The Very Good Agency

Rhymesay-what?! Atmosphere, Brother Ali & Murs at the Corner Hotel in Jan!

Well, it’s shaping up to be a stellar summer for hip hop lovers, with Snoop & Co. having just graced us with their presence, a fella called Kanye hitting it soon with his pal NAS, and festivals left right and centre that feature notable members of the hip hop alumni being announced every week now. For me, however, one gig stands apart as something special to look forward to…. Over the Christmas and New Year’s period, underground legends Atmosphere are appearing at a number of festivals with their Rhymesayers cohort and resident albino, Brother Ali. Also touring around this time is another close friend and label mate of theirs in Murs. Now, they must’ve got together and said to each other, “Surely we can’t tour Australia and not cross paths at some point….. how’s about a party?” And so, on the 8th of January, there’s gonna be a Rhymesayers party that you don’t want to miss. Joining forces on stage at the Corner Hotel in Richmond, Melbourne; these three acts are sure to provide an underground hip hop education that will convert even the staunchest opponents. Known for putting a lot of passion and energy into their performances individually, as a collective they will blow the roof off!

Real leaders in the underground scene for many years now, Atmosphere are a group that have never followed trends or made music for the wrong reasons; and it is this stance that has earned them such a strong following. Their following isn’t all based on their music, however, with many a female hip hop fan swooning over Slug, the main man on the mic. Whether this is his charming good looks, or his often intensely personal and introspective rhyme style, I don’t know. What I do know is that he is an incredibly talented emcee with an uncanny ability to grab the listener’s attention with his storyteller-rhymes, nearly always rapping about  his own experiences such as alcohol problems, tour life and depression, and his difficult and destructive relationships with women. Their latest album, ‘When life give you lemons you paint that shit gold’, is a bit of a departure from their normal approach with a lot of live instrumentation used by Ant, but this is a good thing Very Good review, and  in all likelihood they’ll be touring with a band too.

Having just released his first album on a major label (Murs for President out on Warner Bros. Records), Murs will be bringing a whole bounty of new tracks, as well as the classics from his huge catalogue of  pre-major label albums. Never one to take things too seriously, politics included, the new album refers to his desire to become Hip Hop President, and rescue Hip Hop from its current state; what better way to do that than on a major label, right? Don’t get it twisted, in no way has Murs sold out on this album, he’s still up to his usual mischief, and utilises the production of 9th Wonder (formerly of Little Brother) once again. Having collaborated on two albums with Slug (Felt Vol1: A Tribute to Christina Ricci, and Felt Vol2: A tribute to Lisa Bonet) the boys will no doubt be spending a lot of time together on stage.

Murs – Can It Be [Half A Million Dollars And 18 Months Later]

Not to be left out, Brother Ali will be hitting the stage hard performing songs from his 2007 release, The Undisputed Truth (entirely produced by Ant of Atmosphere) as well as from the underground classic that shot him into the limelight, ‘Shadows on the Sun’. Being a devout Muslim and legally blind albino, Brother Ali is certainly one of the more unusual figures to succeed in the hip hop world; but don’t let his appearance fool you now, he can tear it up on the mic just as hard as anyone.

Tickets are selling fast so get onto this quick; at only $48 you won’t find a better bargain this summer. Hell, I’d pay that just to see Atmosphere! Get online at www.cornerhotel.com for tickets now!

In the meantime, check out more about the artists below:
www.myspace.com/murs
www.myspace.com/brotherali
www.myspace.com/atmosphere

…Cracked

Tags: Collaborations, gigs, hip hop

The Good, the Bad and the Queen

If you like cinematic violence and vengeance, then you may know that Sergio Leone’s spaghetti Western “Dollars” trilogy featured Clint Eastwood as the man with no name. The today’s informational update deals with a band with no name, a project that has become known as “The Good, the Bad and the Queen”, which is the title of the album they created. Some in the music business have called it a super group, which is a convenient way to describe a collective of people who have all been in other bands.

Each member has had previous success as part of another group, or in the case of Drummer Tony Allen as a hugely influential solo artist in his own right. Just to let you know the team I will quote from pitchfork, who summed the band up in their usual droll but pretentious style, as “On bass, Clash veteran Paul Simonon. On guitar, Simon Tong, late of the Verve. On drums, the unimpeachable Afrobeat master Tony Allen. Behind the boards, somewhere, the ubiquitous, beloved Danger Mouse. And Albarn himself on top, his ego and voice the would-be X-factor that ties these disparate kindred souls together.” So yes I is a slightly odd mish-mash of talent, but their collective creativity has created a great sound.

