Wordplay Issue 9 by Colosoul Group Inc

6. To pimp A Butterfly 7. Sour Soul 8. First Drop 10. A Create Digger Guide To The Safari 14. Potion X 18. Agenda Emcee 20. Looking For The Crew 28. Foot Prince 32. Kid Tsunami

Publisher: Colosoul group inc CEO: Trica Ray Magazine Editor: Michael Donnelly Creative Director: Lilian Yeow Writers: Tom Bolton, Daniel Defendi, Francesca Mann, Michael Donnelly, Ollie Read and David Coffey Photographers: Chris Buck, Thomas Daag, Eli Kaspi, Francesca Mann Potion X, Erikson Nygaard, Max Fairclough and Will Clark Graphic Designers: Brook Wells, Paris Sawle Disclaimer: no part of this publication may be reroduced in whole or part without the permission of the publisher. Wordplay magazine is a publication of colosoul group inc.

EVERY HAIRCUT DESERVES A FINE CUT MEN'S BARBER SHOP 108 BARRACK STREET PERTH

weare.colosoul.com.u ADVERT DESIGN BY LEEANNE NGUYEN

So S

To Pimp A Butterfly Album Review There are no swimming pools on this album. There are no verses by Drake or Dr Dre. No background vocals by Schoolboy Q. This isn’t Good Kid, M.A.A.D City Part 2. Unless you listen to a large range of more experimental artists such as Flying Lotus and Thundercat, this album will be a completely different sound to what you are used to. Kendrick Lamar’s third studio album is different. Previously with releases such as Section.80 and Good Kid, M.A.A.D City (GKMC), Kendrick delivered this powerful blend of modern hip hop excellence with a growing social consciousness. This culminates in GKMC which showcases Kendrick’s talent at creating an engaging and accessible modern hip hop focused on pertinent issues through his perspective. Tracks like ‘Backseat Freestyle’ and ‘Swimming Pools (Drank)’ covered well worn topics in a fresh new way, and their sound could be enjoyed by a huge variety of music listeners. But with To Pimp a Butterfly (TPAB), Kendrick will disappoint all those who wanted a GKMC clone. The social consciousness and relevance of his ideas in his music is stronger than ever but this is now a sound that is distinctly Lamar’s. The album is not easy to listen to at first. There is a level of wild instrumentation on this album unlike previous works. The rich funk and jazz influences throughout this album are more drawn from D’Angelo’s neo-soul than Kanye West. Kdot’s branching out too, his intelligent bars and rhythmic wordplay are still just as good as always; but from beat poetry to posthumous interviews with Tupac, TPAB sees a real evolution. It is like

The album introduces listeners to a whole new soundscape of hip hop while simultaneously harping back to distinctively black forms of music. For example, the very first sounds on the album is a sample of Every N-- is a Star, the theme to the 1973 blaxploitatian film of the same name. By the end of the next track ‘For Free?’ the listener has been exposed to this manic free jazz explosion which really encapsulates the refreshing, inspired nature of this albums musical direction.

listener to understand the multiplicity of viewpoints in his journey. Whilst it is hard to pin a central theme on such an idea-filled album, self improvement seems to be at the core of TPAB. Not only for Lamar in his transition from ‘caterpillar’ to ‘butterfly’ but also for everyone listening to the album; in particular black Americans. From the first echoes of Every N-- is a Star to neo-soul singer Bilal’s hook on “shit don’t change till you get up and wash your ass” in ‘Institutionalised’ to ‘i’ and its expression of self love, this is an album for just about everybody.

That is not to say that this album has nothing for those who loved GKMC so much. Contrary to what was said above, tracks like the studio version of ‘i’ and ‘King Kunta’ still provide that radio-ready single vibe of Swimming Pools. The Pharell Williams produced ‘Alright’ leaps off the page as an example that the modern hip hop structures of previous Kendrick are still there. It’s just this time round they have even more meaning.

To Pimp a Butterfly is an incredibly powerful musical work one that is worth pushing through the unfamiliarity of its sound to really appreciate. Not everything Kendrick and the team of musicians behind the work try comes off, gambits like the repeated poem and even the disembodied interview with Tupac can seem off. However the remainder of the album is genius. The only question left, where does KDot go from here?

This album garners a crazy overgrown ideological landscape and at times this can become really confronting. Where GKMC felt like a polished reflection on Kendrick’s views at the time, TPAB showcases what seems like a manic journey. Tracks like ‘u’ which tackles Kendrick’s frustration and loathing with himself are paralleled on the next half of the album with the live version of ‘i’, a powerful self expressive, self love filled song. The result is hodge podge of ideas throughout the album that change and evolve. However, this feels really purposeful like Kendrick is encouraging the

Interview by Tom Bolton Design by Brook Wells Photography by Chris Buck

there is a new level of Kendrick’s sense of artistic freedom on this record.

