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HIP HOP/R&B; |
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 NEWS...
Gold-selling Australian R&B; artist, Selwyn, has become the first music artist to work with Emmy Award-winner, Jim Frazier. The pint-sized crooner met the famous Director Of Photography on the set of 3 The Hard Way; an action comedy starring Selwyn in his acting debut. Frazier recognised the recording artist's talents and agreed to a 15 hour shoot for Selwyn's new single, Boomin, from his forthcoming self-titled album. “It was an honour to work with Jim," said a chuffed Selwyn. "He had so many great ideas and I learnt a great deal in the 15 hours it took to shoot the clip. For me to be the first artist Jim has ever worked with on a video clip level is still very hard to digest, it’s just amazing.” The feeling appears to be mutual: “I see so much talent and untapped potential in Selwyn’s music and natural abilities," explained Frazier. "I really wanted to contribute to his work and hopefully help him achieve his goals.” Selwyn fans can expect to hear Boomin on Aussie radio from July 19.
(posted: July 1, 2004)
Aussies have always been strong challengers for the World DJ Championships and 2004 promises to be no different. Last year Staen 1's title hopes were dashed after a tragic dose of bad luck when a needle broke. Despite the setback, he still placed 9th, showing some of that famous Aussie spirit. So, here we go again: the state titles and Australian final that represent the traditional local lead-up to the world titles. If you consider yourself to be a contender, it's time to study your vinyl, practice your technique and add a little flair. Maybe you'll be the one to dominate the 2004 DMC Technics World DJ Championships in London. The Aussie final - held in Melbourne on the 13th of August - is set to be a huge event, including local live acts and DJs, plus plenty of giveaways and treats for the audience. Make sure you check out the DMC Team Battle, where teams of up to 4 DJs compete against the reigning 3-time champs, Melbourne's Dirty Duo. With J-Red and Selekt in the Dirty Duo team, it's no surprise that the combo finished 4th at last years World final. Without your support, we'll never get that holy grail of hip-hop: the world title. So, check out the dates and venues for the 2004 state titles (click here) and witness the best of Aussie turntablism.
(posted: June 10, 2004) |
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DISTANT SENSE OF RANDOM MENACE
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 URTHBOY
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For the last 2 years Whammo has followed the progress of Elefant Traks, the label responsible for releases by The Herd, Apsci and Hermitude; all acts on the rise. Here's one half of the MC duo that impressed on The Herd's An Elefant Never Forgets; the highest selling hip-hop release on Whammo during 2003. Urthboy is the more quietly spoken half of that duo, the master of down-to-earth Aussie logic and witty observation. This Sydney local has the knack of exposing complete idiots and promoting the unsung heroes while his natural sense of timing matches the fresh beats of Elgusto, Count Bounce, Realistix, Traksewt and Snapsuit. You won't hear any mock bravado on Distant Sense Of Random Menace. In fact, Urthboy is a tonic for lovers of hip-hop who just can't handle the dollar-obsessed American drivel any longer. Sure, he takes a few cheap shots at society on tracks like Keep It Relevant, but this is more of a home-grown, shoulder-shrugging style of criticism that doesn't require threats of violence to get the message across. Urthboy is one of the few intelligent voices in hip-hop and with the musical variety of Distant Sense, he's set to further the cause of Elefant Tracks and continue to build the reputation of Aussie hip-hop.
