Slovo 29 (english language)

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Komo Sarcani

Mobb Deep - Hell on Earth (20th Anniversary) 013

Mister Dream

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1996. West Coast

Dee the Conscious One Summer of 2016. Reviews 035

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The experiment continues!

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ForesterZ BanD

Tomorrow of Hip Hop 053

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Translators: Mikael Salikh Marianna Chief Dee the Conscious One Authors: Nelson Marianna Chief

Bboy Sun

Anarkia Boladona

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Editor: Nelson

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Rustle of vinyl Do not miss!

Website: HTTP://SLOVOMAG.COM Facebook Page: https://www.facebook.com/slovomagazine E-mail: slovohiphop@gmail.com

Komo Sarcani is MC, who unite in own music traditions of hip hop and its contemporary trends. Dope lyrics which talk about real life do tracks of Komo Sarcani interesting and authentic. And conceptual sound does his albums great event in the world of independent French hip hop.

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Let's go back to the start of your music story. The biography says that you started make music in 1994 in Congo, as part of group called Logicik. Tell us about history and the music of this group.

Effectively, I began make music with two friends of mine with who I was hanging out. We had a common passion for the Hip Hop. We decided to create our own band. We choose to call it "Logicik", a word game with two words: logical and logistic. We also had nicknames drawn from a soap opera ("Les contes de Mathias Sandorf"): Oli Zerone, Jim Carpenna and Komo Sarcani.

At that time, recording something in a studio was a luxury and find awesome beats was very hard. But we had the chance to have Doc Mfuma Strong as a mentor, he become our beatmaker. We were pioneers in the field of rapping on original beats in our city Pointe Noire, it was most important than B face. After two years the band was dissolved because of civil war in 1997, and I came in France. I have good memories of this period and I kept in touch with all of them except Doc Mfuma Strong who have left this world.

How the Congo's musical culture of those years influenced you, and what its main differences from the European music?

Well, it important to say first that Congo is a country which live at the rhythm of music, it's a country with full of talented artists. "Rumba", "Ndonbolo" or "Soucousse" are music that the people listen usually, in bars or clubs everybody dance on the last hits of the moment or on oldschool local music.

At home, my father was more listening to French variety or some international hits like Barry White or Bobby Womack. I think it opened my mind after. And with my sister I discovered new jack swing and Babyface. It was at this moment I started to become a real fan of music.

In what other teams are you was involved before the start of a solo career?

After Logicik, I arrived in France, in Villetaneuse (Paris suburbs). I integrated the X-Crew, and it's from this band I formed my new team with Blaz, called "Double Langage" ("Double Language"). We released an eponymous album in 2006, and this one had a big success in the field of French rap because its diffusion was all around France and with a good label. With this success, I began my solo carrier by releasing my first maxi-vinyl in 2009 called "Fume mon mic" ("Smoke my mic").

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Tell us about concept of your new album. Will the main thematic line in the album?

The main them is the Exile. The fact of having an atypical background inspired me a lot. I grown up in Africa and I arrived in France when I was twenty years old. On my album I give my feeling about living in the West and about global situation of Black People.

That's why a called my album "Amour Noir" (Black Love) to make a word game with "Humour Noir" ("black humor").

It's the story of a refugee who speaks about his background with the track "Extrait de vie" ("Extract of life"), the construction of the track is in the form of an interview. It something very personal, because I talk about family, friends and usability. I came back in Africa after sixteen years, it inspired me titles like "Bokassa", a track I talk about African politicians, and "Mboté na yo" ("Hello" in Lingala – the official language of Congo). With this album I build a bridge between Africa and France. "Amour Noir" is a symbol of resistance in a country you're trying to integrate different codes with difficulties, hence the sentence "Aimer dans la douleur" ("Love in the pain")… I could have called this album like that.

What will be the sound of the album? Who is working on its musical component?

For me, the sound of the album is the eponymous intro called "Amour Noir" and "Sortie", because both are a sort of summary of what I talk about in the album.

"Amour Noir" beat is more darker than "Sortie" which is more happy beat.

"Amour Noir" is a beat produced by Black Milk, one of my favorite beatmaker. He made something different relative to his actual style. What are working on this beat is the voices behind in the back, it looks like church voices and it sounds like a repentance. The second beat is more happy, more trap soulfull. Both talk about the same idea of the album: "loving in the pain".

In modern French rap we often can to hear the borrowing from the American trap and drill music.

What do you think about those experiments? What experiments will in your album?