To explain, the project began around the time of the demise of Damon Albarn’s previous band Blur, when he connected with Nigerian drummer Tony Allen. Guitarist Simon Tong got on board and they went to Mali, Africa to collaborate in 2004. The result was not completely productive and did not produce any released recordings, but after getting back to London Albarn got former Clash bassist Paul Simonon into the mix, and things went from there. By 2006 the group released the single “Herculean” and performed live for crowds around London. On April 4, 2007, “The Good, The Bad & The Queen“ became the first EMI album to be made available for download in the new DRM-free, high quality MP3 format.

So what’s it all about? No stranger to side-projects and oddities, Albarn has worked with some legends (including Dan The Automator) since his time in blur, not only as one of the masterminds behind animated band The Gorillaz. It’s definitely an intriguing sound, which is a bit of a mixture of other styles, that can be quite haunting and paints an atmospheric picture of modern life in London, or any chaotic urban area. As with most culture it is based in it’s on time and space, but also looks at the broader picture of society, in a dirty, brooding post-911 “War on Terror” world. I enjoy dark, claustrophobic and cryptic lyrics like these from the song Herculean:

“And the medicine man is here 24/7
You can get it fast in Armageddon
Everyone is on the way to heaven
Slowly”

Each individual member brings their own skills to the mix, Albarn’s song writing and lyrical abilities are honed and at the forefront. The drumming and general beats are brilliant. Allen’s skills turn, what could otherwise be thought of as simplistic songs, into something to keep you guessing, so good you’d think he was a drum machine. While most tracks can stand on their own two feet, it is the sort of album created to be listen to, as one collective output, on your headphones while you wait for public transport whisk you away to another place.

-Video: Nature Springs-

By the way: If you are keen to hear about Damon Albarn’s next project with Tank girl creator Jamie Hewlett, look out for Monkey: Journey To The West!

To find out more about “The Good, the Bad and the Queen” album, check out these sites:

Official Site

Offical Fan Site

Myspace Site

“Drink all day coz the country’s at war
You’ll be falling on the palace walls
I can’t be any more than I say
In the flood you’ll get washed away
When the sunset world begins”

(The Kingdom of Doom -TG TB & TQ)

By the good/Bad…Yossarian

Tags: Collaborations, Dub, Jazz, Soul

Braille Interview

A couple of weeks back we took a look at a couple of albums by Portland-based MC Braille and his group Lightheaded. Well, Braille was kind enough to lend us some of his time to discuss his new album, possible tours down-under, and life in general.

Whats up Braille? Thanks for taking the time to talk to us. To kick things off, can you give our readers a quick rundown of who you are and what you’re about; how have you got to where you are now?

My name is Bryan “Braille” Winchester. I was born and raised in Portland, OR, and I’ve been rhyming for over 13 years. My first notable record dropped in 1999 titled “Lifefirst: Half the Battle”. I was only 17 at the time. I followed it up with an album called “Shades of Grey” in 2004 that featured contributions from 9th Wonder, Rob Swift, Illmind, Supastition, Pigeon John and more. I’m also part of the group Lightheaded with Ohmega Watts and Othello. My most recent release is my forth solo record titled “The IV Edition”.

The IV Edition, was released back in April, how’s the response been so far? Care to inform our readers of the complex nature of the title?

The response has been great. It’s been a lot of work though. I spent 3 and a half months touring the U.S. with my wife and daughter. We just packed up in a mini van and rocked shows non stop. I was in The Source Magazine for the first time, and my song “The IV” is featured on a video game, NBA Live 2009. It’s all been progress, so it’s an exciting time for me as an artist.  The album title basically has 4 meanings with different acronyms, metaphors and word play. The “IV” represents the roman numeral four, because it’s my forth record. “IV” is also used to describe medicine going into the veins. The acronym is International Vision – and really it’s talking about different social ills, social commentary and talking about solutions; water for the thirsty, food for the hungry and mercy for the sinner. Taking care of physical and spiritual needs world-wide.

What can listeners expect from the album?

I worked with a different producer for each track on the album. The production is crazy with artists like Marco Polo, OhNo, J-Zone, 88 Keys, Kno from Cunninlynguists, S1 from Strange Fruit Project, Ohmega Watts, M-Phazes and many others involved. I was really picky with my beat selection and tried to find tracks that would challenge me as a lyricist.