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 HYJAK N TORCHA
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Here's a release to place high on your hip-hop short list. Two respected MCs with a refreshing collective sense of humour are musically powered by long-time beat merchant Bonez, with high-class results that are made even more approachable by the use of strong hooks. The locals have suddenly discovered the power of a good chorus and Reformed (featuring old mate Mass), the jump-up standout, features a great sing-along chant that becomes instantly endearing considering the tough-nuts that are belting it out. Lyrically, you've got plenty of stories to disseminate as Hyjak tells a few twisted tales, a talent he's been renowned for since he exploded onto the scene at the tender age of 15. Bonez' production is usually deep, offering subsonic grooves that carry the babbling repartee of his unpredictable co-stars. His beats don't fight for attention but the sounds are sweet, not surprising considering the amount of years he's put into his craft. Songs like Civilised World prove that he's capable of deft touches as well as the tough stuff. Hilltop Hoods, the current buzz act among a talented swag of locals, make a welcome cameo appearance on Heard Of Us, but this trio need no star appearances to increase the appeal of Drastik Measures, which joins an exclusive list of instantly likeable releases recently making an impact of Aussie radio and charts.
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 J-WESS
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cd single
Here's a perfect example of why urban music is so huge in the U.S.A. It's not about good or bad, it's about obscure or approachable. Aussie hip-hop is generally outstanding but lacks the hooks for a greater audience, so J-Wess has crossed the sea to teach us how to seduce the mainstream audience. Luv Ya, like most J-Wess productions offers variety: J-Wess garnishing an outstanding diva in Kulaia and an exact local MC in Digga. You don't have to sit through a hundred stanzas of continual ramblings; you don't have to shun the use of an infectious chorus; and you don't have here about the low-income earning lives of underground performers. If attitude is about the glass being half full or half empty, J-Wess not only takes the positive approach but also indicates that his cup runneth over. Luv Ya is world class and slick to the point of perfect polish.
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 KOOLISM
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long player (vinal)
I've been waiting for this album for ages; so long that I actually got that tingling feeling as DanielSan pieced together the obligatory intro track. When it finally kicked into the beat, it was large; large enough to transport the lyrics of the Polynesian prodigal son, Hau. The first vocal effort, On Deck, features Raph and BVA, forming an interstate tour de force. But while the vocal trio hit their stride by halfway, some of the initial timing didn't sit quite right. I was much more at home with the pure Koolism experience; Hau and DanielSan gaining momentum with Last Tango In Paris, proudly displaying the natural flow they're famous for. As Hau says on the short n sweet And This Is, "Hau and Dan: the two-man band". The Grand Opening is a standout, featuring some dynamic teamwork; Hau syncopating offbeats with sharp, cutting MCing of the highest order and Dan breakin up a solid floor-jammin groove with deft cutting. On Stage Presence, BVA is back as special guest with 1200 Techniques' NFamas to help create one of the more infectious and commercially viable cuts. Combined, the star-studded posse's voices sound tight and Dan pulls out a brutally sliced bass loop to do the trio justice. Hau's social conscience is exposed on Random Thoughts, a track that grows extra large for a fat chorus. Luckily, after Hau's spit, Koolism lift the tone, finishing a strong tracklisting with Koolism Is. There's enough talent in Australian hip-hop to fill the MCG but talent isn't enough; Koolism show what it takes to get to the next level: consistency, teamwork, experience and...more than a touch of natural charisma.
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 J-WESS
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Ah, if I'd known this album was so perfectly cheesy, I would have given it a spin earlier. Aussie hip-hop b-boys must be in shock after the inclusion of this US-import into our local urban music scene, but love it or hate it, this is the slick style of funk that the charts eat up. It's a sugary-sweet dose of hip-hop complete with tough R&B; backing vocals and a sparse style of production that has more than a little old-school appeal. Lolly spits out some exact timing to help out J-Wess on Give Me A Chance, reminding me of Suga, while things get extra slick on Trippin with Abby Joyce. With strong sales and an obviously ambitious drive for the dizzy heights of the urban market, J-Wess could be exactly what Aussie hip-hop needs; a reminder of the commercial potential of the genre. I love Aussie hip-hop - the raw feel, blunt honesty and humour - but J-Wess represents the other hemisphere; the well-groomed, smooth flow of an artist who has never intended to stay underground.
