MEMORIES AND MILESTONES COURTESY OF DJ SHERRIF ROSCO (TOP BILLIN/RRR)

• 1995 OB’S RECORDS OPENS ( LATER BECOMING OBESE RECORDS)

• 1996 THE FORMULA STARTS AIRING ON PBS

• 1997 PROWLA RELEASES MONEY WALKS

• 1998 BIAS RELEASES BEEZWAX, TREM DROPS SHEER TALENT 12”

• 1999 RDC COMPILATION IS RELEASED BY NUFF SAID, LAUNCH OF STEALTH AND OUT FOR FAME (LATER ACCLAIM) MAGAZINES

• 2000 CULTURE OF KINGS 1 RELEASED

• 2001 TRIPLE J HIP HOP SHOW BEGINS AIRING NATIONALLY, PROWLA RELEASES LONE WOLF

• 2002 CULTURE OF KINGS 2 IS RELEASED. OZHIPHOP.COM LAUNCHES

• 2003 HILLTOP HOODS RELEASE THE CALLING (FIRST AUSTRALIAN GOLD ALBUM)

• 2004 AUSTRALIA VS NEW ZEALAND MC BATTLE SELLS OUT HI FI BAR THE RISE AND RISE OF AUSTRALIAN HIP HOP HAS ARGUABLY BEEN DRIVEN BY MELBOURNE, AND AS SOME OF THE • 2005 JUSTICE BEATS THESAURUS IN THE SCRIBBLE JAM SCENE’S PIONEERS AND RISING STARS PREPARE TO GATHER • 2006 HILLTOP HOODS RELEASE THE HARD ROAD (FIRST LOCAL PLATINUM ALBUM) FOR THE INAUGURAL MADE IN MELBURN SHOWCASE, FERN GREIG-MOORE TOUCHES BASE WITH KEY PLAYERS • 2007 TOP BILLIN LAUNCHES ON RRR TO CHART THE SCENE’S EVOLUTION – AND ITS FUTURE. • 2008 M- PHAZES WINS ONE STOP SHOP PRODUCERS CONFERENCE IN USA

• 2009 KINGS WAY IS RELEASED, SHOGUN DISTRIBUTION CLOSES DOWN, MADE IN MELBURN TAKES PLACE AT BILLBOARD FRIDAY 23 APRIL. PEZ WINS BEST URBAN RELEASE AT AIR AWARDS • 2010 M-PHAZES BREAKS ARIA CHARTS AT #20

