Muph And Plutonic

There is no doubting the esteem in which Melbourne’s Muph And Plutonic are held. The pairing of  Plutonic, one of Australia’s premier beatmakers as well as Muph, one of the most respected emcees in the country has yielded three high quality albums thus far. The latest of which,…And Then Tomorrow Came, sees the two advancing their game once more. Refreshingly earnest lyrics and richly layered instrumentation characterise one of the strongest releases of recent times.

…And Then Tomorrow Came is your third full-length release together. How, if at all, did you approach the whole process differently this time?
Muph: Naturally, after working together for so long you become quite comfortable with critiquing each others’ work. We were a lot harder on each other this time around, which made for a much speedier process. And Then Tomorrow Came was made in a more random way than the previous record. Some songs were created on the spot, some began with a beat, some began with a lyrical concept. It was a bit of a mish mash of processes. This time around we did a lot of final takes in the first recording sessions. In the past, we would basically record the whole album, go our separate ways and then come back and re-record the whole thing over. Instead of doing this, I would record my raps onto a dictaphone and use that as my guideline.

After all this time, do you have a natural chemistry figured out or do you still surprise each other in the studio?
M : Yeah I’d say it’s fairly natural, it never feels forced, in fact if things don’t seem to be working we know when to call it quits and come back to that track another day. Every now and then Plutonic will trip me out, he’s got a lot of instruments lying around, most of which he can play at some level, even the ones he says he can’t, he still can as far as I can tell. That used to surprise me, but not so much anymore!

Plutonic: I’m surprised Muph can actually string a sentence together sometimes…haha. But seriously there are only a handfull of emcees I’ve worked with that elevate beyond the vocal booth like I think he can.

The album has the loose concept of considering the implications of a fast-paced lifestyle. Was this your intention from the outset or did the idea develop during the project?
M: It’s something that evolved after writing the first couple of songs. It’s strange, because the one thing I initially wanted to avoid was to make another concept record. The previous albums were both written to an overall concept. Hunger Pains was based on the affects of alcohol. Each song represented the slow burning affects of drunkenness, but with double meanings. I actually wrote down a list of how I’m affected by booze and then would get an idea for each affect. For example, Raise Your Voice came from the stage when our voices increase in volume without us knowing. Silence the Sirens was about living in our own worlds insulated from the wider world. Whereas the last two records definitely had intentional concepts from the beginning of creation, this one seemed to happen more subconsciously. It wasn’t until about three tracks deep that I noticed the theme evolving. Since it wasn’t something planned out, I realized there must have been a reason for it, so I stuck to it. Generally the music is going to reflect the current stages of your life.

Can you describe the source of the paradox in the track title Beautiful Ugly?
M : Me. You. Her. Him. Most people, not everybody go through it. It’s based on the Jekyll and Hyde transformation. Often, if I’m having a little drama or problem, the appeal of booze (escape) is beautiful, but the repercussions more often than not are ugly. Some people tend to handle their booze or drugs fine throughout there whole life, but some (like me) lose that control as they get older. It feels beautiful and looks ugly. Beautiful Ugly.

Was the upbeat style of production a conscious aspect of this contrast?
P: Possibly, I was maybe considering the live performance aspect a bit more. But really it was probably a lot more of a natural sway towards that style of production. I had just finished the Ivens record and had maxed out on the part of me that likes dark beats. That record was something I needed to get out, but also I realized during the process that I’m actually a lot more optimistic than that.

Muph, after years of churning out insightful lyrics, most rigidly associate you in this category. Does it annoy you that you’re almost typecast as such? Do you try to make things more casual at times?
M: Nah it doesn’t really annoy me. I don’t care. I used to get a bit pissed off about that “most honest MC” bullshit, but not so much anymore. That whole idea of making a big deal out of honest music didn’t make sense to me. What does that say about all the other music out there?? I’m definitely not the only one being honest. Also, there are a lot of artists whose music I enjoy, but I could almost guarantee they are nothing like who they portray they are in there music. I don’t have a problem with that, it serves its purpose as solely a form of entertainment. I just try to offer an alternative to that. I don’t try to make my lyrics more casual, but I am conscious of what I do put out there. I believe there is a line you need to draw when writing personal songs, sometimes they can be so personal only I would get anything out of them. So I’m careful to consider what somebody listening might get out of it too.