You know I always liked the rap of Three 6 Mafia, Field Mob, UGK or Too Short. In France, this style arrived a little bit late. I already did trap music on a track with Blaz in 2006. Today, a lot of French MCs use to do trap music because it's something "in", most of them do trap without know codes of this style of rap.

But we have good artists here as Booba or Ninho who make good trap.

On my album, I have some southern sonorities but

without copying. The difference is that I use this music with serious themes; people generally use to make light lyrics on this type of beat. We are in 2016, so for me I couldn't do an album with boom bap only.

What, in your opinion, makes the album a distinctive and original?

It's an album which mix old school and new school, the original and distinctive thing are my artistic and personal experiences, so the lyrics.

The album will be released by Tomawack Records.

Tell us about the release format - digital version, CD, vinyl? How will it be distributed - only in the Internet or will you also cooperate with music stores?

"Amour Noir" will be released on all formats: digital, CD and vinyl (limited edition). It will be distributed all over France via a French distribution label, and after in Europe and in Japan via Tomawack Label.

I like keeping the control on my music business, I don't have confidence in people from the music industry, we try to make the maximum in working as independent.

We will also cooperate with music stores in Europe (vinyl stores…).

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Tell us about collaboration tracks of album. Are you planning a joint track in advance or they are born spontaneously as a result of communication with artists, who are close to you in spirit?

Franck Nitt (Franck N Dank) – it's a person I got to know and I really appreciate humanly. It's a long time we know each other, one day we said that in the future we must do a track together, now it's done.

With Illa J, the track was done with the feeling, we wrote together the track and the verse and the chorus he made was in agreement with my idea, we recorded it the day after.

Nasme is the only French rapper on the album, he's from central African republic so I invite him on the track "Bockassa" (former president of Central Africa Republic), because it was symbolic collaboration for me. My friend Maryleen O came singing on a chorus, she is on all of my different projects, and you have also a little guest with my first daughter, she's also passionate of music.

In support of the album will be released the clip, and, perhaps, not one. Tell us about the upcoming videos.

Nowadays, you can't have an album without videoclips because the images have an important place in music. I just released the video clip of the single "H .O.M.M (Hustler Of My Mind)" featuring Illa J, and I made a video shoot of another track with a German team in Mannheim. This one will be released also before the official release of the album.

Among the huge number of contemporary videoclips every artist has difficulties – to stand out and attract the attention of listeners. What, in your opinion, creates the same "magic", so that people want to watch the clip again and again?

In my opinion, to keep the "magic", we must do original videoclips, be on storytelling, with a unifying title. But I don't have a miracle solution, music is not mathematics. It's also important for me that a videoclip must be shared by big media or TV. In my case, I try to make videoclips with my own vision and a good idea, after it makes or breaks.

In addition to video, for the promotion of music, an artist must give live concerts. You give concerts in different cities of France. Tell us about the places where you most like to perform.

I played in a lot of French cities; I really don't have preference for a city in particular, because each area has owns its pros and cons. But I don't limit myself to France, I made some shows in European capitals last year, we discovered each others, European people heard for the first time a French rap show and they liked it! People are very friendly, open minded and curious, even if they don't understand what about I'm talking, they rely on the vibe, the beat and my performance. I had the chance to meet a fan of me in Denmark! It was crazy. It's a pleasure for me to bring my music and my style on different European places… I discovered and like a lot Finland, Denmark, Czech Republic and others.

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Are you planning the tour to promote the album?

As I said before, I'm a showman, so for this project, a Europe tour is programmed for the beginning of 2017, and later an Asian tour (Japan and Korea) and an American tour. In November 2016 I will be on tour around France with Catch Lungs, an Mc of Denver, we'll be on stage at Grenoble, Reims, Le Mans, Nancy, Metz, Troyes and others. It's a way to present some extracts of "Amour Noir".

When I work on a project I always imagine how it's gone be on stage, because it's the moment you can see if people like and connect with your musical universe.

I must precise all tour I do are done in independence without a Booker, I think we are actually in France the first who are doing that, and I am very proud to work like that. The target is to make a world tour with my album in the pocket!

What is the planned release date of your album? Will some singles precede it?

Currently, I'm mixing the album, we don't have a date planned but as I said before, the project will be released early 2017. I will announce that soon on my social

networks, it's will be published with a new single clip "Bouge avec moi" ("Move with me"), produced by the talented beatmaker Black Bethoven (5Ela, Proof). When the release of the vinyl and CD is ready, I will put online the opus "Amour noir" produced by Black Milk. This album is very special for me because it's a very personal album, I took two years to work it and I'm satisfied with the result and about the work of all the artists who collaborate on tracks like "Femmes & Fans" ("Women & Fans"), "Martin", or "Choses simples" ("Simple things"). Those one are potential single because they participate in the concept of the project.