Melbourne’s rave culture is at Word of mouth, rumours, industry gossip and hype sparked its peak. Gen Ys see the back interest, which in turn encouraged local talent to come out 1998end of a grunge nation as their of the woodwork. “Comparisons to American hip hop were predecessors revel in the notion bound to arise, given the birthplace of the genre,” Obese that musically nothing will ever be quite as signifi cant or Records general manager Ben Rynderman considers. “But FROM VERY HUMBLE ORIGINS; AUSTRALIAN groundbreaking again. John Howard is two years into a its Australian sibling has always had a very proud sense “ Liberal reign as teenagers sit glassy eyed in hand-me-down of self and sense of place.” By the time hip hop hit the HIP HOP HAS GROWN TO BECOME A PROUD, station wagons amidst Kangol hats, skate shoes and baggy shores of Australia the need for a re-mold was essential. jeans. Local MC Bias B’s Beezwax is released and cassettes The local market hungered for something that made sense. VITAL AND CRITICALLY ACCLAIMED THREAD OF are distributed, copied and redistributed amongst the urban “Australian hip hop in my day was like a young fawn trying youth. This is a milestone in Melbourne’s already simmering to walk – it was a little shaky, we didn’t really have our own AUSTRALIA’S BURGEONING MUSIC INDUSTRY.” local hip hop revolution, though independent label Obese style,” refl ects forefather to Melbourne’s blushing hip hop BEN RYNDERMAN (OBESE RECORDS) Records were already hard at work in 1995, and prior to this industry Jason Perilino, still renowned for his graff work as b-boys and girls were pushing confi nes through breaking Peril. “We didn’t really have our own style until 1989 and it and graffi ti. grew from there.” to a specifi c demographic. The ‘scene’ moved in a direction away from its US counterparts and into a new era of articulation. For the fi rst time and with the helping hands of determined key players, mere babes in the game learnt how to walk. “Obese “Melbourne seems to have a pretty close link between The struggle to gain a separate identity had a blurry Records really put a large number of hip hop artists on the map that wouldn’t have the opportunity to do so,” Perilino states. graffi ti and the music,” says Levi Ramsey, co-director of beginning, as MCs adopted American drawls and applied “They took a lot of chances and some really paid off, they really helped shape the hip hop industry today as we know it.” globally recognised aerosol art paint Ironlak. “I mean if you them to local issues. Radio, television and other print look at guys like Trem, Prowla and Jase [Beathedz] they all mediums provided a platform for a new brand of hip hop to Those risks launched the likes of Hilltop Hoods, Bliss N Eso, Muph & Plutonic and more recently next-gen players M-Phazes still paint in varying capacities yet are heavily involved in emerge, but inevitably a backlash rejected a genre which and Illy. With all things, the successes were equally plagued by criticism. Tall poppy syndrome was rife amongst observers the music side of hip hop.” Ironlak’s solid bond to respected borrowed too heavily from their American siblings. “People and ‘political’ spats were dished out on civil turf. “I used to care about politics so much when I was younger,” Flack recalls of Melbourne writers has allowed the brand to reinvent itself don’t want to buy a watered down imitation of G-Unit or his earlier days. “It would totally consume me and at the time I felt like it was the most important thing in the world to keep over time, shifting simultaneously with the success of the Eminem,” says DJ and hip hop mogul Nate “Flagrant” Flack, everyone happy even it was to my own detriment.” Here stood a generation of highly creative, highly emotional marginalised music. Similarly, Joel Chamaa – AKA Fluid and one part of who has overseen the careers of lucrative commercial groups of politically and socially aware people literally battling to be taken seriously – not just by the public but by their own Wickid Force Breakers – is of the school of thought that crossover artists such as M-Phazes and Phrase though his peers. Battling became the preface for free expression amongst MCs, DJs, graff artists and breakers alike. The culture would breakers “feed off hip hop music”. Over the past 20 years his artist management company FAM. “They can’t identify with be recognised not only by how incredibly constructive it was, but how highly competitive it had grown to be. breakdance crew has grown and taught and evolved within it and the authenticity just isn’t there.” the industry. “It inspires our creativity… and music needs Cyclone intellectualises this as being ammunition for some of the ‘politics’ which would ultimately transpire. “The hip hop dance as much dance needs music,” he states. Street Press Australia’s urban music writer Cyclone culture encourages assertiveness, free expression and battling or beefi ng,” she argues. “I did worry that Australian hip hop boasts a notable 15-year career. She witnessed as hip hop was not refl ective of the multicultural experience… this is why I coined the expression ‘skip hop’.” It’s a term she believes The art, the music, and the dance were all part and parcel was received and facilitated by the media. “Street press has since been taken out of its original context. “I’d now like to see more of our gifted female MCs like Lil G, A-Love and Class of a mass development originally developed on international accepted that hip hop – and R&B – was growing and had A fi nd commercial success,” she ponders on hip hop’s future minus current political shackles. “And the guys might do more to soil. Born in the Bronx, New York and Kingston, Jamaica, longevity. Melbourne street press was always onto it and proactively support them. I’d also like to see some of the home grown R&B acts fi nd wider success. It’s appalling that Daniel this lyrical communication originated from a tangible way ahead of Australia’s glossy music publications,” she Merriweather is bigger in the UK than here.” movement uniting members against racial politics, mass recalls. But the voice was still undernourished as MCs opted unemployment and a sense of social abandonment. to ditch their innate dialect. “They seemed preoccupied with Voted best female MC of 2008 and 2009 at the OzHipHop.com awards for her work as Class A, new schooler Andrea Baranski Kingston’s indigenous fusion of anti-colonialism and social some undefi ned ‘cultural cringe’. The debate also distracted works feverishly to remain focused in a male dominated industry. “It makes me work harder so that people have to take and political empowerment moved a body of people beyond local artists developing a sound per se.” me seriously, and appreciate my music because its quality, not because I am a female,” Baranski says. “I have come across their oppressors. Meanwhile in New York, individuals like DJ some people who think Australian girls shouldn’t rap at all. These people haven’t hindered my success, they have provided Kool Herc and Afrika Bambaataa were amongst countless During this stage artists defended their choice to reject their entertainment.” others to pave the way for one of the world’s most politically native tongue. “The major argument made by those who driven waves of music. rocked accents was that no one wanted to hear our local accent because it was hard to listen to,” manager of local YOU GO TO PRACTICALLY ANY COUNTRY Ironlak’s marketing manager Luke Shirlaw recalls that when shop Wax Museum Records and monthly side project Wax he started graffi ng as a 15-year-old “there was no industry”. Museum Records Jam Guy Roseby refl ects. “These days “ At that stage the media had latched onto a US commercial though hip hop has grown beyond the US. It is a worldwide AROUND THE WORLD AND YOU WILL FIND A hip hop conglomerate and given airtime to the likes of movement now. You go to practically any country around Snoop Dogg, Tupac and Coolio. It was not long after this the world and you will fi nd a hip hop scene – some bigger HIP HOP SCENE – SOME BIGGER THAN OTHERS, that Shirlaw discovered Australian hip hoppers in the form than others, but there will be people there rapping in their of Def Wish Cast. “The only way to get my hands on non local tongue.” BUT THERE WILL BE PEOPLE THERE RAPPING mainstream hip hop joints was to mail order that shit from Rockinghorse in Brisbane or Obese in Melbourne. Being that As the scene unfolded, local hip hop thrived and artists’ IN THEIR LOCAL TONGUE.” successes were determined by two core elements – talent there was no internet readily available, discovering new GUY ROSEBY (WAX MUSEUM RECORDS) artists was near impossible. It was all word of mouth.” and the ability to create beats and content that was relevant

