Gully Platoon – The Great Divide

Gully Platoon, consisting of Pegz, Dialectrix and Joes New is relatively new trio to grace the Australian Hip Hop soundscape. The amazing flows of the ex-Down Under Beats Crew members seem to bring out the best of Pegz who has returned decisively from a self-imposed recording recess. One need only check Joe New’s effortless verses on The Conquistadors from the Airheads Volume 2 compilation to come by an appreciation for his talent. Dialectrix possesses one of the most respectable, refined flows in the country. The production, predominantly handled by Plutonic Lab and Jase is a deliberately eclectic blend of rhythm & blues, rock and minimalist electronica in varying degrees.

The efforts to diverge into other genres are evident from the opening track Survive Intro. Jase has laced together a simple rock-infused electric guitar riff to herald the musical diversity present throughout The Great Divide. Bank Job is an intriguing concept. The three emcees rhyme in step with Ned Kelly and Robin Hood, committing lyrical grand larceny in serving the efforts of their respective causes. Plutonic underpins the conceptualising with a warbling bassline and various elements of electronica. The beat effectively compliments the lyrical endeavours with a sense of urgency that characterises the entire LP. The focus shifts to a tales of self-improvement from shituations of indigence on Coat Of Paint. The emcees rhyme of personal contexts over a simplistic, thumping drum and bass loop. It’s a perfect arrangement from which the trio can launch their anecdotal verses, rendering the track a seemless match. The final stages of The Great Divide take an uplifting, positive direction. The slower, nonchalant vibes of Late Nights perfectly attend to the concept. Pegz, Dialectrix and Joe New explain how this particular time of day is the ideal forum for introspection and cogitation. The last track Where Do I Go is a highlight of the LP, primarily on account of the soul-soaked vocal tones of Cisco Tavares and Kulaia. The verses are loosely centred around determing meaning from a complicated life through music, and in Joe New’s case, a vaguely cosmic sense. All of this prefaces the Kye-featuring, hidden track goodness.

The Great Divide is a release that has been mentioned in the same light as Phrase’s recent LP Clockwork. Both are said to be reshaping preconceptions about how Australian Hip Hop should sound. Both are said to be broadening the scope in which producers and emcees operate. Whilst it is true that these releases are making a bold foray, neither will go down as classics. The Great Divide is a solid release but nothing more, what makes it enjoyable to listen to is the engaging wit and entrancing flows of the three emcees. It will be interesting to note how this venture continues to develop and whether it encourages more groups of a similar ilk.

www.myspace.com/gullyplatoon

Marco Polo & Torae – Double Barrel

Double Barrel is an LP that has elicited much discussion amongst Hip Hop circles recently and rightly so. Much of the attention towards Marco Polo and Torae’s effort is warranted by an apparent return to the boom-bap sound favoured by many. The pair’s simple creative ethos of producer-emcee chemistry, with both bringing their hardest beats and rhymes is remarkably potent, in effect, a twofold shot at prevailing Hip Hop methodology. It’s one several recent releases to spark renewed enthusiasm for the future.

The title track is an ad-hoc, positive prognosis for Hip Hop. Although it’s not much more than staple battle raps, it’s a powerful introduction to the pair’s mentality, typifying the potential of a like-minded combination. Torae and Marco Polo have captured the essence of raw, boom bap shit. Marco’s sweeping horn sections herald a fresh perspective. It’s interesting to note the album begins with a self-affirmation of Double Barrel and concludes with the pragmatism of Crashing Down. Hold Up is Marco Polo’s strongest effort on Double Barrel, distinguished by a rolling organ sample, some ostentatious horn stabs and complimentary string sections. Torae enlists the talent of some of Brooklyn’s finest: Masta Ace and Sean Price. The trio expose banal, played out lyrical themes and juxtapose with their more genuine musical intentions. Crashing Down is a biting castigation of the current state of Hip Hop and without doubt, the lyrical highlight of Double Barrel. Torae cleverly illuminates the negative idiosyncrasies of the genre, questioning the value of hard work in the face of sheer audience indifference. Lyrics like ‘…I put all my eggs in the same basket, this rap shit/or should I say stuffed in the same casket…’ and ‘…the same niggers can’t go gold that used to run shit/you can’t rely on the public/at least niggers used to cop it then dub it…’ exhibit Torae’s insightful grievances. Indeed, there were many gems to choose from. Torae goes on to namecheck Marco Polo’s 2008 Port Authority LP, detailing it’s astoundingly paltry sales figures given the producer’s evident talent.

