear her…

“He aha te mea nui o te ao? He tangata,     he tangata, he tangata”
(-Sir Apirana Ngata)

“What is the greatest thing in the world? It is people. It is people, it is people”

I have been a bit biased to show so much love to our sisters of soul; however I’ve found solace within her Kulcha Nation lyrics.
Maybe you will too.

“You ignore your own responsibility
towards the world and your community.
Because you think that your life
has no guarantee
So this is a message from me to you and you to me…
No more repeats of boring warring histories.
Man that’s old school, education’s to blame.
We’ve gotta teach our kids about truth, compassion and change.
Don’t forget to mention our leaders redemption,
jubilation of cultural nations
with ritual and spiritual celebration”

You can check out more of Mihirangi at:

www.myspace.com/kulchanation

www.mihirangi.com
Right on!

miss P.

This week we caught up with Omar Musa and talked about three of my favourite things, hip hop, poetry, and of course… ladies

I first heard of you as the Australian Slam poet champ, now you have a new music video out. So which came first; poetry or music?

Definitely poetry. I have been writing poetry since I was a young child. My father was a poet in Malaysia, so he always encouraged me. I’m an only child and we didn’t have much money growing up, so writing and painting kept me busy. Once I was in my teens, I got into Wu Tang Clan, Ice Cube and Public Enemy, because I realised that hip-hop was modern poetry, but contemporary and accessible, unlike a lot of written poetry.

The video for Hemmingway was shot in London, have you made the move out of Australia or was this just for the video?

I lived in London most of last year working with grime artists such as Akala, which was amazing. I shot the video during that time with Tom Spiers, a genius of a director and gem of a guy. The video was painstaking work, mostly shot between the hours of 10pm and 4am. I’m back here in Australia now. It was a bit too hectic, cold and dreary over there. London pretty much swallowed me up and spat me out!

Omar Musa – Hemingway

How do you find it to be an Australian hip hopper? is this something that goes down well with audiences, or do you find is conjures up the wrong image of your music?

It’s weird. Overseas people either go bananas cos my style is something totally new to them, or they don’t quite “get” it. In the Australian poetry scene, I get the feeling that people think you are going to be less literate or intelligent because you are a rapper, which is annoying, but something I hope I’m helping to change.

What’s playing on your ipod at the moment dude?

Man, a lot of stuff. I still listen to a lot of Kanye West, Jay-Z and OutKast. But the albums I’m listening to the most at the moment are ‘Troubador’ by K’Naan, ‘Dummy’ by Portishead and ‘Boy in da Corner’ by Dizzeee Rascal. I really like stuff that pushes the boundaries a bit. There is so much lame, cheesy shit out there are the moment.

What gets you more love interest… being a rapper, or being a poet?… and do they attract different audiences?

Haha. I guess being a rapper, because women seem to be attracted to the allure of a bad boy musician. Little do they know I’m a mad bookworm who spends most of my spare time in second hand bookshops and galleries haha. And yeah, poetry and hip-hop attract really different audiences. I love both equally, though sometimes poetry can be a bit wanky and hip-hop a bit too aggressive.

What’s up next for Omar Musa?

A bunch of shows, writers’ festivals and most importantly, I’ll be recording my full length album in Seattle, USA, with Geoff Stanfield. I want people to realise that I’m Australian hip-hop’s most powerful, important and intelligent new voice.  I’m trying to do everything in my power to make that happen. Keep supporting independent music!

Also, I just released a free download mixtape, so if people are interested they can get to it here

Peace,

Omar

And you can check out more from Omar Musa at:

www.myspace.com/omarmusa

…bs

For a while now I’ve been asking the Very Good audience to help me out with a question… Where the poets at?

There is a growing hip hop community in Australia and New Zealand, and yet I don’t see a whole lot of poets on the scene. Well it turns out i’m just a busy kid who hasn’t opened his eyes to the right direction, and unfortunately the audience have been as unproductive as I have on this one.