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 TZU
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There's something very special about T-Z-U. I'm getting that spooky feeling of unrealised potential. When I use the word 'potential' I don't mean musically, I mean commercially. Musically, this talented 4-piece are already there: a bunch of true technicians who successfully transmit their love for beats and lyrics. The double-pronged vocal attack is more exact than the scalpel of a master surgeon, the subterranean bass growls and snappy beats are premium. Summer Days is an anthem that perfectly evokes the feel of that treasured season when - as TZU say - "we sleep buck naked and leave the fan on", but it was while listening to the throbbing groove of Good Dog that I found the key factor to TZU's appeal: US-influenced funk/soul (including strong hooks) mashed with a truly Australian-styled flow. Wild Stylee, the obligatory love song, features the ultra-smooth R&B; vocals of Mark Pearl and once again TZU challenge radio to have the guts to add an obviously justified inclusion to their playlists. The influence of allies like Curse Ov Dialect and Music Vs Physics doesn't become obvious until Curse Of the Word, which rolls along like an elephant walk and has that trite carnival atmosphere that is beginning to gain prominence with those afore mentioned Melbourne acts. The Horse You Rode In On is about as angry as TZU get and it seems to be an expression of frustration, pivoting on the dangers of national pride and ignorance. As for Bold Digger, it's one of the finest old school funk grooves I've heard in years. I was rubberneckin so fluidly that I almost herniated a vertebrae. And of course, there's the previous single Dambusters, which immediately had my ears reverting from their normal droopy posture, standing more erect than a virgin on Prozac. I can't find a chink in Tzu's armour and this album proves that these talented lads are battle-ready. Position Correction is my favourite Aussie hip-hop release so far in 2004.
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 DANIEL MERRIWEATHER
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There's nothing worse than resigning yourself to test drive a song you expect to dislike. You get that look on your face; like you just bit into a lemon. But there's nothing better than feeling that way and then being pleasantly surprised. It only took a few seconds for me to frown as I heard the opening few bars of City Rules, because, slightly shocked, I instantly thought: 'the MC isn't bad, the beats are nice and solid, the sounds are sweet'. It was MC Saigon (New York) laying down an understated rhyme, then Daniel Merriweather's turn, and after hearing people rave and say he was a 'real R&B; singer' (whatever that means), I expected the opposite. Daniel was up against a long-term R&B; lover in me, so it was a pleasant surprise when I could tick all boxes to arrive at the conclusion: this kid can cut it. In fact, Merriweather seems to rise to the challenge of being surrounded by a group of proven musicians (from acts like The Roots and Black Eyed Peas) and actually shines brighter. If you believe in R&B;, you've got to like the possibility that we may have our first international R&B; star in Daniel Merriweather.
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CONSISTENCY THEORY (CD & DVD PACK)
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 1200 TECHNIQUES
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CD AND DVD Region:TBA Format:TBA
1200 Techniques are tough to review. Some die-hard Aussie hip-hop fans would consider the act as 'fence-sitters' that concentrate on the commercial market. Having said that, it's no secret that Aussie fans of the genre are among the hardest taskmasters on the planet. But there are a few undeniable facts about 1200 Techniques that deserve recognition and have contributed to their rapid rise: crisp production, catchy tunes, exact musicianship and a fiery stage show that magnetically attracts a faithful following. Working with Koolism on Knock Knock won't hurt their reputation and this collaboration is an early highlight; an up tempo, well-polished jam that features a brief but entertaining battle of turntablism between Danielsan and Peril that should have been developed further. Hot Syrup, with its sleazy beat and sexual imagery, is a relieving break from the incessantly positive sentiment of the 1200 lyrics' sheet, which is proliferated with talk of 'truth' and 'love'. Takin You Back is another exception that definitely makes an impact with its obligatory nod of appreciation to the past and Maya Jupiter has never sounded better than her contribution to Feel The Music; a grinding lesson in understated funk, complete with vocoded chorus. 1200 Techniques are destined to skip the underground they so often mention and while that may attract the disdain of purists, Consistency Theory - with the help of a gruelling tour schedule - will easily find a home on charts and build on the success of Choose One. And how do the band feel about that? Just check out Haterade, a recognition of their detractors, which echoes the thoughts of many hip-hop fans who are tired of seeing the local scene chained to an amateur status, all for the sake of an accent and cynical attitude. *Special Edition features bonus live DVD.