ADVERTORIAL without offending or downplaying the very scene closer together by default,” 100% Phat founder, THE MUSIC SIDE ingredients that give it such vitality? “I tend to artist manager and 2010’s Made In Melburn’s event POLITICS CAN think in national terms as, for the most part, hip organiser Michael Jordan (AKA MJ) says. “While there “OF THINGS KEEPS hop artists are transcending cities,” Cyclone are different crews and different styles, I think people “BE HEALTHY WHEN foresees. “Which in itself is a progression given have come to realise that talent will always win out. CHANGING AND EVOLVING, the rivalry between Sydney and Melbourne.” “So now I think its time to help each other out more and CONSTRUCTIVE... BUT Truth be told it’s near impossible to deduce the realise that for the scene as a whole to move forward, SO THERE’S THIS WAR OF future of Australian hip hop – but as with any you have to share the knowledge. I hope by running IF THEY CREATE THE mass movement made up of highly creative Made In Melburn people see it for what it is – a chance IDEALS BETWEEN THOSE people, the more synchronised the relationships, to bring together some of the best talent in Melbourne, BASIS FOR NEGATIVE WHO SAY THAT THE SOUND the better the outcome. without any ulterior motives.” REPERCUSSIONS, This month, various key players in the industry OF HIP HOP SHOULD STAY will come together to put on an event that DISCLAIMER: We would like to thank all IT CAN’T BE A represents this belief system. A hip hop spin off those who took part in this feature, and while of Eric Powell’s successful Made In Melbourne we recognise that there are countless others THE SAME AS IT WAS BACK who played a big part in the development of GOOD THING.” showcase of electro and house DJs, its goal is to SHAYNE HOOD (FAT KIDS) IN THE DAY, AND OTHERS create synergy amongst local crews and create a Melbourne’s local hip hop scene, the topic is so non threatening event for all hip hop fans, from vast that it’s simply impossible to include and thank WHO WANT TO SEE IT GO the diehard to the newly involved. “I think with every individual. Please be assured we have each independent artists having gained some success and every one of you in our mind. Much respect. BY FERN GREIG-MOORE AS FAR AS IT CAN AND KEEP over the past few years, it has also bought the TRYING NEW THINGS.” CHRIS VERRA (SOULMATE RECORDS)