So Thursday night I take one of the most art filled journeys I have ever experienced in one evening, kicking it off with a poetry break at Melbourne’s state library on Swanston St. Ok, so this evening was really amazing for me given that I was taken along to basically exactly what I want see the community getting behind. If I were to go through my head space on the evening, or describe exactly what I thought of each poet and performer on this evening, this article would be as long as my driveway, so lets have some of them speak for themselves, firstly with the man of the evening for me, Si

Si - Victoria’s Slam Poetry champion

So this next group just took me by surprise, because I haven’t ever actually seen and aboriginal rap crew, and so the first I have being one that had a positive message, and what seemed to be 3 extremely gentle, focused, strong Australian men, with a clear message of positivity, putting in work all around Australia… and I was just like… what the F&*^ – have I had my eyes closed or what?

Tjimba & The Yung Warriors feat Outlawz – For The People

So as if this wasn’t enough for one evening, there was another, and another, and another who took my eye on the evening, however the ‘Melbourne State Library’ website has been down for a few days now, so i’ll have to catch you up on an artist whom I think was called Miriahanga when it kicks back into action.

If your into Slam Poets, you can also check out Omar Musa who took out the Australian champs last year.

Or head along to one of these poetry nights in Melbourne at:

www.slv.vic.gov.au

…bs

Yo people listen up…

If your one of these kids who are lucky enough to be rocking a cellphone (a.k.a mobile phone, 2way, ring a ding ding thing), then New Zealand conscious hip hop artist Trillion points out… maybe your not as lucky as you think?

Often bringing interesting pieces to the community, he delivers once again with this piece ‘Invisible hazards in the wireless age (The Cellphone Song)

Hmmmmmm … I use my cellphone all the time, and it heats up aswell which is now of more concern to me then ever. Ignorance is bliss, but information is power, so maybe i’ll turn to the land line in future.

If you’ve got a minute free make sure you check out his track ‘Wallpaper’ i’ve been hooked on lately too on myspace, another testament to Trillion being one of the finer producers in Australasia these days.

With messages packing heat

and banging beats

looks like another dope musician

from the kiwi streets

You can check out more of Trillion at:

www.myspace.com/trilli0n

…bs

Kia ora

I stumbled across this article the other day and thought it’s worth noting that the Australian scene is opening up more to the art and culture of hip hop. Omar Musa took out the title and $5,000 as the prize money for the Australian Slam Poetry championships.

Good to see poets coming up locally…

you can check out more if Omar Musa at:

His myspace

…bs

You might remember Bobby McFerrin from his smash hit in 1988 ‘Don’t Worry Be Happy’, or maybe from one of the TEN Grammy awards that he has received over his career, but like me you may not have given him much thought lately. From a musical family with his father Robert Sr Mcferrin being the first African American to be a regular in the New York Symphony Orchestra, it is no surprise that Bobby embarked on a musical pathway, the result of his exploration however cannot be understood by any influence or guidance he may have had, creating new realms of possibilty for artists to follow. On Saturday evening I was introduced to a video of a 2005 performance ‘Live in Montreal’ he held showing off his amazing talent for creating vocal pieces of art that defy logic and possibilty. His ability to fluctuate between four vocal ranges, combine accapella sounds with the beat he creates tapping on his chest, and the use of polyphonic sounds in which he creates 2 and 3 part harmonies from one vocal box are just extroadinary, and as for the musical pieces that he creates with these talents – they are just breathtaking…

Check it out:

Bobby McFerrin – Drive

As if his vocal talents aren’t enough, in 1994 Bobby Mcferrin was appointed creative chair of the Saint Paul Chamber Orchestra and has made regular tours as the conductor for symphony orchestra including those from San Fransisco, New York, Philladelphia, Cleveland, Chicago and London.

Not much needs to be said when you have seen his performances, so I will leave those of you who are as inspired as I am can check out more of Bobby at:

www.bobbymcferrin.com

…bs

Back in the early years of high school I wasn’t much of a hip hop fan, bar the Snoop Dogg and Ice T cassettes i had dubbed off my friends older brothers. But after being introduced to the likes of Jurassic 5, Dilated Peoples and Gangstarr, my interest grew. Enjoying the underground side of things, I sought more artists like these and managed to stumble across something that well and truly tipped the scales for me, one of the dopest underground albums of all time; ‘Masters of the Universe’, released in 2000 by Binary Star. Jam packed with clever metaphors, punchlines and rhymes that need to be studied, this album is a shining representation of what underground hip hop is. Uh.. hang on, what underground hip hop used to be, I should say; they don’t make ‘em like this anymore.