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 SCRIBE
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Here's a release that all my Aussie hip-hop training suggests I should hate. I can't hear Scribe's accent; if anything, he sounds American, but there's one thing getting in the way of my cynicism: The Crusader is so damned catchy. In truth, the Kiwis have been pushing gangsta-styled, old-school styles for years. P-Money knows all about that and he's responsible for production on this LP. I always thought the New Zealanders would have commercial success on the international scene before the Aussies and I reckon this is the disc to do it. Not Many flicks the switch to 'on' and its timing is impeccable, the ego is US-sized and Busta-styled syllables spit out the speakers with the frequency of a machine gun; it's instantly impressive. This opening track proves that Scribe is ready to step to his heroes and even if some of the attitude is a little cheesy, it's entertaining; there's no doubt about that. You even get the obligatory R&B; ballad in the form of My Lady and before you shake your head, remember that the Kiwis have always been unashamed of their love of soul. Big-band samples loop to give an epic feel to songs like Theme From Crusader, but lovers of instrumental tracks be warned: this is all about Scribe; all about the lyrics and timing. In other words, if you believe in the term 'instrumental hip-hop' (which I do not!) go grab a Shadow album. Early Kog Transmissions compilations warned me of the rise of NZ hip-hop but potential has transformed into delivery with The Crusader. Very commercial but very impressive.
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 APSCI
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Apart from a few deranged glitch artists, few lap-topped works of art have impressed me, but Get It Twisted is an excellent example of the possibilities of a truly mobile studio. There’s a nice blurb in the bio, which allowed me to picture Dana (Sydney) and Ra (New York) smiling as they produced songs mid-flight, complete with friendly service from the airline. It’s this duo that have a honed a quite complex batch of electro tunes with surprisingly fat hip-hop beats and added their contradicting yet complementry vocals to the mix. Ra’s production is challenging yet clearly commercially viable and Dana changes styles and intensity constantly as she swings between soaring operatic bursts and soft harmonies. Aussies will know Dana from the popular Mother Tongues compilations, which exposed so many talented female MCs in Australia. Her vocal contributions will be the factor that garners initial attention but the production warrants a closer look from true enthusiasts, who are sure to be impressed with complexity of Get It Twisted. The cut n pasted arrangements have been given an added depth courtesy of Big Wiz, a NY deejay who has the ability to battle but also possesses the subtlety to add a few understated garnishes. The trio make a great team as they break down the boundaries between genres and as soon as I heard Robosex I knew the eclectic mash was a winning formula, not only critically but also commercially. Get It Twisted definitely has the potential to be one of those innovative releases that balances on the line between credibility and popularity.
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 BLUEJUICE
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cd extended player
I thought I'd never hear a commercially viable slice of hip hop confectionary coming out of the land of Oz but this blunt is dripping with chart-savvy celeries. Fat, jazzy, hands-in-the-air choruses combine with slick rhymes that sound Australian without the cringe factor: no Kappa tracksuits in sight and no need to hide your wallet. Bluejuice master the art of Australian irony through crisp and precise lyrical stylings that swing from comical phonetic genius (Stav) to manic percussive rants (Jake) and as for the slick instrumental bed of jazzed-up sounds: Jerry, Ned and Jamie...take a bow; you've got me all rubber-necked and loose-hipped. That hasn't happened since that snowboard accident in '93. Fat-cat A&R; wankers should take note: Zebraaazz is a debut EP and you'll notice I haven't used the word 'potential' once- it's all there, ready, primed and poised to blow your mediocre rosters off the music map. Prepare to be 'juiced'.