To Pimp A Butterfly

“The album lack a central message, an go far bey soundin

our Soul Sour Soul Album Review Sour Soul is the latest offering from serial Canadian collaborators BADBADNOTGOOD and legendary Wu-Tang member Ghostface Killah. These two artists have come together alongside featured rappers to transport you back to a jazzier, funkier time. Ghostface is your guide on the mean streets of New York and BBNG are the ones fuelling this time machine, lending their slow echoing strings, funky bass, and quick jazzy percussion to the album which results in a beautiful vintage noir feel. This album oozes waves of cool out in every direction, as BBNG dip into their collection of vintage film reels and bring back a new flavour of nostalgic driven sounds on each track. They excel at setting the scene, creating the perfect backdrop to Ghostface’s lyrics. BADBAD are at their best when maintaining their old school sound, even opting to record this album entirely on tape. Removing the possibility of computer editing has given the entire album a much more unique, raw sound.

seems to theme or nd doesn’t eyond just ng good.”

There are a few instrumental tracks throughout the album, at the beginning, middle and end. They work well as a brief intermission, but do tend to feel a bit unnecessary. Similar to a skit track on a typical rap album, it does break up the album and help to change its pace. The problem here is that without Ghostface’s rap, BBNG’s music can stray dangerously far from Bond soundtrack and end up sounding much closer to Sim’s music. BBNG’s weakness on this album was losing the authenticity of their sound. Songs such as ‘Ray Gun’ and ‘Stark’s Reality’ dip dangerously into cheesy 60’s breakfast commercial vibes. There are certain sounds better left in the past, and the funky church

organ is one of them. Considering this, the trio have done amazingly well with what they have achieved. Their sound has a huge range, drawing on influences from 60’s and 70’s soul, blues and funk. The song ‘Gunshowers’ show their slow sweeping strings play onto caribbean choral sounds, giving a washed out hawaiian feel to Ghostface’s lyrics in what is arguably the best song on the album. Ghostface Killah’s style of rap varies nicely against the jazzy sounds, and singlehandedly propels the album forward with cocky New York attitude. Ghostface’s best moments on the album are always when he’s being propped up by BBNG’s brass bravado and lone cowboy guitars. Slow, groovy, and bad-ass, it sets the perfect scene for the Staten Island rapper. Not out of place in a more toned down setting, Ghostface also shows his versatility in the track “Tone’s Rap”. Here he takes you through the highs and lows of a hustler’s life, while showing a vulnerability in his voice that makes it perfect for a rainy day alone. At times however, we do see him fall flat, such as on the track ‘Nuggets of Wisdom.’. Here BBNG’s keys are a bit too upbeat and hopeful for the venomous rapper, having him come across like a cameo appearance on Sesame Street. Although the artists show their mastery of both jazz and hip-hop, the novelty of this genre cross-over does start to wear off quickly. In an attempt to spice things up Sour Soul showcases an impressive collection of featured rappers and MC’s. These include Danny Brown, TREE, MF DOOM and Elzhi. Brown’s instantly recognisable nasal rap on ‘Six Degree’s’ makes for an unexpected addition,

especially contrasted with the smooth jazz sounds of the previous songs. Chicago rapper TREE adds his mellow mood to the start of track ‘Street Knowledge’, unfortunately his cameo ends up being quite short here. DOOM does well on track ‘Ray Gun’, but feels a little out of place with the upbeat tempo and general zaniness of the song. Elzhi shines on the track ‘Gunshowers’, bouncing off Ghostface’s powerful verses with controlled, intelligent lyrics. Sour Soul is a somewhat brief, yet interesting look into the Hip-Hop and Jazz genres brought together by a variety of different influences. While it does have its moments, it tends to feel like it’s missing something special. The album is best when it draws on its strengths, old school jazz bravado mixed with heavy street rap. However, this combination can quickly start to lose its magic if it’s relied on too heavily. By halfway through, the audience is looking for something deeper, and most variations from what the artists do best falls short of expectation. The album seems to lack a central theme or message, and doesn’t go far beyond just sounding good. Coming in at just over 30 minutes, it seems there’s not much more beyond what we’regetting.t would have been nice to see the artists bring in some different elements, for example a female singer working off Ghostface’s machismo. Sour Soul is a good step forwards into the possibilities of something new, but by no means a leap Interview by Daniel Defendi Design by Brook Wells Photography by Thomas Daag

D As far as cities go, Perth has always been regarded as the smaller brother relative to the East Coast. To a certain degree that is true, our tendency to build out rather than up has certain effects which reinforce the ‘Dullsville’ tag. However, as many can attest to, events in Perth have expanded out in a manner that has helped in shaking off the perception that Perth is a boring place to be. One such initiatives has been the creation of smaller, underground events. Part of this Zeitgeist is ‘First Drop’. Operating out of the nondescript Studio B out of West TV, First Drop is a chance for Emcees of various ability to leap up with mike in hand to have a crack at the art of Freestyling.

“First Drop is a chance for Emcees of various ability to leap up with mike in hand to have a crack at the art of Freestyling” Having the venue in a nondescript alley way is no coincidence, as First Drop founder Eli Kaspi explained... “It started with me and my friends freestyling in the lounge room as a means of expression. I started a course called LandMark and decided to expand it out into community events as it’s pretty much human nature to do something like that.” The location of First Drop whilst coincidental, amplifies the spirit of the regular events. “Aaron who is a partner in this, he was there for a gig in the adjacent building. He happened to venture in there and said it would be perfect.” With local community television being the starting point for many an acting career, the choice couldn’t have been more on point.