Double Barrel is being touted as a worthy exemplar of a vintage, romanticised boom-bap sound which is widely thought to have reached its pinnacle 15 years ago. Torae and Marco Polo have obviously gone for a certain sonic concept from the outset and it’s no exaggeration to say they nailed it. It’s refreshing to hear artists firmly intent on honouring the artform rather than focussing on auto-tune and exploitation. Every track might not display the same level of intuition as Crashing Down but holistically, Double Barrel is a thoroughly engaging listen that will no doubt qualify for many ‘albums of the year’ lists.

Mos Def – The Ecstatic

Mos Def is an artist all-too-often plagued by expectations of a return to the rawness of Black On Both Sides, his 1999 debut LP. Each successive release seems to cursed by an apparent inferiority to the piece of genius it was. The New Danger was branded as experimental, True Magic was criticised as a half-assed fulfilment of contractual obligation. 2009 sees the release of his fourth LP The Ecstatic. Both the title and cover art have been appropriated, the latter from Charles Burnett’s 1977 film Killer Of Sheep. Interestingly enough, The Ecstatic is also set for a digital release via a run of t-shirts featuring the artwork and tracklisting as well as a download code in a vogue effort to circumvent the difficulties of moving physical units.

Producer by Madlib’s younger brother, Oh No, Supermagic is a positively ill manner with which to kick off The Ecstatic. The spiralling acid-rock guitar loop and rhythm borrowed from a popular Mary Poppins childrens’ rhyme, immediately piques the listener’s interest, announcing Mos’ return. That said, the breakdown towards the end is soomewhat mild…certainly in comparison to sheer niceness of the denouement in Pistola. The Ecstatic is a fortunate beneficiary of several Madlib beats sourced from his Beat Konducta In India series. The strings and horn-driven efforts on both Auditorium and Wahid are definite highlights of the LP. Auditorium in particular, coupled with old school legend, Slick Rick’s simple anecdotal verse is effective. Although, it probably could have done without the breakdown in the middle as well as more moderate warbling at the end. Perhaps the track which will arouse the most interest from listeners is History featuring Talib Kweli, harking back to the glorious Black Star collaboration. Indeed, many will desire a greater involvement from Kweli and at 2:23, it’s certainly a tease. The duo explain personal contexts in an almost-zodiacal sense over a soulful, yet subtle J-Dilla gem. It is this last detail which serves to whets the listener’s appetite for more of the same vintage formula.

The Ecstatic represents much that is favourable about Mos Def’s music. The kooky, eccentric vocalising, a strong social grounding, esoteric lyricism, even a multi-linguistic foray on No Hay Nada Mas. The flipside to this is that a great deal of material is recycled from elesewhere in order to achieve the global vibe. Additionally, at times it’s painfully evident that Mos doesn’t always hit the mark. In terms of post-Black On Both Sides efforts, The Ecstatic would have to be his strongest effort to date and exhibits his potential given the right cohert of producers. There are too many enjoyable tracks on The Ecstatic to write it off in the same negative vein as his previous albums.

Delta

Delta is a veritable Hip Hop emissary. The Adelaide MC has amassed many contacts through his extensive travel around the world. Call him the antipodean Hip Hop ambassador or split or hair…there is no disputing the man’s dedication to advancing Australia’s reputation globally. Even from the beginning, having started out on the battle circuit, Delta sought victory with lyrical intellect rather than the pure aggression normally associated with MC battling. It is this verbal intelligence, the steady cultivation of knowledge which continually constitutes a cornerstone of his music. The Second Story is the follow-up to Delta’s critically-acclaimed debut album The Lostralian.

It’s been three years since Lostralian, why the wait to release your second album?
Time is never on the artist’s side! You have only so many hours in a day(and overnight) to make these tracks while touring, rehearsing, promoting your music, in addition to keeping the bills paid and nurturing relationships with friends and family. I put music before a day job every time and I have never had a manager or booking agent. This is all me, real independent hip hop. I also put everything I can into writing a song. I can’t justify rushing my music. Just throwing together a beat and writing some superficial throw away lyrics for it is not enough in my books. You have to give the people their hard-earned dollars worth. Because they deserve MORE.

Have always you felt the impulse to travel or is it a desire that has been intensified by your involvement in Hip Hop culture?
I love to travel first and foremost, to get out of my comfort zone and learn from different locations, people, and cultures. I also travel a lot because after you have met people and formed tight friendships there will always be weddings and funerals. Well wishes are one thing but it is great to get a chance to be there in person to show you care. Of course as well as this it is great to travel and get to see hip hop around the world, and the music that each place has to offer(of all genres).