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 J-RED
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A young Australian DJ getting exclusive tracks from the worlds best? Yep, that's right, I had to wrap my hearing gear around this one. Streets Ahead; a cheeky name that soon seemed justified. Even before I'd slipped the disc into the player, I was nodding appreciatively at the track listing: some raw subterranean talent mixed with the names you know. US legends Biz Markie and Kool Keith are noticeable elite inclusions while the growing scene in the UK gets a nod from J-Red; acts like Riddla and the Extremists flowin’ freely. Locally, we get to feel proud of our crews and it makes me all warm and fuzzy to know that our 'grow your own' philosophy has resulted in collectives like Lyrical Commission who put their hand up for a gold medal with the superb Press Release. Then there's the man himself, J-Red, meltin wax with machine-gun cuttin that almost brought a tear to this jaded old beat-lover's eyes. Want skills? Listen to Wanna Battle, the first of two J-Red interludes. Ouch, I almost got third degree burns from that shit. It's more rapid than my attention span. This is the finest blend of intercontinental hip-hop I've heard for many years and J-Red hasn't forced the issue with the Aussie content on Streets Ahead; it all fits cohesively into one slab of joyous beats and lyrical flow. Much respect and props from the Whammo editorial team.
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 HILLTOP HOODS
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It's a fitting testament to the rich local Aussie hip-hop scene that the usual suspects, Hilltop Hoods, are producing their finest work after a decade of rhymin. Things change, including DJs, but armed with the cuts of DJ Debris, Lambert & Smith have laid down some hilarious observations, tongue-in-cheek brags and lateral analogies to keep you smiling or nodding in appreciation. Adelaide is rich in hip-hop and this crew's reputation as the town's finest is an impressive feat. They've earned it and after ten years their lyrical skills are fully developed. Now it's up to the rest of us to recognise and respect; something Australians have a hard time doing when it comes to local acts. There's no need to culturally cringe; the Hoods don't overdo the accent and it's a relief after hearing too many acts oozing contrived Australiana: this is real. I had a few proper belly laughs during this disc and although the music isn't the most challenging production effort of all time, it ably supports the vocal skills, which represent the traditional strength of this act. In terms of tongue in cheek ego-rap and irony, the Hoods dish up a feast and if you didn't get the joke you'd picture these guys mackin' in Adelaide (is that possible?). The Calling comes highly recommended by Whammo. It's a clear highlight among the local releases for 2003.
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 RESIN DOGS
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Lovers of fine beats and breaks have been eagerly anticipating the release of Hi Fidelity Dirt all year. 'Anticipated' is the right word; we've all expected a superb effort from Australia's finest funk collective. Having had the pleasure of enjoying the Dogs' hospitality in the great brown city of Brisbane, one memory is still fresh: that record collection. These guys are swimming in great tunes and the waters run deep. Hi Fidelity Dirt is a chunky batch of slick sounds and expert arrangements and after Introdogtion, Sidesplitter lays down a huge slab of instrumental funk in true Resinistic style: the rolling bass, bursts of brass, dirty loops...it's all good. Good Buddha's vocals on the previous single Take Off prove that Aussies can rap in an Australian accent without sounding like they're on day-leave from the local prison and the combination of two acts at their peak makes for an early highlight on an impressive tracklisting. The legendary Pharcyde add an international feel on Shut Yo Mouth and remind us of the precise, upbeat lyrical stylings that made them superstars of hip hop. The Resin Dogs have plenty of ammo when it comes to collaborations and the ragga-infused Gunshot Dub allows Spikey T to loosen his vocal chords while Absract Rude is back for more Resin on Rebel (you may remember his subterranean vocals from Set It Off in 2002). The scope on this LP is vast and R&B;, Latin and Ragga influences creep into the mix without inspiring jeers; the Resin Dogs would have to collaborate with Sophie Monk before they started losing their well-earned cred. Hang on...Resin Dogs with Sophie Monk? That's brilliant. I should be working in A&R.;
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 KING KAPISI