Actually heading into a First Drop session only reinforces the underground community feel of the event. Emcees will freestyle about any random topic, everything is up to discussion from the nearby cartons of soft drink (First Drop by design is a non-alcoholic event), the film Jumanji to even doing a public service announcement about how to hold the mics, in rhyme. The comradery of the emcees means that they can playfully have digs at each other, without any feelings getting hurt. Even the competition at the end with $100 at stake, normally the most combative time had the emcees more focused on dropping dope rhymes about caterpillars rather than insulting each other. This plays well Eli’s eventual plans for the event:” The bigger vision I and my partners have is that I want First Drop to become a place where Emcees on tour can drop in and demonstrate their true calibre alongside local rappers from the local scene ”. Improvement is a continual process at First Drop. “Originally, the event ran from 8-11:30pm. However I found it too long and it began to fizzle out toward the end. Also, we put the competition at the end so there is a gradual climax”. For a fiercely independent event, the turnout has been surprisingly positive for an event that has only existed since last August: “The first time, in terms of turnout and I was happy in fact that rappers even came out, the second had the largest turnout. The third one I promoted for only two days and still had decent numbers. The last one (the fourth First Drop) in terms of the calibre of the emcees, was the best one”

FIRST DROP For now, Eli is content tweaking First Drop as well as expanding out in meaningful ways. “The First Drop Crew has done gigs at schools such as Balga Senior High School, so young people can see that there is another means of self-expression, other than turning to alcohol, violence and drugs. Also, my vision is that I’d like to create a First Drop Record label so we can give amateur Emcee’s the chance to tee up with quality producers and get their music out there. There is no reason why we can’t have a unique rap culture in Perth. I mean the local talent pool is insane!” With Perth hitting the two million mark, as well as having successful events like the Fringe Festival, now is the time that Perth has the appetite and will to hit up local events as they come. It’s not all good news, the closure of mid-sized life music venues and the end of the mining boom will have a noticeable impact on the live music scene. It will take the somewhat more obscure events that exist in the new cultural scene to fill the gap. In that space, First Drop is continuing to expand and make its mark. Interview by David Coffey Design by Brook Wells Photography by Eli Kaspi

A Crate Digger’s Guid to the Safari Blink and you’ll miss one of Perth’s best record stores, nestled neatly behind a florist off William Street. You’ll have to venture off the beaten track to discover the hidden gems Safari’s Record Shack has to offer, stocking everything from hip hop to jazz to classic rock to soul. The only sign a record store even exists behind the colourful Beans & Bunches florist, is a tiny wooden sign swinging out the front. Venture through the florist and down a small corridor into Safari’s Record Shack and you’ll probably find the man himself; John ‘Safari’ Noughton - owner, record collector and DJ - sorting records and playing some tunes. Nicknamed Safari because of his obsession with all things tropical, his record shack matches his quirky personality. “I’ve always been interested largely in tropical décor and tropical records,” Safari says, wearing a blue button up shirt with pineapples on it. “I decided if it’s going to be a destination store, people are going to go off the grid a little bit to find me, why not make it an entire theme?” Plastic, pink flamingos line the walls, giant paper umbrellas hang from the roof and little knick-knacks cover the shelves. Safari’s Record Shack transports you into an entirely different part of the world.

It’s even challenging to get a signal inside the store, and with afrobeat tunes pumping from a record player you can almost imagine you’re in the Caribbean.

“You can have Serato on a laptop and have access to 2000-3000 songs at one point. I would find that daunting, personally. I just need a crate of records.”

“I sort of moulded it on a lot of record stores – which are largely known as record shacks – throughout the Caribbean, especially in Jamaica, where the stores are quite small, quite focused, I thought it would suit the space we had here.”

And many of Perth’s smaller bars are embracing and encouraging DJs to bring along a crate of records.

Safari’s Record Shack is jam-packed with new and old vinyl, displayed in wooden crates with hand-written chalkboard signs labelling each box. It’s hard to choose where to start crate digging, but Safari is happy to offer musical suggestions, allowing customers to play a record before they buy it. With dreadlocks cascading down his back, blocky hipster glasses and a neatly trimmed beard, Safari is not only the sole owner of the store but also DJs at over eight different bars. “I don’t sleep a lot!” he laughs. Safari is part of a new community of DJs that are sticking to the analogue format of vinyl for their sets. “I’ve always been a vinyl only DJ,” he says. “Using vinyl as a medium for DJ-ing will just give you limits. Limits are a good thing!

“A lot of small bars are predominately focusing on having vinyl only setups for the DJs,” Safari notes. “It’s been developing over the years. It goes hand in hand with the boutique, small bar aesthetics. “I DJ with two turntables, a mixer, a crate of records. It’s probably going to fit better with a rustic, organic looking bar than a DJ with a laptop.” And that’s all you need. There’s no need for expensive equipment, as Safari believes, “it’s not always about technology, it’s often about the music that’s being played.” “All you need is 2 good songs and a mixer and you’re sorted. “It’s bringing it back to the basics, working with them manipulating everything by hand.” Not only is mixing songs by hand selfsatisfying, Safari believes it’s also more pleasing for the listeners ears.

de “I think a lot of DJs who use laptops for some gigs and vinyl for other gigs, they’re always going to prefer vinyl because it’s more real to work with.” Safari’s personal collection is around 20,000 records, covering everything from classic rock to afrobeat. Before each DJ-ing gig, Safari ransacks his record room, working out what albums and singles will make the perfect playlist. Each gig is a different set of records and depends on the vibe and atmosphere he wants to help create. “I like to pack my records fresh according to each individual gig. It’s different crowds, different needs for different venues,” he says.

