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photo by Julie Schuchard
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Throw another shrimp on the barbie, chuck us a coldie, and crank those phat beats, mate! Sure, Australia is a long way away from the mean streets of Compton or the Bronx. And it's true, our cultural mix is conspicuously lacking in African Americans. But does that mean we're automatically disqualified from wearing baggy pants and bandanas and busting the occasional rhymes to some funkalicious beats? Hell no!
Oz hiphop is on the rise. Our rock-centric great-southern-thunderstruck-land-down-under has not been kind to the pioneers of Australian hiphop, and I imagine the rest of the world will have trouble suppressing their giggles, but if they manage, they may just be impressed.
I'm not sure if it's my imagination, or my allergy to commercial media, but it seems like Australia's emerging hiphop scene has way more underground/conscious hiphop flavour. The Oz hiphop I'm digging seems to be more influenced by artists like De La Soul, Talib Kweli, cLOUDEAD, Sage Francis, Saul Williams, and Buck 65 than by mainstream or gangsta rap. Even more commercially successful crews like 1200 Techniques, Koolism, and Kid Confucius are pretty light on the bling and bouncing buttocks.
The Herd
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My first encounter with Oz hiphop was the Herd's self-titled debut. The Herd came into existence when a bunch of Elefant Traks artists decided to record together, rather than submitting individual tracks for a compilation. Aside from launching the Herd's career, the unexpected hit single Scallops (see previous blog) did wonders for Australian hiphop in general. Since that first Herd release, members Ozi Battla, Urth Boy, and Unkle Ho have all made names for themselves as solo artists.
Blue Mountains boys Hermitude weave beats, jazz, and glitchy bits into delicious downtempo treats. If you like Kruder and Dorfmeister, Bonobo, or RJD2, you're a fan waiting to happen. And of course, they're cheeky little monkeys. A farewell show at the Gaelic Club before their Asian tour kicked off with a silly stoner skit on video: Hermitude are kicking back in the mountains when they receive a call from Urth Boy. They've totally forgotten the gig. They drop their bong and scramble madly through the bush, with no hope of making it on time, until they happen upon a giant spliff that magically transports them to Sydney. Ahh, goofy goodness!
bluejuice
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bluejuice gigs are always frenzied and sweaty affairs with lots of jumping, leaping, and climbing on things (and one another). Funky keys lull you into a cosy groove between rounds of Stav and Jake's stunning (often synchronised) vocal onslaught. Fans are currently forced to make do with the fab little EP The Good Luck Pig while they (supposedly) record their album. A string of excuses and taunts on their website indicates that we'll probably have to keep rockin' to The Good Luck Pig for a few more months.
Australian indigenous artists are stepping up to the mic as well. Shows aren't as widely publicized, so the artists are not as prominent as they should be (yet). But hopefully as the genre gains a bit more momentum, and artists get to know one another, acts like Wire MC and Local Knowledge will get a bit more attention.
Sydney hiphop and breakdance legend Morganics is doing his bit to boost the indigenous scene by running workshops in remote communities. Giving kids the confidence to write and perform may turn out to be the best thing that's happened for the indigenous movement in ages. “Down River,” a track from All You Mob by the Wilcannia Mob was picked up and played to death Australia's national indie station Triple J. The kids, ranging in age from seven to 13, are rapping over the top of a didj, singing about swimming, fishing, playing didj, and wanting to be Jackie Chan. Stuff like this cuts through tired dialogues and just charms the pants off everyone. And hot damn! If my eyes don't deceive me, it looks like “Down River” has actually been remixed by Diplo on Mad Decent Radio Vol.1, track four.
And a couple of treats from Melbourne-town...
Curse Ov Dialect
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Curse Ov Dialect fall into the "deeply freaky" category. Zany bug costumes and wild, disjointed, multicultural, experimental hiphop. With members of Maltese, Macedonian, Maori, Indian and Pakistani descent, Curse Ov Dialect have quite a wealth of musical history to mine for tasty tidbits. Their MySpace profile sums up their sound beautifully: "somewhere between Mr. Bungle, Public Enemy, and everything in between, sampling everything from Inuit throat games to psychedelic folk." And believe it or not, it's good.
Melbourne's Macromantics caught a lot of people by surprise when she landed a support spot for the Sage Francis tour a couple of years back. I guess Sage Francis must have been impressed as well, 'cause he worked on a track for her latest release, Moments in Movement. Her rapid-fire, labyrinthine lyrics recently landed her a deal with Kill Rock Stars. Check her MySpace page for US tour dates in November 2006.
Can't get enough? More Aussie hiphop, you say? Okay, okay, don't get your knickers in a knot! Check out funky Sydney crews Good Buddha and King Farook (previously the S.H.H.I.T), feisty solar-powered eco-activist crew Combat Wombat, the soulful stylings of Brisbane fellows Hipakusha, and quirky, cerebral Adelaide outfit MKB.
The (slowly) increasing success of Oz hiphop crews is spawning a new batch of beat freaks in cities across the country. So there's bound to be more where these came from!
Posted November 2006
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acrid commented, on November 26, 2006 at 10:48 p.m.:
...Our rock-centric great-southern-thunderstruck-land-down-under has not been kind to the pioneers of Australian hiphop....
You didn't even mention any fucking pioneers. Study the history a bit more before you try to write one on it.
Disgraceful.