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No matter how rich New Zealand's hip-hop community becomes, King Kapisi remains their unchallenged regal. He may have pushed the platinum mark with the surprising debut Savage Thoughts but 2nd Round Testament is a clear evolution and therefore the King should have no problem building on his glowing reputation. It's interesting to hear the difference between Kiwi and Aussie hip hop, with the latter shunning commerciality while folks across the Tasman don't mind making it slicker than Rick, a fact that is evident as soon as Che Fu joins his old mate on U Can't Resist Us, the current single. The King has no problem with injecting his fantasia sounds with thick slabs of soul and buttery R&B; slips easily into the mix, providing a stark paradox when compared to the husky baritone rhymes of Kapisi. 2nd Round Testament, with songs like Overdue, beats the yanks at their own game and provides low-rider-powered, rolling beats that could easily find a home on the sun burnt strips of L.A. Stomping lives up to it's name and quickly marks its territory, becoming an instant favourite with it's fat, buzzing bass while Illa Than You proves that new Zealanders can't help adding a little ragga/dub influence; with so many kids being weaned on reggae, NZ is like a far outpost of Jamaica (check out Problems for proof). As for Kapisi's style as a vocalist, his rushed flow of stumbling syllables unnerves but challenges the listener. It never gets too self-indulgent - the man knows the limits and gently pushes them - but he provides a few sparks of brilliance whenever he decides to get cryptic. Quite simply, it's hardly underground but definitely skilled and this reviewer thinks the King definitely has his sites on the majority rather than the minority. If that's true, 2nd Round Testament proves that King Kapisi's aim is true.
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 HERMITUDE
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Leaving behind the distractions and hectic aurora of the city, and ascending into the tranquil and inspiring heart of the Blue Mountains, Hermitude have extradited all the karmic energy the pristine environment could dish up, and channeled it into one of the best piece of beats work this year. Title Alleys to Valleys could be taken both metaphorically and literally, describing their hermit-like crawl into the mountains. Drawing on an array of equipment and sounds, at times with the complexity of The Avalanches, the familiar sounds of dub, jazz and hip hop lurk behind the beats, showing and fading at just the right moments. If this seems like a big rap for such a lesser known act, its no coincidence that both Dubs and Elgusto have a collaborated and individual resume to be proud of, working with, but not limited to, Paul Mac and Sereck. Think of it in the vein of a chilled back Salmonella Dub with a little input from Meta Bass n Breath, held together by some experimental downbeats and hypnotic sounds.
(review by Rod)
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 VARIOUS ARTISTS
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As far as I'm concerned, House music is a plague; it's very existence inspiring me to doubt the existence of God. Thankfully, the future of Australian beats appears to be pivoting on snare drums rather than inane 4/4 monotony. Breaks collectives are beginning to thrive including The Herd in Sydney and, of course, Melbourne's Symbiotic, comprising of 10 laterally minded beat technicians and MCs that are borderline lunatics. I'm specifically talking about Curse OV Dialect who represent the only real vocal tracks on Ants Farm Aphids, the first - hopefully of many - compilations of futuristic Melbourne beats. You'll find DJ Shadow-esque jazzy and epic Breaks; some glitchy, demented cut n paste madness; and very Australian, psychotic hip-hop. Terminal Sound System's Dusted is a highlight, melding a collection of abrasive sounds to form an aurally pleasing cohesion; a good soundtrack for a walk down a dark alley. You'll find plenty of big swing and cruisers on Ants Farm Aphids, like Dengar's Arch-Nemesis which almost inspired me to buy a low-rider. Then there's Curse Ov Dialect. I thought these maniacs were contrived when they began gaining some recognition for their alterno-hop but a couple of years later I've been converted and looked forward to hearing House Of Clocks, which succeeded in inundating my eardrums with scattered syllables and scrap-book beats/samples. 20 years ago this combo would have been quietly locked away where they could develop basket-weaving skills; in 2003 they represent some of the most innovative hip-hop sounds in the country. The album’s closer - Dan's Shoes And Reference Texts - is a 7 minute trip through a multitude of atmospheres, driving the listener through soundscapes of mystical, brooding and sometimes evil loops of gritty sounds; a perfect conclusion to this impressive - if sometimes puzzling - collection of songs. Ants Farm Aphids will definitely be on Whammo's high-rotation list.