After meeting in prison, MC’s Senim Silla and OneManArmy (a.k.a OneBeLo) recorded and independently released their debut album, Waterworld. Only about 1000 copies were pressed and distributed in 1999, and in the following year it was remixed, remastered, and re-released, as ‘Masters of the Universe’. Despite only selling 20,000 copies, the album received wide acclaim and would be high on the list of any respectable underground hip hop fan. Unfortunately the two split after this was released, citing creative differences, and have never reformed. However, both artists have released solo material in recent years (Senim Silla – The Name, The Motto, The Outcome, OneBeLo – S.O.N.O.G.R.A.M) and feature on each others albums.

Although the strength of this album lies in its MC’s, the beat on the first track, “Reality Check”, is mesmerising. Strings blast out of the speakers followed by a piano loop that builds with an ominous presence, before it fades and lets the beat rock just long enough for them to flip it, laying down lush piano and harps with OneManArmy unleashing his first verse. And this verse is a great reflection of what the rest of the album offers; OneManArmy dropping countless witty punchlines and rhymes that will have you nodding your head (”Rodney King ain’t ever felt a beat like this”, “I’m bad to the bone but X-ray’s can’t even see this”). “Conquistadors” is up next with its simple but effective bassline and cracking snare. The duo exchange metaphors and battle raps enthusiastically, Senim Sillia setting the tone from the first lines with “Feel the rhapsody, fill this joint to capacity, Senim grab mics with pitbull tenacity”. He keeps the ball rollin with the first of his solo tracks on the album, “Slang Blade”, where he rips it for two and half minutes straight without a hook over one of the best beats on the album

The two MC’s have fun on “Binary Shuffle”, bouncing along over a pretty simple bouncing beat with them chanting;

“Do you want to hear about the money we got? (oh no!)
Talk about the people we shot? (oh no!)
Bragg on the clothes we wear? (oh no!)
Do you think what we saying’ is fair? (oh yea!)
Do my crew rock the mic for days? (oh yea!)
Do my crew keep it live on stage? (oh yea!)
Do Binary Star got the flow? (oh yea!)
Don’t these wack emcees got to go? (oh yea!)”

A track that starts off like that is always going to appeal to me, and its especially refreshing listening to it in this current hip hop environment. “Fellowship” sees Athletic Mic League and Decompoze “rock heads like Mt Rushmore” with the dynamic duo, in another head nodding beat with a funky bassline. Decompoze and Senim Silla shine on this track, both ripping their verses to shreds. The title track, “Masters of the Universe”, sees the duo rapping together as “The Two-Headed Dragon”, weaving in and out of each others rhymes at a quick pace. Yet another track that is full of memorable lyrics, you’ll need to listen to it several times before get it all.

One of my personal favourites is “Indy 500″, which only actually features Decompoze. This track is a salute to the underground, where Decompoze rhymes about making it big but staying independent and true to why you’re making your music.

“All we need is beats and rhymes to go and spark it,
As long as we got the underground yo, we got a market,
I don’t need a major to tell me how to run it,
cause my goal’s to win the Indy 500″

The track starts off with a sample from a movie that really sets the tone, before Decompoze enters, just speaking about the industry at first, until a gritty beat drops over a superbly mellow piano loop. Easily one of the best tracks of the album.