“It’s a little bit of a headache trying to keep order.” But for those wanting to become vinyl-only DJs, an excellent and diverse collection of records is the best place to start. “Build your collection up as much as you can,” he says. “Trust your own judgement, play what you love.” Safari’s Record Shack has been situated behind Beans & Bunches for 2 years, during which Safari has seen Perth’s crate digging community expand. “It’s been good to see the community of record diggers expand,” he says.

“A lot of the Sunday sessions ... are about creating an atmosphere for people to enjoy and relax, it doesn’t have to be too much about beat-matching the whole time.

“Every week I get more customers, every single week there’s more people coming through the door that are just becoming aware of my store.”

“It’s more about creating interesting sounds to keep people interested and create an atmosphere for people to just enjoy themselves.”

“Trust your own judement, play what you love”

Having such a large collection does have its challenges. “Every now and then it’s quite organised,” he says. “But then you have a weekend where you have 4 gigs and your entire record room looks like it’s been tipped upside down.

You’d think being tucked away and hidden from the masses would work against Safari, but it allows him to focus more on the customers that do come through.

Whilst still working his day job and DJ-ing at night, Safari also helped his partner, Stacey, run Beans & Bunches. The awkward C-shaped space made it difficult for only one person to run the store.

“I think that works in my benefit actually being a little bit off the main grid,” he says, smiling.

“Due to the space of the store we can’t really have someone at the back without losing track of what’s going on out the front and vice versa,” he says.

“It creates more of an experience for people. Most of the time you’ll only have a few people in store at a time so you’ve got more space to just get in there and have a proper dig, more opportunities to talk to me about music, find out what you’re interested in, listen to everything you want. “I get more people coming in who make the effort to come in and crate dig. It’s becoming a part of people’s lifestyles.” Crate digging has become a part of Safari’s life as well, with him stocking a large collection of second hand records. He admits it can be challenging to constantly find the right records to stock, especially as his store grows in popularity. “In terms of second hand vinyl, it’s getting harder and harder to consistently source the right quality and quantity to keep it moving on a larger scale and that’s based on demand,” he says. “I’m a glutton for punishment.” But Safari wasn’t always ready to jump into the record selling business, however he’d always dreamed about one day owning his own store. “[I] pretty much always wanted to have a record store, just never thought it’d be economically feasible,” he says. “I was working in IT for 13 years and I think that was 13 years too long. “I was sort of always afraid of taking the leap in terms of small business.”

“Eventually Stacey suggested I just chuck in the day job and follow my dreams and have a red hot go at opening a record store and making it happen in the same space. “We’re paying rent on the entire space so we may as well make it work for us.” And thus, Safari’s Record Shack was born. But will records remain as popular as they are today? We’ve already experienced a downfall in record production in the late 1980’s; will it happen again in a few years time? “Vinyls not gonna go away anytime soon,” he says. “Once you start collecting records, once you’re into crate digging, it becomes a part of your lifestyle. It’s something you can’t shake very easily.” Interview by Francesca Mann Design by Brook Wells Photography by Francesca Mann

“We’re payin the entire spa may as well m work for us”

ng rent on ace so we make it 13

Coming out of the shell with a

BRUSH AND SPRAY CAN

INTERVIEW BY MICHAEL DONNELLY | DESIGN BY PARIS SAWLE

Michael: Do you remember how you began? Sam: I've grown up always doing art, doodling little cartoons all the time as a kid. I dived right in when I was introduced to graffiti in the sixth grade by my older brother (who ironically doesn't do any form of art anymore). I loved it from the get go and using spray paint as a medium just seemed to click with me. Over the years though I transitioned more towards 'street art' or contemporary art instead of just letters all the time.

So spray paint was your medium in the beginning and now, as your catalog of work says for itself, you've moved on to all sorts of different styles. Do you have a preferred method nowadays? Yeah, I've learnt to expand my techniques and methods by using different mediums such as acrylic paints, watercolours and doing more brush work... although I still usually incorporate spray paint as itâ&#x20AC;&#x2122;s still what I'm most comfortable with. Plus it gives my work a sense of rawness.

So you like to maintain that raw, street like vibe to all of your work, even the ones that require the most finesse?

How do you feel your style compares to other emerging artists in Perth? I feel that my style is quite unique as I tend to juxtapose my work with real life and the illustrativeâ&#x20AC;Ś along with the use of colours which tends to separate me from most other artists.

Which aspects of real life do you think influence your work the most? And how influenced do you feel by Perth artists before your own time? I think a lot of emotion and movement goes into my work, both positive and negative vibes. I try to use them in my artworks in an attempt to create a connection with my audience and followers. A lot of my influence comes from artists all around the world and from different eras but regarding perth, the street artist RLSM has greatly influenced and helped me both a good friend and artist.