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 THE HERD (AUS)
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The Herd are back with their second major release and the development of this aptly named collective (9 members in the group) is remarkable. An Elefant Never Forgets begins with some of slickest Australian hip-hop released...ever. But The Herd's many members all dabble on this disc, contributing eclectic compositions that swing from dubbed-up electronica to f**ked-up electro with more than one example of mind-altering off-beats. In fact, Missy Elliot would have a tough time rappin' to Urban Lady Saloon. The bass starts getting extra-dirty mid-way through the selection when Hunter's Theme provides criminally low subs, which had the old Whammo headphones sliding off my ears. When The After-Party Brigade arrived I knew I was dealing with a progressive team of experimentalists; dyslexic electro blending my brain cells. The Herd are politically edgy on An Elefant Never Forgets and their intelligent quips are a real slap in the face for the morons doing such slack job of running the globe's countries; especially Australia. The Tampa controversy and the pending illegal invasion of Iraq are condemned on the album, making it a highly topical release. When you hear a song like Burn Down the Parliament there can be no doubt about the sentiments blasting from your speakers. This is the best collection of beats and wisdom in recent memory. Don't let it pass you by.
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 DOWNSYDE
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Perth’s finest hoppers are reaching for mainstream success with their first long-player. With their singles easily sneaking into the high-rotation category, courtesy of Triple J, Downsyde’s style is becoming easily recognizable. El Questro, the current single, shouts to be heard and all eyes are now focused on this full-length debut. It’s about time Australians gave up the imports and recognized talent like Downsyde, an energetic 6-piece on the Hydro Funk print; a quality label which seems intent on signing every high-grade, beat-flavoured act in the country. Expect Downsyde’s Land of the Giants to make an impact in 2003, which promises to be a big year for the local hip-hop community.
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 1200 TECHNIQUES
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DVD Region:ALL Format:PAL
Australia has always had a thriving Hip Hop community but 1200 Techniques have gone where few other local Hip Hop acts have gone before: into the charts. With a ferocious energy that makes them premier live performers and obvious guests for television performances, 1200 Techniques have become a dependable highlight on the festival circuit and have backed their showmanship with critical acclaim, including awards at both the ARIA and DMA’s prestigious ceremonies. Two of those awards were for the amazing Karma video, proving the band never fails to excite whether on disc, stage or video. If you’ve never bothered to check them out, you’re in for a treat because One Time Live includes director’s cuts for their music-videos, live concert footage (20 songs), backstage footage and interviews. There’s so much on this DVD it’s almost frightening, especially when you consider 1200 Techniques’ career has only just begun.
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 KATALYST
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Over most of the last decade Ashley Anderson aka Katalyst has slowly built a reputation for expert tweaking and lush arrangements. From his early beginnings alongside Illpickl, under the moniker of Moonrock, through to appearances on the Café Del Mar compilations and remixes of prominent hip hop acts, Anderson finally created the opus that fuses experience with his obvious skills: Manipulating Agent. The album has been lauded by critics and gobbled up by a local market, hungry for high quality local hip hop. With his recent victories at the 2002 Dance Music Awards (Best producer and Best Album) Katalyst is the hottest ticket in town and could be one of the first commercial success stories for Australian hip hop; a long overdue development for our amazing local scene. This album not only proudly stands alongside international releases, it ‘raises the bar’ and challenges the world’s best producers to meet this standard. Very tasty indeed.
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