Thank you Slovo magazine for the support and the collaboration. I invite all the readers to follow my news on my Facebook official page "Komo Sarcani" and on the other social networks (Twitter, Youtube). You can also check the page of my label "Tomawack", see you on the Tour!

Peace and love to all.

Komo Sarcani feat Illa J "H.O.M.M" https://www.youtube.com/watch?v=jjs7qo1ETn0 Komo Sarcani feat Nametag "City Life" https://www.youtube.com/watch?v=-dhCF4fkQ_8 https://www.facebook.com/KomoSarcani https://tomawacklabel.bandcamp.com 007

Photos by Soom Aya

Classic Mobb Deep's album "Hell on Earth" will celebrate the twentieth anniversary November 19. What is remarkable this disk and why it is impossible to imagine rap 90 without him - in this review.

"Hell on Earth" is one of those albums that have become classics. There are people's classics, which never forget. Sometimes albums became classical for critics. There is quality, innovative and often complex releases. This fact deprives them of mass love.

And though they do more for culture than the most popular, full of hits album, it is the latter remains a benchmark in the eyes of the mass audience. "Hell on Earth" became that classic plate.

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Over the past twenty years it was sampled by countless artists. There are not only rappers giants like Rakim and Jedi Mind Tricks, but also a pop singers, especially Mariah Carey. The track "Shook Ones", the main hit of Mobb Deep, was sampled by over 200 artists! Some versions of "Hell on Earth" include the first version of this hit.

But apart it the album have vibrant compositions that ensured it a gold status. But it is great not about gold and not in hits, but in the unity of the album.

All tracks "Hell on Earth" was produced by Havoc. This beatmaker has a unique absolutely recognizable style. Its distinctive features - minor keyboards, heavy bass and drums and booming snares. Cutting out a sample of the funfilled track, Havoc makes it gloomy. To match the own lyrics and lyrics of Prodigy. And beginning with the first track this mood does not leave album. And with music sound lyrics about money, the desire to get up, kills and betrayal.

With the lyrics of this release all difficult too. On the one hand, the Mobb Deep or guests MC does not affect some complex subjects and do not express philosophical ideas on the album. All tracks are a collection of slang rows about streets full of hatred and aggression. There is nothing new, even for rap sample of 1996. And, as a consequence, the lyrics have common topics, which repeat from track to track. The most original track, probably, "More Trife Life", where Havoc tells the story about woman's betrayal. But this lyrical flow on the similar theme on the album adds a naturalism. This is not a record, where everything is calibrated. Where the author knows all topic list before

recording in which he did not just tell, but will try to convince the listener in their ideas. Mobb Deep convince no one and have nothing. Prodigy and Havoc simply describe what they see every day outside the window. And this has its sincerity.

The best proof of the quality of "Hell on Earth" is fact, that it is not lost on the background of his predecessor. The Mobb Deep's discography had two albums before this plate. The first of them, "Juvenile Hell", went unnoticed because of the stupidity of the issuing label, which, in fact, do not work for promotion it. The second was "The Infamous", what became a legend. Today, everyone recognizes this disc an integral part of the New York rap's heritage. Following this success, all the artists fall into the trap of comparing. Each subsequent release equate to their debut (in the case of Mobb Deep second) release, which has become a classic. It is clear that the artist is not easy to withstand this pressure. Many break down immediately. Mobb Deep, releasing "Hell on Earth" proved that they are not disposable. Another thing that after this album the group couldn't save this high quality level. And fans of Mobb Deep are still debating what disc was better - "Hell on Earth" or "The Infamous". In fact, these albums should be considered as two volumes of one book.

They are very similar in mood, content and sound. They are very close in time. The difference in one year is unlikely to significantly changed the reality of Mobb Deep. But, of course, "Hell on Earth" crew recorded already in the status of well-known and respected rappers. They told that in the lyrics of the plate.

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the gloomy reality. In the track used chorus sample "Cannot Help but Love You" by The Whispers, and the background vocals taken from the track "You Are My Sunshine" by soul legend Aretha Franklin. The lyrics is a diss on 2Pac, more accurate response to an unflattering line in one of his tracks.

The music will tell about the level of this album better than any disputes. And so I want to talk just about the musical component of "Hell on Earth".

"Animal Instinct" (featuring Twin Gambino & Ty Nitty) It is the perfect start to the album. It start with a slow sample, which Havoc taken from the track "That's Where the Happy People Go" by soul-funk group The Trammps. The first line of Mobb Deep's lyrics have warned that they will continue everything that was on the album "The Infamous". And then we get the lyrics about the struggle instinct. Starting at such a "macho" note album keep it to the end.