I can see parallels with Slug from Atmosphere, is he an influence on your songwriting?
M: Yeah I’d say he’s a bit of an influence along with The Grouch, Elliott Smith, Daniel Johnston and a bunch of others! I guess from each of these artists I draw different inspirations. Slug and Elliott Smith both have a knack for making those obvious observations that we tend to overlook, but know are there. I’ve got respect for both these artists and the way they point out these things, but almost more importantly how they simplify them. As far as similarities between us, well I probably like to use a lot of double meanings like they do.

The production on the new album has an even greater focus on instrumentation. Is this something you have developed over time? Is it a means of challenging yourselves?
P: Well you’ve got to understand that I come from a live music background, from a young age, so it’s almost come full circle now. Basically not wanting to use live instruments at all for years because I love sampling so much, and then regaining my love for recorded instrumentation to the point where I’m facinated with buying microphones and recording techniques again.

Is it born of the simple motive to change things up that vocalists such as Jess Harlen, Pete Lawler and Paul Williamson feature on the album? Or is there more to it?
P: It probably has more to do with having an ear for samples, trying to find interesting voices for beats and being bored with the norm. The rest is luck and networking.

How did the collaboration with Lawler come about? How did you approach working with someone accustomed to a different genre?
P: Basically my friend and collaborator Chris Toronyi got me in touch with Pete, because I was winging about trying to find more of a rock vocal on the track and coming up cold. Originally I was trying to find a blues muso who could play harp too (which I later found out Pete could do). I couldn’t believe how easy he was to work with and so open too. I know a lot of rock dudes would have a hard time dealing with sample based production.

What made you decide to feature international favourites Eligh and The Grouch as well as locals Raph Boogie and The Tongue to feature on Today, the track complimenting …And Then Tomorrow Came?
M: Firstly, they are all artists whose work I respect and actually listen to. As far as the concept of the song goes, it’s about getting things done. All these artists are people who make moves, get the job done and so forth, so it seemed fitting to have these guys on that track. They came through quickly thus proving my point. It was great to have them involved in the album.

Musical integrity is something that really comes through in all Muph and Plutonic releases. Is this something you think that could be focussed on more in the local scene?
P: Hmmm, You could apply that to all genres on a global scale. The “scene” (as it is) has a lot more diversity and artists of varying caliber releasing records more than ever. I guess I’m just much more concerned with what we’re doing as artists and not focusing on trying to police “the scene” as it has been in the past. Everything is always twofold in terms of you get some great ideas coming through because artist X doesn’t give a fuck, but you get some really whack shit because “artist” Y doesn’t give a fuck, …you get me.

…And Then Tomorrow Came is an album of standout tracks. What is your favourite and why?
M : Don’t Worry About Nothin’ is my favourite at the moment but it depends on the day. I don’t know exactly why it’s my favourite, but I think it just comes down to the uplifting vibe.

P: Musically I’d say Show Me Your Face or Yesterdays Basement. Lyrically Don’t Worry About Nothin’ I think is really dope.

Have either of you got any other projects in the pipeline currently?
M: Not at the moment, but I’ve been contemplating the idea of getting more into actual song writing for other people. Not ghostwriting for rappers, but writing songs for singers.

P: Currently putting together Perplex’s DMC custom wax and giving Raph Boogie a hand with his release. I’m also gonna start working proper on a new solo joint too.

Recently a massive national tour was announced, how do you plan to keep your set innovative?
M : We have Bonez on board now, he’s playing a fairly crucial role in our show. His involvement goes much further than just a few cuts here and there. He will be adding some of the musical elements to the tracks live ie sounds. I’m sure there are other artists who do this, but you don’t see it that much, so it’s a little innovative I guess, maybe? Also, we have a larger back catalogue of songs now, much more to work with. We’ve been molding the songs, making slight changes for the purpose of the shows, to make them more interesting live. It’s going to be a much tighter live show all round.

What does the future hold for Muph and Plutonic as a duo? Planning another album?
M: For now we’ll be touring this album, and waiting to see how it goes. Most likely there will be another record somewhere down the track. Maybe some remixes, or an unreleased tracks compilation or something. To be honest we haven’t really discussed that yet.