What do you hope to achieve at the outset of a new trip?
Experiences. The greatest teacher.

How does it feel to share stages with legends of the culture such as KRS-ONE and Grandmaster Flash?
It is so humbling. I first heard Beat Street Breakdown and The Message as an eight year old through my older brother in 1984, and heard The Bridge Is Over and South Bronx in the late eighties. These were all tracks that moved me and made me think. So I hoped that one day I would be lucky enough to see those artists perform live. That was my dream. To be billed on the same shows as them and to have the opportunity to meet them and learn from them is a massive blessing. I am one lucky cat to be in the company of such greatness.

How do your philosophical studies manifest in your music and in particular, tracks on The Second Story?
I think that through hip hop I learnt so much, and my experience with philosophy is very similar. I was once told that philosophy translates indirectly from latin as ‘The love of wisdom’. It truly is that. I like to call philosophy ‘The Art of Science’ when people ask me what philosophy is. The main thing that I learnt from studying the wisdom of the ages found in history, particularly that of the eastern cultures, is that for a human to grow sometimes it is better to focus on what lies within, before focusing on the material which surrounds us. Much of the time, this matter is nothing but illusion. This knowledge gave rise to songs like Fool’s Gold and Shades of Green. I think the main thing that I draw from philosophy is that truth exists independently of cultural belief, opinion, or even humans themselves. Truth drives me in everything I do because only the truth will set me free. Only true knowledge is absolute.

What situations or ideals inspired you to follow more political tangents on The Second Story?
Our Government is lying to us, and we are paying them to do so.

“…Someone once told me that I should run for Prime Minister because I understand peoples’ struggle. I would never be a politician, but I will write a song about it…”

Was there a certain situation you experienced or witnessed which compelled you to write The Lines?
I think we all have been cheated on at some time. I have also seen some horrific divorces in my time and had to be there for my mates on many an occasion. I would definitely say that The Lines is a really cheeky dig at those who cheat rather than an attack on women or an angry, bitter track. I originally suggested to Mojo that he write his verse speaking from the perspective of a man who was juggling two women and trying to pull the wool over their eyes, but I guess we usually write from experience!

How did you hook up with Dave Guy and Tommy Brenneck of Dap Kings fame?
Dave Guy has played trumpet in Mojo’s band Dujeous for years and we have been friends since my first visit to New York in 1999. I know the Dap Kings and Sharon through collecting funk 45s and attending many of their shows over the years. I met up with them last time I was in the states and approached them with the concept for The Lines. They loved it and the rest is history. We were in the studio in Brooklyn the following day.

Has your globe-trotting influenced any of the production flavours on the LP?
More digging, and more records! Diggin’ For a livin’.

Death Song is a powerful anecdote, was the intent of the sole verse to accentuate the gravity of the experience? So as not to regulate the dynamic of the story…
I only did one verse because once the story was told…the song was over. Pretty much like the cab ride itself! That was a crazy experience and I wanted to share that man’s life experience with my listeners hoping that they would maybe learn from it. I sure learnt a lot from that one experience.

Can you elaborate on the concept behind Prime Minister? Was it born out of the acute incompetence of political leaders?
Most definitely. Someone once told me that I should run for Prime Minister because I understand peoples’ struggle. I would never be a politician, but I will write a song about it. I wanted to create a cinematic experience where the listen can imagine me on a podium delivering my speech while they listen to the song.

Having achieved so much already, what ambitions do you still hold? Can you describe any creative visions you hold for the ensuing years?
Just to keep moving forward with my music, To keep learning, and to grow as a person, and an artist. I would love to see a career in music comfortably support me and my family.

What can you tell me about your touring prospects in 2009?
By the time people read this I will be back in New York doing shows to launch The Second Story and working on my third album with some old friends. Stay tuned.

www.myspace.com/deltarock

Behind The Scenes – Koolism

Hau from Koolism has also shot a bunch of videos preceding the release of their fifth studio album The Umu. Expect production footage of both Hau and Danielsan throwin’ down zee dope shit in various studios including The Dojo and The Boom Boom Room with ‘the booth of truth.’ There’s also some Jam Hot video, making of freshness so be sure not to sleep!

Behind The Scenes – Urthboy

Here’s a few videos featuring footage from Urthboy’s new album Spitshine available through Elefant Traks August 28th. He’s also hitting 28 venues around the country from September through to November. Head to www.urthboy.com or urthboy.oztix.com.au for tickets.