By the way, the drum part in the "Animal Instinct" based on the track ÂŤSynthetic SubstitutionÂť by Melvin Bliss. This is another successful sample in this instrumental.

"Drop a Gem on 'Em" Havoc sampled keyboards masterful again. So, they create an atmosphere for the storytelling, which did not please you, but probably stimulate to think about

"Bloodsport" "Bloodsport" is the name, which itself speaks about the content of this track, which describes (one might say savoring) murder. The rhythm with the loud hihat, bass background, sinking in the kick drum sound, and minimal symphonic sample in the background.

What else do you need for such a story?

"Extortion" (featuring Method Man) The song "Can You Remember" by The Jackson 5 was the basis for the "Extortion" instrumental. Beat sound not so bleak as the previous tracks of this album. No wonder that we hear Method Man in this track because the sound track itself is strongly reminiscent of the RZA's style.

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"More Trife Life" Another minimalistic instrumental. It have masterfully inscribed bass that simply merges with the kick. But if it is to remove the beat lose its pressure. And snare with echo that sound like a destroy of silence in the cave. And at the heart of music, as always, very calm motive of the past decades.

«Man Down» (featuring Big Noyd) Here the sample creates a disturbing atmosphere by its own "whistle". In result its sound like as the soundtrack for the thriller. And this track is quite drawn to the title of a thriller, because it has a sea of blood and anger.

"Can't Get Enough Of It" (featuring Illa Ghee) A simple keyboard melody sounds here only at certain moments, leaving most of the tracks alone with the beat and bass. But it so cool related with the hi-hat, it sounds like as zest of this instrumental. The original, from which the sample was taken, of course, was not grim. This song "Las Vegas Tango" by jazzman Gary Burton. In track also was used sample of the Nas's track "It Is not Hard to Tell".

"Nighttime Vultures" (featuring Raekwon) There is atmospheric track. And at the same time it is minimalistic. Havoc is able to combine opposites. And while all created along the same lines - heavy drum and bass, clear snare, and only when you need it - minor sample, which filling the space.

It's a hit. Without any reservations. When I heard this song for the first time, I remembered it forever. And so millions people around the world. No wonder "G.O.D. Pt. III" was released like as single for this album. Symphonic part of the play "Tony's Theme" by Giorgio Moroder identified this track like as hit of all of the album "Hell on Earth", simply because it seems to sound the most emotional and intense.

And this is just as dark as the rest of the album tracks.

Percussion part is based on samples from the track Little Feat "Fool Yourself".

"Get Dealt With" It's a very crude instrumental, with overloaded bass and many crackles and clicks. Everything is decorated with a sounding aloof melody.

"Shook Ones Pt. I" This hit is the absolute leader in the sampling among all Mobb Deep's creativity. This is the first version of the hit was not present in all versions of the album. But this is perhaps the most warm Havoc's instrumental on a plate. It creates a good atmosphere. But you cannot say it about the lyrics, which as always shows the dark side of the criminal life in the ghetto.

The main sample, the famous minor piano was borrowed from the Herbie Hancock composition "Jessica". Another element of the melody is taken from the Quincy Jones song "Kitty With the Bent Frame" by Quincy Jones, and drums line from «Dirty Feet» by Daly-Wilson Big Band and "Public Enemy No. 1" by Public Enemy.

"G.O.D. Pt. III"

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"Hell on Earth" became one of the first disc, which has hidden track. You can listen this track which only on the computer. So Mobb Deep participated in the introduction of new technologies in music.

Describing the album "Hell on Earth" I must tell that his musical component is based on the repetition of the same formula - a simple (often almost identical in different tracks) rhythm combined with heavy bass and kicks and ringing snares, and most importantly minor samples (in many cases they got minor sound after the change of tone). It seems to be primitive, and it must get bored after a couple of tracks. But no - it does not get tired even after repeated listening to records. Moreover - it is extremely difficult to repeat that once again proves Havoc's talent and sincerity of his music. This could be created only by under the influence of emotions, not because of the dry formula the production of successful hits.

Also lyrics - no matter how many times Prodigy and Havoc told about the criminal, lust for money, no matter how much they used metaphors about guns and sex, it is still sound with interest. And even if you do not remember these lyrics, it will make you believe in its content at an emotional level. What else is needed for classic rap?

"Front Lines (Hell on Earth)" And finally, the title track of the album, with the background violins and classical rhythm, That was reused by Havoc on this album many times. But it do not bother. "Hell on earth". After listening this track you agree with this.