Was this always the plan when writing the album? To work with a vast range of talented producers? What producers have you found you gel with the best?

Yeah, I actually decided to take that approach early on with the record. There were a lot of producers I never got a chance to work with, so I just wanted to use this opportunity to try new things, build new relationships and find more producers that I had good chemistry with. I did find that my chemistry with S1, Kno and Marco Polo was really good. Those are all guys I want to consistently work with in the future. I’m a huge fan of everyone who is involved with the record and of course I have a really strong relationship with Ohmega Watts. So yeah, the album helped me dig deeper into my sound and expand my resources a bit.

You grew up in Portland,Oregon, somewhere that isn’t really known for its hip hop; how did this environment influence your music? What types of music were you raised on?

Portland has a really strong hip-hop scene right now. Growing up, I was a tape collector. In the early 90’s the mainstream was leaning more towards gangsta rap, and the people around me were mainly into gangsta rap as well. I didn’t really connect with it and I was more drawn to A Tribe Called Quest and the Native Tongues movement. I started discovering more underground stuff during the independent boom in the mid-90’s, and it gave me more confidence that I could be myself and I didn’t have to follow all the industry trends and politics. During high school, I moved to New Jersey and lived there for a couple years. I would visit New York and Philly all the time – I started getting a more aggressive style to my flow and started finding my “voice” during that time.

As a happily married man and father; how does your family feel about your career? Do they come on tour with you?

I was an artist when I met my wife, so she knew what I was about from the start. We’ve been married since 2002 and she has been on tons of tours with me. Even before we were making any money… we would just live in our van, sleep on floors with an air mattress and travel around.  She took some trips with me to Europe as well. My daughter is only 22 months old and she’s already been on two tours as well! My family and I toured with Ohmega Watts, Theory Hazit, Galactic and Charli 2NA of Jurassic 5 in Feburary. That was like 3 weeks. Then this summer we did our 3 and a half month tour as well. She loves coming to my shows. I don’t bring her to shows in the bars, but when I’m doing all ages gigs, stuff in parks and stuff, she always checks it out haha! During most of the bar shows my wife and daughter will just chill in the hotel cause my daughter doesn’t stay up that late and I don’t want her breathing in a bunch of smoke.

What have been some of the highlights from your recent touring then? Anything else that stands out over your career?

It’s all a blur in my mind. Just being with my family is one of the main highlights. One of the touring highlights of my career was during 2005 and 2006; I used to be the opening act for James Brown and I did 20 shows with him. I don’t think anything will ever top that.

You have also pretty successful with your releases with the Lightheaded crew, you guys have a truly amazing chemistry; how did you meet Ohmega Watts and Othello?

Me and Ohmega have been working together since 1999. I met him while I was living in Jersey.  He was in Florida at the time and during my senior year of high school we would get together twice a month and work on tracks. We had a group called Return to Sender. In 2000 I moved back to Portland and Ohmega came to visit shortly after. He decided to stay in Portland and we were going to start working on the official Return to Sender album. We met Othello at a show, turned into a trio, changed our name and now we got two Lightheaded records out. Our chemistry is really natural because we are literally best friends. We all grew up on the same artists and music, yet we also have our own unique qualities as well. We spent two years touring together non stop and that really builds up the chemistry as well.

Despite solo projects from all involved, I hear you guys are working on a new album; whats the status here? Have you confirmed a release date?

We are working on our third album. It’s called “Lo-Fi Heights”, and so far we have a single finished with production from Waajeed, Stro of the Procussions and Ohmega. We don’t have a release date set but hopefully we’ll have the album done by the end of this year so it can drop in 2009.

Do you have plans for youself or Lightheaded to tour down our way anytime soon?

Man, I’ve been wanting to tour Australia for the last 3 years! I’ve done Europe and Japan – so Australia is the next on my list. I’ve actually been building with some of the guys at VERYGOOD and hopefully I will be out there next year!!!!

After working with M-Phazes (Australian producer doing it large in the States), are there any other artists from Australia or New Zealand that you are now a fan of, or are keen to work with?

M-Phazes is incredible. He’s really fresh behind the boards. I also worked with Weapon X on my “Shades of Grey” album. Both of those guys were a pleasure to work with so I’m interested to build with some more artists in the area. I did some features as well with Figg Kidd and The Flow Dynamics. I love international collabs, traveling around the world has taught me so much as a person and artist.