Were you born and bred in Perth?

I was born and bred in Sydney and have spent the last three or so years in Perth.

Yeah definitely, I love the scratchy and rugged look a lot.

How do you think the two cities compare in terms of street art? Is there more attraction and respect for it in either?

Sydney definitely has more happening but at the same time it’s quite saturated which means there’s more competition. I prefer Perth to be honest, everything is new and I feel there is more opportunity to stand out and be recognized.

You've been lucky enough to be a part of the Secret Walls collective and with The ArtGames last year, where you faced off against your mate and counterpart RLSM... how do you feel about these experiences and the exposure you've received? Both Secret Walls and The ArtGames are awesome events with a great atmosphere. The exposure is quite wide reaching, which has helped me meet new people and receive invaluable opportunities

Are the any other events or opportunities you've been on the right end on that you'd like to mention? The majority has been networking and promoting my works.

Do you feel you've been influenced by any external factors like hip hop, skateboarding, etc? If so... Is it fair to say that graffiti culture has a lot to owe to these other art forms, particularly hip hop?

Yeah for sure, aussie hip hop was and still is a huge influence to graffiti culture and its art forms. I am a huge fan of aussie hip hop and hip hop in general.

Do you feel perhaps as if there is a slight disconnection between hip hop and the graffiti/street art culture in Perth? As in, the two communities should combine more? Yeah definitely, I've noticed a lot of graffiti writers hate street art. It comes down to a lot of politics and people have different opinions but I personally think they should intertwine and colab more.

So it seems as though there are still heaps of bridges to be built... it's good to know there are artists like you in Perth who have no alignment...

Yeah for sure, haha thanks. I'm happy to paint with anyone as long as they’re cool.

Inspiration behind the name PotionX?

It's pretty lame, just thought of Potion then added the X for some reason, drifting more towards Pox (short for PotionX) and doesn’t sound as wack in my opinion.

Malcolm put an X at the end of his name and he was one of the baddest motherfuckers in history. Hahah yeah thats it.

What's Pox's biggest artistic accomplishment to date?

I'd have to say doing work for Westfields and the rapper Scribe was big for me. Also winning The ArtGames and being involved in Secret Walls was great fun. I also have to add the murals I've done for councils and festivals.

Congratulations on taking out the ArtGames, that must have been a big step for you. Why do you think competitions like those are so important in Perth? Yeah its an awesome concept, it’s great because of the exposure it gives and also the opportunities that it offers… even for people who haven’t painted live before, it really brings you out of your shell.

Explain what you did for Scribe?

I just did him a custom graffiti canvas 'Scribe'. It was great meeting him too, a very down to earth guy.

What do you believe the problem is between graffiti writers and street artists?

I mean there are a lot of factors at hand, but I guess culture is a big one along with styles being very different whilst using the same medium (spray paint). I think it just comes down to being a bit more open minded about things...

What do you think is the biggest thing to remember, street and graffiti writers included, about being an artist? What's the biggest thing you stand by?

To have an open mind is a huge aspect I think, also to be courageous and push yourself in your work.

Where do you see yourself in the future? Got anything big coming up?

Hopefully making enough off my art to quit my part time job and pursue it full time. I'm planning on holding my first solo exhibition here in Sydney by the end of this year along with other group shows. Interview by Michael Donnelly Design by Paris Sawle Photography by Potion X

AGENDA EMCE Agenda is somewhat of an enigma around Perth. He’s been floating around the scene for a long minute, and floating around the world even longer. A razorblade on the freestyle tip, Agenda has been guiding crowds through spiritual journeys at the Colab nights at the Moon Café and OPENBARS (nee EMPTYBARS) events at various peoples’ backyards. Whilst taking a brief secondment in his hometown from tour-guiding through the Eastern Bloc and taking envy-inducing photographs in South and Central America, he’s been quietly working on an album ready to shock heads from Perth to abroad. Here is a little bit about the man and his upcoming album, “Time and Space”…

Ollie: For those who don’t know, who are you, where are you from and what do you do?

Agenda Emcee. Born in New Zealand. Raised in South Africa. Living in Australia and calling Perth home when I’m not vagabonding my way around the globe. I write raps, make beats and try and squeeze in as much creativity into my days as I can.

Describe you introduction to Hip Hop, and your influences along the way?

I’d always enjoyed debating, writing poetry and studying literature at school and I guess I fell in love with Hip-Hop when I started appreciating the lyrical and storytelling aspects of the genre from rappers like 2Pac, Biggie and Eminem. I began branching out towards the more conscious side of things through Mos Def, Talib Kweli, Chali 2na and then got political through Immortal Technique and creative through De La Soul and others. I listen to all forms of Hip-Hop (and everything from Classical to Metal to Salsa as well) but am more influenced by the stuff that’s true to what the culture was created for – empowerment, self-expression, freedom, knowledge, creativity and all those classic old school catchphrases. Life is probably my biggest influence.

There is an ongoing motif of spirituality in your material. How has your spirituality influenced your music? As silly as it sounds, I sometimes feel as though those spiritual songs write themselves and I’m channeling higher powers. I’m pretty deep into my spiritual practices and I’ve just merged Hip-Hop into my life as one of those daily practices.