"Give It Up Fast" (featuring Big Noyd & Nas) The simple beat with vocal samples and looped minor note (just a moment) of "Opening Theme" by Joe Delia.

"Still Shinin'" A sample of the "Hospital Prelude of Love Theme" by Willie Hutch is an integral part of the rhythm of this track. He shakes the track along with the drums and bass. But on the whole track is calm like as prepares us for the album's completion.

"Apostle's Warning" Perfect ending of album, what built on a sample of "People Make the World Go Round" by Michael Jackson.

"In The Long Run" No every listener could hear this bonus track, because

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Mister Dream is a legend of Portuguese breaking. In this case, it is not compliment, but a statement of fact. How else should we call a person who has devoted more than 35 years of his life to the culture? He started dancing back in 1980, and in the most difficult years, when people forgot about breaking, he was among the those few who continued keeping the roots of this culture and developing it. Thanks to his efforts, a new generation of talented bboys and bgirls grew in Portugal. But the story is not over, and Mister Dream continues creating the future of the Portuguese breaking!

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How and when did you start dancing? Did you start with breaking or you had experienced other dance styles before it?

When I was child and heard music I always danced to it rhythms at the home parties, school or public street festivals in Portugal. The music always "moved" me, almost every musical genre.

But later, when I was 10 years old (in the 1980s) in one garden in Lisbon (Portugal) in the street where I lived, I met a young man, who had cousin in the USA. He showed me some breaking steps (bboying and top styles of hip hop dance, break dance) and told me that it was a new dance from the USA. His cousin from America taught him this.

Once saw those steps I fell in love with it, and that same day I started training at home and since then I has never stopped until now, it's almost 35 years.

What were the life and the culture in Portugal those times?

It was good a time of street and urban culture, parties, street convivival, a lot of break dance, but even in those areas where bboys lived not so many people did breaking. The same situation was in the schools, where I also opened dance circles. There were few of us, we were spread across several areas of the country, but the great explosion was more in Lisbon and Out Side of River / South Bank. Over time the Universe helped me to find other young bboys, and then we started going on Sundays in the afternoon to a place in the center of Lisbon (Praรงa da Figueira) where we met each other and concentrated on breaking. Then many bboys from many areas appeared, they came from various sides of Lisbon and surrounding areas, it was the time when there were 3 cyphers at the same time spread in the streets with Cassettes Radios with Breaking music. It was the most wonderful breaking place in Portugal.

As for the other elements of Hip Hop Culture, we had few information (and we neither knew that other elements as well belonged to hip hop, we knew that graffiti had something to do with breaking). Of course, we knew about djs and their role in the music what we heard in breaking). In those times there were few graffiti on the walls, very few MCs, almost no djs, only in disco clubs, some djs opened the real hip hop and funk music. Of all the elements of the hip hop culture, it was breaking which exploded and evolved most in Portugal (we are Latins and we have several afros migrants here. And they are always present in dance and music). We danced breaking when we walked in the streets and we trained to radio shows on the cassettes.

In the 1990s, exactly in 1996, began to appear more graffiti writers, MCs, real hip hop bands and djs.

80s and 90s.

How was it adopted in Portugal? Was breaking perceived like a foreign temporary phenomenon or was it clear that breaking would become a part of Portuguese culture?

Then, in 1980s, we were so young that we didn't not even think about it, but we really realized it would stay (at least I supposed it would) a few years later, many people stopped dancing breaking, but some continued (but very few).

Breaking almost disappeared in the 1990s, I was one of the few that remained, and I re-launched a "Bboy Project" with another bboy who was from my crew. We started giving classes and workshops in several country areas (Portugal, but more in Lisbon and Margin, south of Lisbon), with the aim to promote and develop the break dance, all real hip hop culture, we organized various meetings, championships, jams, parties, etc. Later I organized many festivals real hip hop including all the hip hop culture elements (Break Dance, Graffiti, Dj, Mcing and Knowledge).

How did Portuguese dance culture influence the development of breaking in the country?

Our Portuguese culture did not help much in breaking.

Today yes, the dance in Portugal is present in many places, as well as hip hop culture. As I mentioned above, it was me who practically developed and spread the real culture hip hop and breaking in Portugal, since no one else organized parties, festivals, championships, jams in Portugal (only 2 or 3 other bboys in Portugal organized something, among those who was very important was bboy Julio Nako's Crew Gaiolin Roots (City Port, North of Portugal).

Did breaking come in Portugal from the United States?

How did it penetrate in the country?