P: If we haven’t killed each other at the end of the tour, I’d say there’s definitley another record left in us.

www.myspace.com/muphandplutonic

Scott Burns - Still Time

Peep the new video from Sydney local Scott Burns. High quality package. Free mp3 download available at http://scottburnsday1.com/

Muph And Plutonic - Size Of The Soul

Melbourne stalwarts Muph and Plutonic have presented a formidable taste of their forthcoming album And Then Tommorow Came with the release of the first single Size Of The Soul. Plutonic has enlisted the brass talents of Ross Irwin, Carlo Barbaro and Paul Williamson to add an instrumental richness to the already soul-laden beat. Plutonic’s production is at its usual best, typified by the professional touches on drums and bass. The latter provides a warbling backbone to the soulful proceedings. Muph puts forth an earnest account of maintaining integrity musically and in life-as symbolised by the recurrent ’soul’ theme. Size Of The Soul is a beautiful, rich track from the acclaimed duo. The brass tinges complete a track that is very easy on the ear. Size Of The Soul is a fantastic single and a very positive signal of Muph and Plutonic’s upcoming LP.

Drapht - Brothers Grimm

Drapht has been a cornerstone of local Hip Hop for some time now, literally, plying his craft from the isolated corner of both Australia and its scene-Perth. The esteemed emcee reinforces the depth of his talent with the release of his new album Brothers Grimm, his third in five years. Drapht has long been a name synonymous with effortless flows, unique diction and substantial lyrics and the latest album exhibits all these hallmark traits.

One of several highlights on Brothers Grimm is the track Put On A Record. Simplex features on production, providing a jilted rhythm over which Drapht spits his usually innovative flow. The beat is characterised by a jumpy piano underpinned by the strangely effective drum pattern. Drapht covers a variety of music-related concepts including the implications of ‘putting on a record,’ as well as the various motives and effects of doing so. His lyrical playfulness is evident once more with punchlines like ‘when you sign the line and meet more dicks than a vagina’s life’-alluding to the consequences of signing a contract with a major label. Another effective technique is his use of assonance in the opening lines. These components make Put On A Record a highly catchy track for good reason. Another interesting track from Brothers Grimm is Drapht’s homage to sleep deprivation, Insomnia. He details the frustrating facets of the seemingly common disorder including: the many solutions tried, the feelings associated with ‘death by bed’ and the cyclic waiting game insomnia constitutes. Trials lays out a haunting beat featuring a delicate piano sample driven by a firm drum pattern to compliment the nocturnal themes. Trials has also added a few excellent touches such as: the opening sample of a man yelling in agony as well as the female vocal sample ’strands of light on the bedroom floor’-a beautifully apt piece of visual imagery. Another classy touch on Brothers Grimm is the peculiar track Where Yah From. Drapht excels once more, despite following a well-trodden path of geographical themes, simply asking where the listener is ‘representing.’ He also alludes to the connection between Perth and Melbourne-his hometown and the base of his record label. A cheeky reference is made to the controversial Australian tourism campaign featuring the tagline ‘where the bloody hell are ya?’ The other state capitals also rate a mention in regards to the local scene. The jazzy beat featuring instruments usually associated with bygone decades also engages the listener.

Brothers Grimm is an album that rightfully cements Drapht’s position as one of Australian Hip Hop’s luminaries. The 15-track effort ties together a wonderful variety of ideas and concepts that range from the frustration of insomnia to issues of identity to the tedium of the workplace. His usual array of catchy hooks is also present. Trials excels in the production stakes, complimenting Drapht’s every thematic whim and lyrical sensitivity. Drapht’s success could be partly attributed to his excellent choice of producers after enlisting the talent of Dazastah on his previous album. Brothers Grimm will no doubt be remembered as one of the year’s best.

Billy Bunks

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.myspace.com/billybunksbte

Billy Bunks - Spit And Gristle

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

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

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

http://www.myspace.com/billybunksbte

Hilltop Hoods - City Of Light

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

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

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

Chasm - Beyond The Beat Tape

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

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

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

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

http://www.myspace.com/chasm1

Rhythm And Poetry

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

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

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

www.rapthefilm.com

2007 OzHipHop.com Awards

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

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

Cheers!