One-half of ForthWrite and best known for A Mind Of My Own, his debut solo album as Pez, Perry Chapman remains mindful that there are politics in all facets of life, and watches a genre thriving to reinvent itself. “The music side of things keeps changing and evolving, so there’s this war of ideals between those who say that the sound of hip hop should stay the same as it was back in the day, and others who want to see it go as far as it can and keep trying new things.” Chris Verra relocated to Melbourne from Brisbane in 2006 and is currently at the helm of Soulmate Records. He watches for new talent and especially admires those who push boundaries. “There’s a faction of local hip hop supporters that are against any form of commercialisation or watering down of the music,” he muses. “Never evolving your production or MCing style because you’re trying to carry on tradition is not good for the culture – it’s just as harmful as AutoTune and ringtone beats. If we don’t move forward, we stagnate, and artists shouldn’t be chastised for trying new things.” It’s diffi cult to pinpoint where local politics began to taint progress, and regardless of whether you advocate that they ever existed or exist still, there’s a general consensus. New style and growth once seen as a threat to some would be crucial in assisting artists who were destined to cross over from the underground into the indefi nite realm of commercialisation. “The acceptance of Australian hip hop in to the mainstream of Australian music has been critical in its development,” Ben Rynderman offers. He remains adamant that as the genre evolves so too should the public’s recognition. “Radio exposure and commercial success from artists like Hilltop Hoods, The Herd, Drapht, Urthboy, Muph & Plutonic and a plethora of others have propelled this scene into the spotlight, where it is certain to remain.” Shayne Hood, known for his branding success of street art/skate/ fashion company Fat Kids, has made a point of pushing social constructs by including multiple demographics when marketing his hip hop/street lifestyle orientated events. “Politics can be healthy when constructive… but if they create the basis for negative repercussions, it can’t be a good thing. It is crazy to think that everyone should love each other’s music, but to accept people have different tastes in music is a must.” Come the turn of the millenium, things had evolved rapidly and a broader listenership had emerged. Former decktician for The Avalanches DJ Dexter had placed second in the 2000 World DMC championships, and a year later the ABC’s youth radio network triple j would begin to air The Hip Hop Show nationally. Then in 2002, 1200 Techniques took home an ARIA for best independent release of the year, a moment still standing as one of the highlights of Jason Perilino’s decorated career. “I remember… feeling the weight on my shoulders, being an ambassador for hip hop at the time,” he recalls. “It was a weird feeling as there wasn’t even an award for best hip hop group in 2002, so it was quite a moment.” In the years that followed Hilltop Hoods would push local hip hop into the mainstream with albums The Calling (2003) and The Hard Road (2006), followed by the commercial success of Phrase’s Clockwork (2009) – and dreams that lay dormant in the younger generation would be pushed closer to a reality. “The industry has become more educated… there is less and less room for a purist to fi nd an audience,” Bo Ghetto Kitty, previous organiser of Sketch City, an interactive art and music collaboration project and of recent time Miss Libertine’s venue manager observes. “This is not just hip hop but all music scenes – we are such a tiny country really, yet we have access to and a desire to be connected to the newest things around the world.” As artists fl irt with new fusions there’s a new generation of hip hoppers on the horizon. The future’s looking bright for the likes of Diafrix, True Live, Polo Club, 360 and other MCs and producers who test margins. While they play with electro synths, gospel inspired wall of sound ballads, live bands and orchestras, and blend blues and roots, the ever- growing local and national fan base wait in anticipation to see how far the genre can actually be pushed. “A style/genre is a crystallisation,” Wax Museum Records co-owner Tim Bartold, AKA Aux-One, argues. “I would much rather hear someone who is experimenting than someone who is just trying to play it safe and sound as the rest. Local artists are important as they provide an alternative perspective on local and international issues. I think our accent in terms of raps makes it really diffi cult for other countries to accept – especially the US – but there are producers making some inroads overseas, which is great. I can see more collaboration between local and international artists in the future.” So where to from here? How do you encapsulate the future of a genre knotted with such passionate and politically fuelled components

ADVERTORIAL everything in between. The store was started by DJ’s Aux- Tell us about Soulmate Records and the things which have One and Mixa, who are still active in the local scene. subsequently evolved from the brand Tell us about the events which have subsequently In 2010, we’re ramping things up with new artist signings. evolved from the brand Recently, Soulmate confi rmed its new partnership with We hold the premier monthly hip hop night in Melbourne EMI to release upcoming album projects from Pez, 360 -‘Wax Museum Records Jam’ on the 3rd Saturday of each and others. 360’s sophomore album Falling & Flying is in month as well as in store signings and events. Wax Museum the fi nal stages of recording now and sounds amazing. is our own independent record label and we work with many Where do you see Soulmate Records in the future? local and overseas artists. To branch out stylistically. 360’s new album is true cross- Where do you see Wax Museum Records in the future? genre work and we’ve recently signed an electronic group We’re currently working on expanding the shop for that we’re really excited about. The ultimate goal is to get distribution across Australia and in NZ. We want to provide into the groove of a quarterly album release schedule and an avenue for smaller overseas labels to get some more to get more involved in the live arena, including touring WAX MUSEUM RECORDS exposure and our local customers to get the best music. SOULMATE RECORDS international acts. SHOP 2 CAMPBELL ARCADE DEGRAVES ST CITY We’re also planning more exclusive vinyl releases on the SOULMATERECORDS.COM ‘Wax Museum Records’ Label. Why is Soulmate Records so important to those involved in Tell us about Wax Museum Records Why is Wax Museum Records/Events so important to those Tell us about Soulmate Records involvement Melbourne’s hip hop industry? involvement in the industry involved in Melbourne’s hip hop industry? in the industry It’s healthy for the local scene to have diversity and I Wax Museum Records fi rst opened in 2006. Within the The store provides Melbourne with hip hop from home Soulmate has been around since 2007 when we dropped think Soulmate offers a point of difference to the straight bricks and mortar of Flinders St Arcade as well as online, and abroad that larger chain stores won’t say boo about. our fi rst album release. Since that time, we’ve expanded up early ‘90s boom bap approach. That’s the music we we’re proudly the largest stockist of hip-hop vinyl in We have exclusive distribution with labels Stones Throw the catalogue with another three releases, and in all grew up on and we love it, but all of our artists are Melbourne - it’s what we specialise in. We also stock Records, Project Mooncircle and many more. In events we Melbourne we’ve hosted events at venues including Hi- keen to push the boundaries of that aesthetic and come funk, soul, and jazz to dub step, d’n’b and rock, plus bring the good vibes and acts that you need to know about! Fi, Roxanne Parlour and The Evelyn. up with sounds that are new and original.