What other artists would you like to collaborate with?

My dream is to collab with DJ Premier, but I guess every MC shares that same dream haha! My dream collaboration list would be Primo, Al Green, Andreas Vollenwieder and hopefully one day collaborating with an Orchestra. Besides that, it’s an honor to just be working with the guys I’m already connected with.

As well as releasing music yourself and with Lightheaded, you also somehow find time to run your own record label! Is this something you always wanted to do?

I’ve always been a hands on type of artist. I never had a mentor or label take me under their wing during my career. I had to build most of this from scratch. During the process I learned a lot about the industry, trying to pave my own path. I met a lot of artists during my travels who weren’t getting love from any labels, so I figured I would step in. It’s been such a blessing. I’m only a one man operation, and with the industry going through hard times, it makes it that much harder to keep pushing forward but I’m constantly learning new ways to be wise as a label owner and set up our future the right way.

As you mention, its a difficult time to be in the industry; do you see any strategies on the horizon that might lessen the effect of illegal downloads? Do you approach new releases and signing new artists with a different kind of caution these days?

I do really flexible contracts with my artists. I’m not trying to lock anyone in or own them. My goal is just to put out 2 or 3 records a year on the label and do it the old fashioned way. Let the music speak for itself, build an audience and stay consistent. We can’t change the download situation….. we are at the point of no return. The really big challenge now is getting people to download the music haha! If a million people download it illegally, then hopefully the people who really connect with it will support. At the very least, concert attendance would increase. So yeah… it’s all about using the current situation with the industry to build a fanbase and surpass their expectations with every release.

Who are some of the artists you have on the label? What should we be listening out for at the moment?

The roster includes Surreal, Theory Hazit, Poems, Sivion, Othello, Sojourn and Big Rec.  Our back catalog is great.  I would suggest everyone grab a copy of Surreal “Future Classic”, Theory Hazit “Extra Credit”, Sivion “Spring of the Songbird”, Poems “Blooming Sounds” and Othello “Alive At The Assembly Line”.  Next up is a solo record from Sojourn.  He has a single produced by OhNo that we intend on leaking very soon.

So whats next for Braille? Any other projects on the go?

I’m actually half way done with a new collaboration record. It’s me on the microphone and S1 on the beats. The record is called “Cloud Nineteen”. We hope to drop it early next year and I’ll definitely keep ya’ll updated.

Thanks so much for your time Braille, any final thoughts?

I hope to visit Australia soon, in the meantime, keep in touch at www.braillehiphop.com – peace and GOD bless.

There you have it y’all, check out his music and keep an eye out here for updates regarding new tunes and tour info in the new year.

Until next time,

…cracked

Tags: Collaborations, hip hop

Moving On with O.G

Here is the transcript of an interview recorded recently with New Zealand based musician, producer and composer Oakley O.G Grenell, enjoy!

I’ll just start by touching upon your family influences; some could go as far to call it a musical dynasty. With the achievements of your father (John) and the involvement of your siblings (Denver, Redford and Amiria) in other assorted projects, how has this developed your musical tastes and helped shape your career?

I guess having a musical father meant being exposed to all different kinds of music when we were young and growing up. My mum used to organise the festivals on Whitecliffs farm and that ran for about 15 years. So every summer we’d be surrounded by different types of musicians with all different instruments and our ears were open to the world of folk music, country music, blues, rock, reggae. All that kind of good stuff which then influenced us into picking up instruments. My brother Redford picked up the drums and I picked up the guitar, and we told our older brother to play some bass so we could create a trio. I guess my older brother’s album or CD collection influenced what we listened to after that. We also used to have lots overseas hostellers come work on the farm and get free board and stuff. So they’d also bring their music into the house and we’d listen to a whole bunch of stuff from overseas, it was quite an eclectic taste. The way it’s helped our career, I guess, is that over the last 6 albums I’ve released, everything has been slightly different, kind of picking up on different parts of the world of music and trying to put my spin on it, being a kiwi kid. The new album is all hip-hop, so I should really speak about that. It’s all the kind of hip-hop I like listening to really; the early hip-hop we listened to was Ice-T ‘Cop killer’ and stuff like that. You know, things like 2 Live Crew, Double J and Twice the T was the kiwi one. We used to do covers of Digable Planets when I was in third form, ‘Cool Like Dat’ and then the whole metal/hip-hop/rap thing came in, which was like Rage Against the Machine and the like. The soundtrack to “Judgement Night” which had a whole lot of collaborations between rock and hip-hop.