“Honest Expression” has Silla and OneManArmy deliver a dope commentary on keeping it real as an underground hip hop artist and staying true to the artform instead of telling lies just to sell records. The track starts with a fantasticly appropriate martial arts movie sample about “Honestly expressing yourself”, before the two MC’s come in together and lay down some of the most refreshing rhymes of the album:

Senim Silla:

“Dig – I’ma put it on the table,
I ain’t a thug nigga and playa, I ain’t playful,
I’m just Senim Silla, a man without label,
Standin’ on my own two just tryin’ to stay stable,
Speakin’ what I know to only what I’m able”

OneManArmy:

“I ain’t hardcore, I don’t pack a 9 millimeter,
Most of y’all gangster rappers ain’t hardcore neither,
Whoever get mad then I’m talkin ’bout you,
Claim you fear no man but never walk without crew”

I love hearing tracks like this, hip hop artists making hip hop for the right reasons. And doing so with a precision and skill that sees them easily capable of mocking those who are abusing the art form for its payout.

I’ve listened to many dope hip hop albums over the years, but I consistently struggle to find music that can match up to this. I could write all day about each and every song, as they are all pretty damn good, and all feature the trademark metaphor-heavy rhyme-style that will have you rewinding to catch lyrics often. Even after eight years in my possession, it still rates high on my playlists. OneManArmy and Senim Silla have an amazing chemistry, and through their creative wordplay and raw honesty they have created a true underground hip hop classic.

Anyway, times up.

Do hip hop a favour, don’t sleep on this if you haven’t heard it.

You can catch Binary Star at:

www.myspace.com/4003715

or at OneManArmy’s record label

www.subterraneousrecords.com

Peace

…cracked

Despite their name, the refreshing style of poetry and jazz coming from these three emcee’s and DJ from Chicago is anything but typical. You might catch them dropping playful raps that challenge the limits of story telling, or you might catch them slumping into slow and simple jazz licks, either way all of their incredible vocal flows take you on a journey of rhyming and timing.

Made up of MCs Qwel, Qwazaar and Denizen Kane, with producer/DJ Natural, and assistance from Kid Knish, Typical Cats came together as a group on the WHPK Wednesday Night Rap Show, an independent Chicago radio station on FM 88.5 covering the South Side of Chicago.

The three emcee’s individual lyrical styles have you come away from their albums feeling like there were three solo artists battling each other, but with a unique tamed aggression. Their self titled album brought a lot of attention to some otherwise fairly underground artists. The album put on display the many flavours Typical Cats have between them, floating effortlessly from hard hitting speed rap, to lazy jazz poetry in a half a beat, telling stories with words, piano’s, and anything else they felt like.

It is as hard to describe Typical Cats as it is to find decent video footage of their performances, so the below video will at least give you an idea of their style…

Aside from Typical Cats, these emcee’s make regular noise in the Chicago and bay area freestyle scene. Denizen Kanes’ other project ‘I was born with two tongues’ see’s him spending much time in Oakland where he performs with this spoken word community. Qwel on the other hand has been involved in 16 albums since the release of their debut album ‘Typical Cats’ in 2000, working on collaboration projects with Maker, Jackson Jones, Meaty Ogre, Mike Gao, Silence, and Robust just to name a few.

You can check out more of Typical Cats at:

www.myspace.com/typicalcatscrew

check out ‘Snake Oil’ and ‘Quleoquiallisms for the relaxing simplicity:

www.myspace.com/typicalcats

Having only recently heard of this amazing duet, we know little about them. What we know is that people need to hear this. So check out some of their appearances below…

Floetry – Everybody Heard

Meeting originally through their mutual love for basketball, Marsha and Natalie both studied at the Brit School for Performing Arts & Technology. Natalie came to attention in the music industry as a founding member of the performance poetry group “3 Plus 1″ which was making plenty of noise around London, Birmingham, and Manchester. After inviting Marsha to join her on stage to perform at a spoken word night, together they cemented their signature style in a piece they had created called “Fantasize” (below). Seamlessly combining their talents for singing and spoken word, they deliver a powerful performance unlike anything in the world of poetry or hip hop today…

Fantasize – Floetry

Damn…

If your still reading this, then I can assume you like what you see here. Def Poetry Jam has been a source of inspiration for many people as well as artists we know. Well worth a look at, perhaps best introducing yourself through the appearances posted on www.youtube.com

Another breathtaking poet featured throughout Def Jam Poetry worth checking out is Black Ice seen below:

Damn