we think now only show of this kind, we’ve had Company Merriweather, Diafrix, Illzilla, True Live, Forthwrite, J-Red/ Flow, Sage Francis, J-Live, Mystic Journeymen, Grouch, Doc Felix weekly residency, Street Elite (Peril & Surreal), Eligh, Pumpkinhead, Mr Lif, Ugly Duckling, Mr Sinista, DJ Dexter, Perplex, B-Two, Killa Queenz, curse ov dialect , Mix Master Mike, DJ Miz and J Zone and others. As far as Phrase, Resin Dogs, Fat Kids parties, X and Hell, Koolism, locals go it’s more a case of who haven’t we had. Nfa, IDA World DJ Championships, Motley. Internationals Where do you see Revolver in the future and its have included Nextmen residency, Rodney P & Skitz, Blu & relationship with local hip hop? Exile, Dynamite MC, Mr Thing, The Grouch & Eligh, Finale, As long as people keep the independent thing going Kid Koala, RJD2, and keep their crews in check they will have a venue at First Floor in the future and it’s relationship with local hip hop REVOLVER UPSTAIRS Revolver. Street Poetics will always represent for the true hip hop Why is Revolver so important to those heads. Free entry and the Street Poetics band which 229 CHAPEL ST PRAHRAN involved in the industry? FIRST FLOOR includes Tom Tom (True Live) Jake Savona (Mista Savona), Tell us about your past involvement in the industry Historically, we provided a venue when no one else would. 393 BRUNSWICK ST FITZROY Choi (Illzilla/Cooking on 3 burners) plus special guests. Hosted by Mantra with Wasabi on the decks. Check our Revolver has put on Hip Hop shows since its earliest Currently, we acknowledge that Hip Hop is not a passing Past involvement in the industry web site for weekend events: fi rstfl oor393.com.au. days in a time where there were basically no venues that fad for its participants and continue to be interested in the First Floor evolved organically as a home for hip hop on the would allow this type of music or people. In particular artists of today such as Polo Club, A Love etc as well as north side, stemming from its openness to emerging local Why is First Floor so important to the industry? those messing with Grime and Dubstep etc. We have kept we had a strong relationship with Obese in its early days talent. Our regular nights dedicated to hip hop and urban It’s been a platform for many emerging artists. We’ve had our MC Comp going when all others have decided that as well as providing a platform for many independent sounds with some of Melbourne’s best Hip Hop and cross a lot of love over the years from breakers, writers, djs and theirs are no longer worthwhile. Because of this we intend artists. over DJs are revered across the board. MCs. PS Wu Tang came down on their last tour.. and that to keep doing it and providing what for many is their best says it all! Tell us about the key events you’ve held and sometimes only chance to be heard by a room full of Key events held Besides our annual MC Comp which is Australia’s fi rst and their peers and perhaps even win a gang of prizes. Local: TZU residency (way back in the day), Daniel