What were some of the musical influences that inspired you when were growing up?

Hendrix was a big inspiration. Just off the top my head I’m just going to throw names out there: Tuck Andress who’s the guitarist from the duo Tuck and Patti, Ben Harper was a huge influence when I was learning how to write songs. His second album “Fight for your Mind”, I think is one of the best out there. A guitarist called Bireli Lagrene who is from France. Producers who influenced me would definitely have to be The Herbaliser who played on the farm when we were very young, I was about 16. Jazzy Jeff I think is an amazing producer. I’ll just go to my Myspace and check what it says there, I’m pretty sure I’ve got heaps of them there. Ok so we’ve got J Dilla (AKA Jay Dee) who does the whole jazz mixed with hip hop, shuffle kind of thing. Questlove from the roots, D’Angelo, Salaam Remi, Jill Scott, Adam F, Elephannt Man, Beenie Man, The Neptunes, Dr Dre, Roots Manuva, Busta Rhymes, Mos Def, Madlib, Damian Marley, Method Man, Common, Mark Ronson, The Nextmen, Will.i.am, Sergio Mendes, The Cinematic Orchestra. Kiwi acts like Shapeshifter, Fat Freddy’s Drop, Open Souls. Overseas MCs, some people that I’ve worked with, Dynamite MC, The Eskimo Squad crew. I guess growing up in Christchurch we were open to the fact of hearing Christchurch reggae bands as well, like EST who are Excellent Soul Therapy influenced me a lot, also Bob Marley and all that kind of stuff.

Involved in many different projects yourself, including Departure Lounge, Eskimo Squad and of course your solo work. Do you find it easy to switch between musical styles?

After high school I studied jazz guitar for three years and in the second year (or possibly the first year), I started gigging and doing gigs and I really wanted to mix what I had learnt from the jazz genre (which really doesn’t sell any albums these days), and create something new with it. Taking the improvisational elements of jazz and throwing that into trying to make new styles, and creating. Drum n Bass was quite early back then, so we were doing it live in a band I had back then called Jam Fa. I remember talking to Johnny Hooves, (who is now a Drum n Bass producer, back then he was our drummer), listening to early Roni Size and hearing Dynamite MC. One of our early conversations in probably ’98 or ’99, was “wouldn’t it be cool to hear Dynamite MC on a hip hop track?” I actually got a chance to do that in the new tune, on the new album which he’s on; it’s called “A Day in the Life”. But we also did one on the first O.G album called ‘Bahm Bahm’.

You also have your own recording label “Central Records”, we’re you always interested in that side of the business? Or was it a means to end, to help you accomplish your roles as musician and producer?

For jazz school (which was end of 2000 or maybe ’99) I won a scholarship for best performer that year and got $500, so went out and bought a keyboard because I’d been listening to The Nomad’s ‘Second Selection’ and ‘Mezzanine’ by Massive Attack, and I really wanted to start mixing and actually try producing. Up until that point I was a guitarist and I was in a reggae band called Bunyip. We just did live gigs all the time and I hadn’t really done any studio stuff, so I went and bought a computer, got ‘Pro Tools’ and stuff. Created a little six-track E.P and then I thought: “How am I going to release it? What do you need to release it?” You need a record label and you need a distributor. So I made up a label called Central Records cause all my friends we called Goob central, so I just nicked that name, and called it Central Records. Pretty much wherever my laptop goes with me and my microphone, then that’s where “Central Records” is based.

It is hard to do the business side as well as the musical side, half the year is spent creating the album (and that’s a mission) mixing it down, getting it all perfect, the artwork, putting it all together, manufacturing it, and that’s only half the job! The other half is getting it into stores, promote it, sell it, organise the tours, do the gigs, try and make music videos, of which we have made 6 (I think) and they’re all on Youtube (just search my name). That’s not the greatest part of the music business, to be honest the best part is when you’ve created a track in your room (or with some other musicians) and you know it’s going to kill in the clubs or in a live band setting, and then of course playing that live and seeing people just go crazy! Which happened last weekend, at the Black Seeds gig, with the Live O.G Band, we killed it.