Spirituality is super important in music. Music, art and spirituality are all bound together with the same energy, just expressed in different forms. If a piece of music doesn’t have a message or unique flavor to it, I tend to keep looking until I find that. But like tastes in music, spiritualty is subjective.

We pretty much met through the Freestyling circuit in Perth, in particular the OPENBARS (formally Empty Bars) crew and events. How important is freestyling to an emcee’s credibility?

It’s crucial. It’s a spiritual practice that I try and develop every day because it forces me to be present and live in the moment (insert Buddhist joke here). Freestyling forces you to adapt to your environment on the spot, it challenges you as an emcee to continually improve your lyricism and it adds a social dynamic to your abilities. Many rappers used to skip out on freestyling, but I’m glad to see that these days it’s still highly revered.

Does your freestyling influence your writing process, or vice versa?

Oh for sure. Sometimes, I find the most obscure words from my writtens that I’ll try to rhyme with in a freestyle. Other times, I might remember or record mind-blowing freestyles that I throw into my songs later on.

A EE

I know that globetrotting is an inherent part of your job, and that you have one of the more interesting jobs going around. How has travelling influenced your music?

I’ve been working as a Tour Manager in Europe for a couple of years now and travelling has broadened my horizons in a huge way. It gives me insights into people’s daily lives, cultures, history and teaches me a lot about how mankind operates.

How has your music been influenced by your travelling?

Travelling forces new experiences upon you all the time and for me, I try and take those experiences and integrate them into my music. Whether it’s a lesson I’ve learnt or a song from another country that I’ve heard, I try and take it all on board to use in the creative process.

What is your favourite place that you have travelled to and why?

Probably Nicaragua. It’s a land of incredible beauty volcanoes, jungles and surf breaks with fantastic people and culture thrown in. Speaking the language really helps. They have awesome coffee. And hammocks everywhere. I totally resonate with that laid back lifestyle. I might retire early there

What is the craziest experience that you’ve had travelling? That’s a hard one. Tour Guiding has thrown plenty of crazy experiences my way. Getting chased out of a town by an angry mob in Croatia while dressed as a pirate. Being in a taxi with an armed driver trying to escape from the Po-Po (he ended up bribing them. Being lucky enough to have worked at Running of the Bulls and Oktoberfest numerous times. Last year a travel buddy and I scored a week-long music residency in a bar in Thailand – he played acoustic country/blues guitar and I freestyled and rapped over it. We got paid in beer every night by a guy called Beer, to entertain tourists. It was epic!

What is next for Agenda?

Well… I drop the album and two weeks later, head over to Turkey to take up a supervisory tour director position for 6 months. It’ll be nice to have a base after something like 4 years on the road. During that time I’ll be writing tracks and working on the next release – one that’ll take much less time than this one did. I’ll be freestyling for tourists, performing songs, spreading my music around, working on photography and trying to enjoy wherever I am at the time. Plans for a more travel-oriented “songs from the road” type of album could be in the works. Until then, I’m just going to let this life thing run its course and keep enjoying the ride. Interview by Ollie Read Design by Brook Wells Photography by Escape Factor Photography

“Sometimes feel as through those spiritual songs write themselves and l’m channeling higher powers”

LOOKING FO THE CREW 20

Models:

Samantha white, Elona commerell and Miguel Vecchio

Photographer:

Ibra Aliu

OR 21

FOOT PRINC

Interview with Foot Prince My name is Will Clark; I am 27 years old and am the owner of Foot Prince Street Collective, a fashion and lifestyle brand representing all things street culture. Growing up in the US, I was exposed to elements of street culture quite regularly. I recall travelling to NYC for the first time with my family as one of the most memorable experiences of my youth, identifying it as my favourite city in the world. To this day, that hasn’t changed a bit. Over time, my passions grew, and my love for hip hop music was born. Groups like A Tribe Called Quest, Jurassic 5, Gangstarr & De La Soul educated me as to what real hip hop music is all about, with the lyrics and stories they tell to express not only themselves, but their inspiring views as well.

as we speak! I want to bring the focus for the next line back home, maintaining the latest in trends found on runways across the planet, merging them with exclusivity, style, comfort and sophistication. These are the four key themes I have in mind when designing hats & apparel, as well as adding that Foot Prince ‘street flavour’ that identifies the brand.

What is Foot Prince? It’s a ‘Street Collective’. Derived from the four elements of hip hop music, I wanted to create something that stood for all things ‘street’, inclusive of Foot Prince’s own four elements; street art, fashion, music & culture, while also upholding the education and influence for youth empowerment through the brand. The empowerment of youth is a large motivating factor for me with Foot Prince. I want to create something tangible that caters for everyone contained within these elements, showcasing the more sophisticated side of what ‘street culture’ really is.

I want to be able to build this side of the business, curate my own exhibitions and really showcase these talented individuals on a much larger scale which, if all goes to plan, will kick-off in the coming months’ and run regularly throughout the year.