Tell us about Restless Entertainment Restless Entertainment have promoted our own shows and club tours. We have currently runs three weekly urban club nights. run some of Melbourne’s most successful urban nights, Thursday – rhythm-al-ism @ Fusion is Melbourne’s and in the next few weeks are opening a brand new Friday No.1 R&B Thursday night, and has been going strong for night at Q Bar called Scribble. almost ten years, Friday – dysFUNKtional @ The Loft and Where do you see Rockstarr in the future? Saturday – Khokolat Koated @ K Bar. Restless regularly features local acts performing live, employs the best We will continue to grow our two club nights, Scribble Urban DJ’s in the biz! Restless also holds one off events and Playground, and would eventually like to take the nights interstate to show the rest of the country how and massive long weekend parties. RESTLESS ROCKSTARR we party in Melbourne! We’d like to see our DJ’s mix a Where do you see Restless Entertainment in the Future? CLUBSCRIBBLE.COM.AU CLUBPLAYGROUND.COM CD we could release through a major label, and we will ENTERTAINMENT Restless Entertainment aims to continue its successful continue to provide Melbourne with strong urban club WWW.RESTLESS.COM.AU journey with possibly expanding on more nights and Tell us about your involvement in the industry shows. We would love nothing more than to see local and international urban acts get more and more popular. Tell us about your involvement in the industry brands. Most importantly, to keep delivering and staying We have been in the scene promoting clubs events true to all the urban music lovers who support our and concerts for close to ten years. We currently run Restless Entertainment was formed in July 2000. For Why is Rockstarr so important to the industry? nights. Plus, Restless is constantly stepping forward into one of the most successful weekly urban club nights in almost 10 years Restless has provided RnB / hip hop lovers We’ve put on shows by artists such as Daniel other areas of hospitality. with regular weekly club nights to party at! In fact, since Melbourne, Playground @ Seven on Saturdays. We are Merriweather, Phrase, Jade Macrae, Justice & Kaos, June 2003 Restless has had 3 or more club nights every Why is Restless Entertainment so important to the industry? also about to add another night to our weekly calendar Electric Empire, M Phazes and more. Our club night single week! Restless has brought numerous international Restless Entertainment clubs nights offer an avenue for Scribble @ Qbar Fridays. Playground on Saturday nights at Seven also features artists to Melbourne such as Public Enemy, Busta Rhymes, talent to be showcased. From DJs and Dancers to local Tell us about Rockstarr DJs who specialise in many different genres including ol’ skool, breaks, hip hop, and neo soul. We are one of the DMX, Lil Jon, and LL Cool J, whilst also running some of and international live acts. Our weekly nights offer a Rockstarr specialises in promotions and event few club nights in Australia that give urban music fans the the biggest after parties including Eminem, Snoop Dogg, location to promote all things urban! Not to forget the management. We have promoted for various festivals Black Eyed Peas and Destiny’s Child. thousands of people out there that love RnB and hip hop. opportunity to listen to all different styles of urban music including Ragamuffi n, Kiss My Grass and Hot BBQ and in one venue.

What has subsequently evolved from the brand and/or the around rural and indigenous Australia. We are old skool hip artists on the label? hop afi cionados. Whether you think hip hop is evolving or falling apart is Tell us about Toasters Boutique purely individual perception. In the eyes of GRHYME, it isn’t necessary to dig up the soil and rip apart the We imported Jimme Jay from Japan as our technical foundations of the artform that many pioneers toiled adviser and he turned out to be this wonder kid. He remixes over in order to produce something ‘new’. Improving on all our hip hop joints into neo electro baile funk mixes. P something organic doesn’t always require synthesizing it. Mac is really hot, he smashes the MPC and keeps us in line. I bust out raps in a mix of Baile funk, Dancehall Latin, and Where do you see GRHYME in the future? Club Flavours. Sinergy Crew’s debut album ‘Sin City’ was delivered Where do you see Toasters Boutique in the future? like a kick to the head. The labels second release from Well we come straight outta Brunswick, giggin’ all around Broken Aesthetiks titled ‘Broke’ is about to push new Melbourne and we’re about to head to Sydney for the boundaries. Our live performances won’t allow you to Circuit Breaker 2 CD Launch which we feature on. Gonna do sit in the corner or stand at the back of room. Crowds the Aussie summer Festival circuit and never gonna burn GRHYME are forced to mirror our message. We want everyone to TOASTERS BOUTIQUE up. If we have a music industry expiry date, we’ll still be WWW.MYSPACE.COM/SINERGYCREW stand up and get involved. WWW.MYSPACE.COM/TOASTERSBOUTIQUE rocking Warehouse parties when we’re fi fty. That’s just Tell us about GRHYME Why is GRHYME important to the industry? Tell us about your past involvement in the industry how we roll! GRHYME is a relatively new label that has been active in GRHYME isn’t treating hip hop like a shiny object I myself (Mars) have featured on some interesting Why is Toasters Boutique so important to the industry? the live scene around rural and metro Victoria. We work to distract the average simpleton. We respect and and varied club/rap collaborations, from Wax Motif We break the stereotypical ‘Ozzie hip hop’ mold. Or the with independent musicians and artists and have and understand the roots of hip hop culture, and aim to build (Sydney) to Edu K (Brasil) and even club Producer Jamie idea that ‘girls can’t rap’. We blend the freshest styles and will be injecting more music and clothing into the local on that without losing touch. In any genre it’s generally Fanatic (Mad Decent). As a collective we run hip hop it’s what the hungry and clever punters want. It’s original, hip hop scene. the independent entities that are the culture’s heartbeat. workshops together with our crew Fresh Red Earth it’s multilingual, it’s multi-genred.