Yes, it came from the United States. As for my meeting with breaking, I told about it in the 1st question. I do not know how other bboys got knowledge about breaking, but I think that they also got it from the United States (friends, etc.), of course, from the films in cinemas ("Beat Street", "Breakin'" and "Electric Boogaloo")which helped young people to fall in love with the elements of the whole culture at that time of

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During the years that you have been in breaking culture, many of its styles have been created and changed. How have these transformations happened in Portugal?

Yes, it has been reasonable in relation to the real and correct transformations. Real breaking cannot develop without it.

But we have here also many teachers who do not know what is the culture or break dance and dance styles of hip hop (much of the Portuguese youth society do not know what is the real hip hop culture and its breaking dance). But there was a real progress because the internet helps young people by videos they watch, and some teachers here follow the evolution of culture and like me for example, take their pupils across the country (not to lose the roots of culture and the real breaking). Also sometimes some good breakers come to Portugal and give workshops, and that helps a lot.

What are the most important events in the history of the Portuguese breaking that you can highlight?

The largest events in 90s-2000s were mine with the Masters of Hip Hop Prod. Later and now there are more producers to organize events.

Mister Dream with the Masters of Hip Hop Productions produced events for every element of real hip hop culture: - "MASTERS OF HIP HOP FESTIVAL" (3 events) - "PORTUGAL BATTLE" (Championship of Portugal Breaking / Bboying and Dance Styles of Hip Hop) (4 events) - "GREAT MASTERS OF HIP HOP FESTIVAL" (International Event, 1 event in 2 days) - "BATTLE OF MASTERS" (2 VS 2 Breaking / 3 events) - "JAM COMPETITION" (4 events) - "BATTLE SCHOOL" (idea Mister Dream and Bboy Extra Bonus), event several teachers and Breaking All Styles Hip Hop (Students / National of Real Hip Hop Dance Styles / Breaking / Break Dance, 5 events)

- "FREE STYLES KINGS" (Battle of MCs, 2 events) Also I solo produced more other events.

Contemporary events of another producers: - "LETS BATTLE" (Battle of Hip Hop and Breaking) - "EURO BATTLE" (Championship of Europe Hip Hop Dance Styles, Breaking, Locking, Popping).

Who are the most important representatives of breaking culture in Portugal?

For me, (it's true) it is actually Mister Dream, but nowadays we have more bboys and bgirls in Portugal who represent breaking, as Bgirl Mary, 12 Makakos Crew, Bboy Xicano, Bboy MaStyle, Natural Skills Crew, Bboy Joka and his Crew, Secret Force Crew, In Motion Crew, Funky Flex (Bboy Si Soon), Momentum Crew, Butterfliesoulflow Crew, etc. Sorry for not giving more names, there are more of them. Respect for all!

Throughout the world, the elements of the originally united hip-hop culture gradually began to drift apart.

Does breaking in Portugal remain the part of hip-hop or it became a separate subculture?

I understand what you say, but if the elements began to pull away, it was because of producers of events who did it worldwide. Nevertheless I think they'll be together forever.

In relation to Portugal, there also happens the same (a little distance), but not so much, here 5 elements of hip hop culture are always united. Sometimes some events include only breaking, but in my hip hop events (and in other events as well), the all 5 elements are always present (djing, bboying and other styles of hip hop dance, graffiti and knowledge). Regarding outside Portugal, may be happening a bit, but as I said, it is all about the organizers of events, parties, to accumulate the elements in their events.

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Portugal has close cultural ties with Brazil, where hiphop is well-developed. Could you tell us about the cultural ties between these two countries?

Cultural ties are based on the Portuguese language, because in both countries we speak one language. Portuguese were the first who discovered the route to Brazil hundreds years ago. In hip hop culture, both countries are on track regarding the conservation of real culture, from the area of music, break dance, MCs & bands, graffiti, djs. Often Brazilian artists come to Portugal to work and make performances and we understand each other well because of the one language we speak.

Brazilian and Portuguese musical culture is unique. In these countries, there are many of own music styles. Do they sound in dance battles? If yes, what are the styles?

In relation to music with MCs and Hip Hop Bands is quite developed in both countries, and many have quality product, but nobody does production for breaking and the other styles of hip hop dance. I never heard music for breaking made in Brazil and Portugal.

How breaking has changed your way of life? What are the most important things that breaking gave you?