What were the influencing factors in your travelling to the UK to make music?

I grew up on a farm for the first 17 years of my life and then moved to Christchurch. I needed 5 years to explore it and become top of my game as a guitarist in this town. Then I did my O.E (Overseas Experience), as three of my friends were heading over to Europe, so I decided to do that trip. I had actually been a teacher of music in high schools for two years, then took seven weeks off. We bought a van and travelled through Greece and Italy, then it got too hot. It was the summer of 2003, and there were insane heatwaves. I didn’t have a guitar so I flew to London and started teaching and got my guitar, so that was the reason to go to the UK. A bit of O.E and wanting to collaborate with MCs over there, which I did. I secured the Dynamite tune, started some tunes with The Eskimo Squad guys and then continued to teach, gig, DJ, gig, do some guitar gigs, and produce heaps and heaps of music. I pretty much spent all my money on going out to gigs and I did that for four years. I’d spend six months in the UK for the summer, then I’d come back to NZ for six months and continually do that for four years.

Your second full length solo album ‘Moving On’ that was released in New Zealand earlier this year, is now coming over to Australia. How would you describe the album?

I’d describe it as the hip hop that I like. Coming from NZ, hip hop was something I was into, but it wasn’t a huge thing that I was into when I started producing the first O.G album back in 2001. But when I moved to the UK they had specialist radio shows and whole stations dedicated to dance hall and hip hop. That’s when I really feel in love with the styles and wanted to understand, so being a producer I wanted try every single style. So this is my young hip hop stage, and I’m in love with the beat! Just collaborating with MCs and vocalists is a great thing to do. The album itself sounds very jazz influenced, very kind of Dilla-based. I can listen to beats on there, and it can sound like a compilation of a whole bunch of different producers and MCs, but I’m a bit schizophrenic like that when it comes to making music. I get influenced so easily and that comes out in the music with all these different styles on one album. Some of them are harder tracks like ‘Babylon Creeps’ (feat. KP & Switch) where it’s a bit more of a gangsta beat, but all the MCs are speaking the truth. Then there’s softer ones,  jazzier ones like ‘That’s The Thing’ (feat. LA Mitchell), ‘Moving on’ (feat. Mark Vanilau), and Mara TK’s tune (‘Where I’m At’). So I’d call it a very eclectic hip hop album.

All the reviews I have read are positive and praise your ability and versatility, are you personally happy with the album and how it has turned out?

Yes, I am personally happy with the album, it’s the best music I have ever created, and I’d be so much more happy if was more well received,  because I haven’t had amazing record sales. I don’t think anyone is having amazing record sales these days, but I would love more people to hear it. That’s what getting out on the road and trying to promote it is all about. So we’ll be coming over to Australia to do that very soon!

Anything you see coming on the horizon that people may not currently know about but will soon – as far as trends or up and coming acts?

Upcoming acts: you’re going to hear a group from Wellington called Electric Wire Hustle, you’re going to hear a lot of my band (The O.G Band), you’re going to hear The Departure Lounge, which is my other band and the next album I will be doing, coming out late ’09. Production-wise there’s a guy in Auckland doing a whole lot of dub-step called Optimus Grime.

What plans do you have for the future musically or otherwise, as in projects you will focus on?

I really want to focus on The Live O.G Band; we played some gigs in the weekend with Black seeds. I had my live eight piece band – that was awesome! Future projects I’ve got are organising a tour for the live band and do the summer gigs, we’ve Parihaka sorted out. I run a festival called “I-nation” which will be happening again on March 21st 2009. Musical projects we’ve got include the next The Departure Lounge album, which will be the first that is studio recorded, featuring Mark Vanilau on vocals. The year after that I will be releasing the next O.G album which will be 2010, and I don’t know whether that will be hip hop, drum n bass or dub-step yet, maybe switch it up a little bit? I’ve got heaps of unreleased tunes, but have to sub-categorise them. So basically an album a year, and get influenced musically. I’d love to do more travelling, experience music from different parts of the world and collaborate with musicians. I’d like to spend more time in Australia over the next couple of years and spread the music around there. Just going to carry on doing what we are doing!

-Title Track from the new album “Moving On”-

Known upcoming Tour dates for NZ and Australia:

Interview, etc… by Yossarian

Tags: Collaborations, hip hop, New Zealand Artists

YaHeard? Binary Star

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

Tags: Collaborations, hip hop, Old School, Poetry