ADVERTORIAL WWW.STOREDJ.COM.AU AUSTRALIA’S HOME FOR HIP HOP DJS AND PRODUCERS 1300 858 394

but when I had my son, I thought, ‘Shit, I’d better get passionate. The confi dent approach Aussie hip hoppers a real job’. I did the NEIS course in 2001 and opened a now have to their craft has come a long way from the record store and eight years later Northside Records is early hip hop days in this country. an institution for soul in Melbourne. Tell us about Kiss FM, specifically the hip hop shows Tell us about Northside Records We have four hip hop specifi c shows with Breakfast and Northside Records is Australia’s home for all things Drive and an additional two shows all playing some hip funky. Be that hip hop, jazzzzzzz, dub, beats, funk, latin hop. We have recently reorganised our program grid and etc. Northside has in store performances, signings and are pleased to announce that Peril will be joining us on it puts on gigs and radio shows and much more!! We Wednesday nights. have an impressive wall of local soul funk and hip hop Where do you see Kiss FM in the future? 45’s as well! Kiss FM will continue to champion Australian hip hop. Where do you see Northside Records in the future? We believe it’s growing and deserves our support. Still diggin’ hard to come up with the best tunes for Commercial radio tends to only play Hilltop Hoods while Australians to get down to! others miss out, which really is a very sad state of affairs. Why is Northside Records so important to the industry? KISS FM NORTHSIDE RECORDS Northside supplies funk to the b-boys and girls, 272 JOHNSTON ST ABBOTSFORD Why is Kiss FM so important to Melbourne’s hip hop industry? WWW.NOTHSIDERECORDS.COM.AU samples to the beat makers, hip hop to the peoples and Tell us about your past involvement in the industry Kiss FM supports Aussie hip hop both on air and at our dancefl oor-fi llers to the DJs. It’s a space where people annual event Kiss My Grass. These acts would often be INSTORE ON APRIL 17TH (WORLD INDIE RECORD I have DJ’d for nearly 30 years and have run Kiss FM for STORE DAY) THE BAMBOOS AT 3PM. can bump into other like minded music lovers (and a ignored if we didn’t support them through airplay and few megastars!). It’s the only store that specialises in some 15 years. As program director I am always excited the experience gained from playing at an event such as Tell us about Northside Records involvement in the industry LIBRARY music which is integral to hip hop producers when I come across quality Aussie hip hop releases. The ours. Diafrix is a good example of an act we have given I’ve been DJing around Melbourne for nearly ten years and the beats that make the city move. Australian sensitivity to hip hop culture is unique and across the board support to.