Yes, breaking changed me, because I entered the path of the art of breaking, which made me an artist, professional dancer. So, follow career in something I loved at the first sight, to be happy is the most important thing in life. Also a very good side that changed my life is that I lived with many young people in the street (dancing breaking), on stages,

championships, I enjoy it a lot. I also give classes to children and young people and it fills me up inside. A great happiness for me is to know that I am guiding children and young people in a positive way through breaking and hip hop culture, and I see them happy to share the art of breaking and coexisting with others. I also pass them the philosophy of hip hop culture (peace, love, art, respect, union, etc.). I know that I am also helping to improve society, that gives me enough happiness.

What are most important things that breaking gave me?

There were many, there were hundreds, in my career as a pioneer, legend, already with 35 years of break dance and hip hop, I can disclose some of them: derived from breaking, I was able make true almost all my childhood dreams (so I baptized myself as Mister Dream).

I managed to become a professional dancer and to live financially from breaking (that was one of my big dreams), I could also show my talent of breaking on TV in many television programs, dancing for various brands nationally (Tours in general of 25 years all over the country, I knew whole Portugal, and also foreign countries in tours), I made "Sports Advertising" on TV with those brands that I always liked being a child, I managed to organize festivals and breaking championships. Through breaking I also learned to be always happy, and teaching was also one of my dreams, to see youngsters growing in a healthy life, in peace and in respect and to be happy also taking the breaking as career. Through breaking and the philosophy I transmitted to them they now carry this philosophy of life.

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I know that you organize dance battles for young bboys and bgirls and teach breaking to a new generation.

Could you tell us about your projects?

Yes, and I do it almost 25 years, I am also the first who started teaching breaking and other hip hop dance styles in the country, in workshops and trainings. I am also the first who organized breaking championships in Portugal. Many of bboys and bgirls who danced in those championships in the years 99/2000 became the generation that launched the so called new school of Portugal breaking,I gave training to some of them and others have developed and evolved themselves. Many of them trained and progressed to go to the battles that I organized. My goal in battles that I have been organizing for years, was the same, to motivate them and give them a goal, so they could show up at national level in my events for living, dancing, fun and contending to evolve. Some of my championships were: "Portugal Battle, Jam Competion", "Battle of Masters", "Battle Revenge", "Battle School" for students and other meetings and battles that I organized during the year with the help of my first project of spreading and development of breaking and hip hop culture, which was called "Bboy Project". "Bboy Project" and "The Masters of Hip Hop" in partner organized everything that time, but now it's the time when we can see that breaking can already walk alone and is already well established in Portugal. Only "The Masters of Hip Hop Academy" organize real hip hop culture events. But I will go on this mission, me and others, while I am here is on the Earth, that's what I'll do...

You saw a lot of young dancers while teaching breaking.

What difficulties with the training do most of them have?

Um, yes I gave classes of hip hop dance styles to thousands of young people. And I can say that in the beginning a great difficulty for them is really the lack of fitness and flexibility which can help them to make moves, freezes, power moves, etc. It also takes time to gain their own style in top rocks, up rocks and connecting the breaking dance rhythm with the music for breaking. But with time and training at my classes, they eventually overcome all these obstacles and so end up winning their own style, personality of bboy and bgirl. With time and developments in fitness and flexibility eventually they reach the moves, power moves, freezes, freezes power, etc. Note that a healthy diet and contact with nature are very important.

How hard is it for a bboy to find his own style and how much time did it take to form your own style? What is the basis of bboy's personal style, that distinguishes it from other dancers?

As I mentioned above it, your difficulty is actually already in your breaking style. Every bboy or bgirl needs to define your style and personality in breaking. It is always a matter of time to make your own style of bboy or bgirl, locker or popper, etc. Some people need 2 to 3 months, others a bit more, it is always a matter of time. For me the base and the difference of each bboy and bgirl is really in your style in top rock, attitude, passion, and when they dance to the rhythm of breaking sound making their moves.

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There are a lot of discussions about the role of money in breakdancing. Interests of various corporations, that sponsor festivals, have led to the transformation of breaking into a spectator sport. And many bboys now are rather acrobats than dancers. On the other hand, the financial support gives many bboys possibilities for earnings, and, in general, it contributes to the promotion of breaking among the youth. How do you evaluate the role of commercial industry in the development of breaking culture?

Yes, it's happening. The brands appear increasingly in break dance events, in my opinion, it's is good if the producers of events and parties do not sell the soul and the real hip hop for money. What I mean by this, to produce an event they should not change anything, just because the brand says it wants one thing or another. I also think that you should do as I do in events break dance and real hip hop festivals, you must select healthy brands that are not detrimental to health to society.

Otherwise, the promoters and bboys are to sell themselves as if they were prostitutes and disrespecting society and true life philosophy of hip hop culture and bboying.