I want to craft a brand that stands for something, not just another street wear label. Foot Prince’s first line of apparel was designed by myself and manufactured in California, USA. Initially, I wanted to go straight to the source, the hub of where street wear was born and Cali seemed like a perfect fit! I want Foot Prince Street Collective to be constantly evolving, for people to say, “Holy shit, this is dope, what are they gonna bring out next?!” Genuine leather, suede and denim looks are used to produce a product that is not only individual, but stands for something more than just ‘oh, it’s just another hat..!’ I am in the process of designing the latest collection for Foot Prince Street Collective

Foot Prince Street Collective also has an assortment of street art for sale online, from a variety of local artists. A ‘Feature Artist’ is selected each month and their work is showcased online, with some of their work also available in the online ‘Street Art Gallery’.

I hope to obtain support from further talented street artists on a national and international scale, exhibiting their work through shows, live art battles and other initiatives curated by Foot Prince Street Collective. I was approached late last year to be a part of CoLAB Festival, a Triple J sponsored music festival which went down late November last year at UWA Campus. The focus was a creative industry/music festival and I was presented with an offer to curate an area they called ‘The Courtyard’. This was the central artistic zone of the event and where a solid partnership with Secret Walls was formed. I’ve been very blessed to be able to partner up with such legends since starting Foot prince, inclusive of the crew from CoLAB and importantly since then, the team from Secret Walls, who have really taken me on a journey since our first event together at Beaufort Street Festival last year.

For those who don’t know the rules of Secret Walls are, this is how it goes down: • Two Teams of Artists on Stage • 90 Minutes on the Clock • Black & White Paint and Markers • Live freestyle MC’s Pumping up the crowd • Hip Hop DJ on the Decks

The most recent event was at Summerset Festival in Scarborough, with about 250 people coming along to support the event! Foot Prince Street Collective is proud to clothe the participants of the Secret Walls events, as well as provide prizes for the winners of the art battle. It’s incredible to see how far Secret Walls has come and such an honour to be a part of it all! Follow ‘The Secret Walls x Australia’ on Facebook for details on the next event! Most recently, I have been fortunate enough to have attained the opportunity to stock Foot Prince Apparel in one of Perth’s premier boutique stores, Billie & Rose! The legends at the store have stocked Foot Prince Apparel in both their Fremantle and Mt Lawley stores! Check out Foot Princes’ current range of apparel at Billie & Rose, with new designs to be released in the coming months! Shout outs to Pippa and the gang at Billie & Rose for the massive opportunity, I appreciate the hospitality!

international street artists and acquire some of the best street art in the world to show and sell... ‘The Fashion Department – with focus specifically on the design, manufacture & distribution of Foot Prince Apparel and lastly, ‘The Music & Culture Department’ – with focus on events & promotion partnership opportunities across the country. To put it simply, the dream for Foot Prince Street Collective is to be a standalone hub and company that embodies the pure essence of street culture and everything contained within it, maintaining and promoting the message of youth empowerment and supporting initiatives that drive a positive message throughout all of the communities Foot Prince Street Collective is fortunate enough to be associated with. Will Clark – Owner - Foot Prince Street Collective™ Promo photos taken by Erikson Nygaard Billie & Rose photos taken by Haydn Parker Interview by Michael Donnelly Design by Brook Wells Photography by Erikson Nygaard

“I want to craft a brand that stands for somethiing”

What’s in store for the future of Foot Prince Street Collective? Short term, I am working on designing the next range of apparel, organising exhibitions/events and keeping up with Secret Walls Events and the partnership we have shaped. Long term, I envisage Foot Prince having three departments within the four elements of the brand; ‘The Street Art Department’ – With a focus on commissioning of public artwork throughout the country and perhaps the world/ curate art exhibitions/ liaise with local &

INTERVIEW BY MICHAEL DONNELLY | DESIGN BY PARIS SAWLE PHOTOS BY MAX FAIRCLOUGH

GETTING INT Michael Donnelly: Where does Kid Tsunami begin? Take me back to the start of your musical journey.

Kid Tsu: I started seriously as a rapper/MC in 1998.... entering MC battles at the Hyde Park Hotel on Monday nights. I won 2 battles... a crew battle alongside MC Hunter, and a solo battle, Get Down For Ya Crown, at Greenwich Bar. I got into beat making and production roughly 2000, due to a lack of people making beats for me to rhyme over at the time.

How does the Perth hip hop scene in the late 90's compare to now? And who did you draw from when you were starting out as an MC? Did you find it hard to find your feet, your own style?

In the late 90’s it was more tightly knit as not a lot of us were doing it... nowadays a lot of people are actively involved in the five elements. Skill wise, it is quite similar. A lot of kids doing rap music now in the local scene are big fans of what happened in the 90’s, and it shows in their music. When I started, emcee’s I lent a lot from were Boot Camp Clik, Planet Asia and Company Flow... I then developed my own quick style of rap which was very

different from what anyone else was doing at the time... I didn’t find it hard then as I was so hungry to discover different ways of rapping and putting words together. The family of DJ’s and MC's at the time also gave a lot of influence on what I did...

So you believe even if you can turn your hand to all the elements, it has no impact on whether you've made a better hip hop record than the last guy who made one?