Tell us about Keepup Tell us about the events or anything else which have I started Keepup due to lack of decent informative urban subsequently evolved from the brand websites out there. I sat back for a year and watched In recent years Akai Pro have really expanded the range the urban scene and found a void that needed to be to include top quality MIDI/USB keyboard controllers fi lled. The site also aims to give the unsigned local guy (MPK’s), portable controllers (LP’s), pad controllers a chance to get some exposure. Australian urban music (MPD’s) and dedicated Ableton performance controllers and artists are just as good as the imports. (APC’s). Obviously our roots reside deep within the hip Where do you see Keepup in the future? hop community, but our products are just as suited to any producer or DJ who requires quality, well-featured gear. We have a 24/7 radio stream launching soon where urban lovers can hear all the latest urban music, as well Where do you see AKAI PRO in the future? as classics. We’ve lined up Australia’s best DJ’s and also Akai Pro will be wherever the music takes it. Our some high profi le people from the states to contribute philosophy has always been about developing the tools and be a part of the station. I see Keepup as a forum for that artists need to express and explore new musical KEEP UP anyone that loves urban music. They can come to the AKAI PROFRESSIONAL possibilities, and that certainly hasn’t changed. KEEPUP.COM.AU site and get the latest unbiased music, concerts, videos WWW.AKAIPRO.COM Why is AKAI PRO so important to the industry? and fashion information. Tell us about your involvement in the industry Tell us about your involvement in the industry Good question. We see it as a two-way street, In the early ‘90s I part of a hip hop group signed to Why is Keepup so important to the industry? Akai Pro entered the electronic music industry way back Melbourne’s hip hop industry is hugely important to us , Mushroom Records, I managed R&B group Past To Its important for those involved locally whether your a in 1984. Some would say our legendary MPC range, has and we’re mindful of tailoring our products to what the Present , owned an urban store with DJ Puppet and also DJ, rapper, singer , promoter , in fashion or advertising to been the backbone of hip-hop production ever since. Hip artists need and will need in the future. Local artists such ran a street publication that went to Melbourne, Sydney have a place to promote their product to the masses. We hop super-producers such as DJ Premier, Pete Rock, J as Flagrant, Wasabi, Chasm and M-Phazes are just some and Brisbane (Kandee Magazine). I’ve worked on urban support everyone and our aim is to help out the small guy Dilla, Dr. Dre, Just Blaze, Kanye West and DJ Shadow are of the many Akai Pro users out there fl ying the fl ag, and tours but now Keepup is my focus. and to promote Australian urban culture. just some of the names associated with the brand. fl y i n g i t w e l l .

Tell us about the events or anything else which have subsequently evolved from the brand Hollabak put on shows showcasing all styles inspired by hip hop/urban dance street styles such as house, lockin’, jerkin’, poppin’, krump and urban choreography. The crew believes in female empowerment and will never conform to stereotypical booty-shaking girls seen on today’s music clips. The home of Hollabak is Ministry of Dance and all crew members regularly attend Arna’s HOLLABAK/ class at MOD, Wednesday evenings 7.30-9pm MINISTRY OF DANCE theministryofdance.com.au WWW.THEMINISTRYOFDANCE.COM.AU Where do you see Hollabak in the future? FACEBOOK.COM/HOLLABAKDC Hollabak will continue to inspire and represent strong female dancers. The future for Hollabak is on the TV Tell us about Hollabak’s involvement in the industry show Australia’s Best Dance Crew (if created) – hollaaa!! Hollabak is an all-female dance crew who have been You can become a fan or friend of Hollabak on facebook. together for four years and directed/choreographed by com/hollabakdc Arna Singleton aka Robotgirl. Currently with sixteen Why is Hollabak so important to the industry? members, the crew is known as Melbourne’s best Hollabak is important to this scene as they are a female dance crew and recently placed fourth out of representation of females who know how to bring the Australian crews at the international competition swagger and to be recognised as fresh dancers known as Battlegrounds. They place highly in regardless of gender. As the saying goes: “Us girls can competitions such as Groove, AHHC and Step Off! boogie too!”

over to NZ, the USA and we’re making moves in Europe too. We do our best to give back to the culture and as a result we now have 22 writers on our sponsorship roster globally. We support events, exhibitions and other projects, including BBQ Burners events, where we invite writers for a day of painting, beers and a BBQ. We drop YouTube videos like they’re going out of fashion. Recently we partnered with DJ Adfu and Trials on a video for the launch of our new Reload product. Others included Trem (Lyrical Commission), Lazy Grey, P-Money. IRONLAK Where do you see Ironlak in the future? WWW.IRONLAK.COM Making spray paint is not the cash cow that people think Tell us about Ironlak it is and we’re far from balling, shit never comes easily. We began with research in 2001, fi rst product rolled Things are looking up this month so hopefully we’ll be releasing new products and do bigger and better onto store shelves 2004 in the form of ten colours. The projects with more fresh graffi ti art. goal was to provide Australian graffi ti writers with a cheaper alternative to the European brands, but to Why is Ironlak so important to the industry? produce a quality product. We were the fi rst Australian We’ve reduced the price of quality spray paint in company to produce a line of spray paint aimed at Australia overall. We’ve stayed close to writers in graffi ti/aerosol art. Melbourne, given away free paint, supported jams, exhibitions, walls and put on our own events. You could What’s subsequently evolved from the brand? say we’ve supported the graffi ti scene in Melbourne and It’s been a bumpy ride, but we’ve managed to get Ironlak helped elevate it.

ADVERTORIAL