Having a good knowledge base of all the elements of hip hop enables you to make better records. As a DJ you know what beats work for your crowd, as a b-boy you know what you want to dance to.... visually, graffiti takes you back to the block and gives you an environment to make good hip hop music.... as an MC, you can structure your songs by way of bridges, verses and hooks. Also, the fifth element of knowledge... increasing your knowledge about the world around you will affect how you make your music. People are constantly evolving, therefore your music will be constantly evolving. I believe having a fair amount of knowledge in these elements, will allow you to make a better product than the next man who has other stimuli.

TO THE GAME A CONVERSATION WITH KID TSUNAMI That's a really good answer. What I was sort of getting at was that hip hop hasn't necessarily improved since the 90's, even though the technology to make records has grown immensely. What you believe is that it depends on the person and their ability to take in what's around them, regardless of whether you're an MC or a producer right? New technology definitely plays a part in how hip hop music is made now... but I also think a big degree of how "authentic" your music sounds, comes down to whether you have studied the history of where the art form comes from. Everybody has to start learning an art form by copying and mimicking the predecessors ... and then finding their own flair. It all just depends how far along they have evolved. There is also a difference between artists looking to make a lot of money and artists looking to contribute to the culture.

How do you feel about the 'artists' out there who have no intention in contributing to the culture? I don't knock anybody's hustleâ&#x20AC;Ś But I think there is definitely room to do both. If you are making rap music, you should care about hip hop culture.

So you mentioned you started producing around 2000, is that your preferred method nowadays? I still produce the same way as I did when I began... Sampling records, using an MPC 2000xl and hiring session musicians.

Are you still MC'ing now?

Not seriously, but if anyone ever needs a guest verse for a project I get it done... Recently featured on DT's recent EP release.

Sick, I'll have to get my hands on that EP. So getting on to your own records though, I've read that the inspiration behind your latest release, Songs For Celia, was your Mum overcoming breast cancer. Was there a whole lot of emotional difference between making that record and your debut LP The Chase? Yes very different. The music was tailored to fit what my Mum needed as relaxation music... So there was a whole different approach. Also producing instrumentals is a totally different way of producing. Emotions played a big part in the piece, whereas the aim of The Chase was to just be banging music. After doing Songs for Celia, I would love to revisit the emotional content involved in making a musical, emotionally charged project.

So it's more or less a totally selfless record written in tribute to the sort of music your mum needed to get her through... I find it's very jazz influenced but it still hits hard. Does Celia dig the EP? Yeah she loved itâ&#x20AC;Ś she believed it helped her a lot to get through treatment. I'm just glad she is still around for a bit longer and I also hope people enjoyed the project. It was very special for us all.... I was really thankful that Chuck D gave it mad props on his radio show, and reiterated the importance of cancer related issues, and the love from a son for his mother.

Man... Chuck D is a fucking legend. That must have been super humbling. Getting back to what you said before, I guess it's hard to revisit a feeling you've had at any particular time, but working with politically minded lyricists would surely create an extremely charged environment... What was it like collaborating with the mighty KRS-One for The Chase?

It was amazing... and a real blessing. Basically, I gave all the MC's free reign to spit about whatever they wanted and I was really impressed with KRS One. He wanted a really hard beat, so I really had to bring it to make sure it was in line with what his vision was for the track. Definately an honor to work with the Teacha.. and honoured to be down with the Temple of Hip Hop and the Zulu Nation.

Groups like the Temple of Hip Hop and Zulu Nation are critical for the survival of worldwide hip hop and give opportunity to producers like yourself to work with apostles of the game... But on a smaller scale, do you think hip hop needs more love in Perth, to bring out the best in the talent we've got? Itâ&#x20AC;&#x2122;s a bit of both sides of the fence... as Perth artists we need to understand the "business" of putting out a record so we can get exposure and get heard with marketing and promotion. But also interstate and internationals should be checking us out! And even more importantly, we should be supporting our own artists, going to their gigs and purchasing their product.

You were able to go through the process of putting together and promoting The Chase as your debut record... are you happy with the way it turned out and the exposure you've received?

I’m very pleased with how it turned out, it was very well received all over the globe... If I had have done anything different I would have put more promotion dollars into Australia. But none the less, I am very pleased, it's a real buzz to mentioned in the same breath as those I look up to in the beat making game.

It's a real old school record, there's absolutely nothing synthetic about it - it's real boom bapper with a great sense of musicianship. How important is it to keep your integrity as a beatmaker and stay true to the roots of hip hop? Thank you. It is very important to me to stay true to what those before me have done. My influences include Pete Rock, Large Professor, DJ Premier, Buckwild, Diamond D and many more… it is important to me to continue what they have done. I don't want that style of boom bap hip hop to disappear… it has a classic, timeless sound that everyone can relate to.

Anything coming up for Kid Tsunami?

Yeah I’m working on a new record with Bronx MC, Wildelux... and also with local talent A Saxon....

That's exciting, all the best for those collabs. Lastly, in one sentence if you can - what does it mean to be a hip hop producer?

It means a lot of hard work, a lot of studying the culture and a lot of crate diggin'… and holds a lot of responsibility. Interview by Michael Donnelly Design by Paris Sawle Photography by Max Fairclough

KID TSUNAMI'S EP SONG'S FOR CELIA AND LP THE CHASE ARE BOTH AVAILABLE FOR PURCHASE ON BANDCAMP