Of course, with the support of brands (if they are healthy) break dance develops over the world and makes many bboys and bgirls from various countries meet at the events, parties and live together dancing breaking all together and this is very good.

Regarding bboys and bgirls who make money with brands dancing breaking, it is good, because they are pursuing a professional career that always dreamed of, that is to be happy doing what they love, as I did and will keep on doing so far, but I never left breaking, it is an urban dance art (hip hop urban culture) and not just acrobatics. Those bboys who say they are bboys and only do acrobatics for me are not bboys... They think so, but are not...

which influences the whole world society, it is spread in TV, what I call hip hop Matrix, fake hip hop, plastic and not real, and young people think that they see hip hop dance styles and breaking.

How do the modern media and Internet influence on these changes?

Good influence concerns the disclosure of true hip hop culture and its five elements, and so it reaches young people, children and adults around the world in its pure and true form, and also gives access to the evolution of styles, global outreach events, championships, meetings, festivals, etc. There are good ways to promote hip hop culture, its elements and in this case breaking, but unfortunately we always have the other side of the coin. For example the media which do not always transmit hip hop as a serious culture, its roots, purity of culture and elements of its truest state, as I mentioned in the question above, it is often shown and shared as what I call hip hop Matrix, fake hip hop, plastic and not real, which is misleading the entire society, and makes it believe all you are seeing hip hop culture and its roots in the case of hip hop dance styles is even worse, as will a number of championships around the world, false hip hop. This is not good for this aspect of culture, but we (me and many around the world) continue to make events, championships, meetings with the information of the true culture and its aspects.

What are the most important contemporary conceptual changes in breakingg and generally in the world of dance culture?

The changes, in my view, are the evolution of dance styles of hip hop, bboying, popping, locking, tutting, etc., because in the beginning it was starting and there were few things in these styles over the time, evolution and creativity of each, created more and more. As for the breaking moves, power moves, freezes, combos, etc., it also evolved enough and in the right way, in more complicated combinations mixing more moves with moves, power moves, freezes, so everything is more complete.

But evolution also referred to a non-true side, for example, some who call themselves bboys, no longer dance breaking, because some of those who call themselves dancers have only to do more acrobatics, and it is not breaking dance. There is also another false side

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What is your point of view on the future of breaking and your projects?

I see a good future and not so good one. The good is in relation to the direction in real breaking and real hip hop culture (events, parties, music, graffiti, MCs much publicized), but there is a need to continue to work in this real hip hop mission of culture and breaking in my country and others. Me and a few others here we have done that way that breaking (and other elements) are spread in its real form (roots) and I will continue to do so, teaching, training children and youth, producing events, parties, etc. not to lose the pure roots and real breaking, other bboys and bgirls (new school) are doing the same around here, so the future is more or less ensured. My project is to continue to produce festivals, events, meetings, tournaments, shows, to continue to spread the breaking and real hip hop culture in its purity.

In other countries it is the same thing here, there are those who make events, real parties of hip hop culture and breaking events, but there are always other producers who to take advantage of the word "hip hop" to make false events, both here and in other countries, and even in the real hip hop and breaking there will be those who take advantage

to make a lot of money, who will to work without enjoy it, but it is a constant struggle against these profiteers.

What are you doing now and what are your future plans?

I'm still teaching, giving workshops, training, making shows for children and young people at national level, organize championships also students and advanced, real festivals of hip hop culture with all its elements. My plans are organize a national festival "Masters of Hip Hop National Festival & Portugal Battle" and "Battle School" for students. It id real hip hop, including the 5 elements (and, of course, breaking championship and other styles of hip hop dance). Also I want organize a "Festival and Iberian Championship" (Portugal and Spain) and in 2017 I want organize a festival "Grand Masters of Hip Hop International Festival & World of Breaking Championship". I want invite various artists from around the world to work here in summer, because we have a great weather with plenty of sunshine, beaches, etc. I will also continue and want to give workshops around here, for my whole country and the world.

Contacts of Mister Dream and Masters of Hip Hop Academy & Productions: mastersofhiphopacademy@gmail.com bboymisterdream@gmail.com Fones : 0351 (Portugal) 21 210 66 29 – Mobil : 351 91 818 78 99 https://www.facebook.com/josealexandredeoliveira https://www.facebook.com/MastersOfHipHopAcademy https://www.facebook.com/pages/Mister-Dream-Pioneer-Legend/169215893166860 019

In 1996, the rivalry between East Coast and West Coast in American hiphop has reached its climax. But it ended not only with the all known sad events, but also it gave us lots of cool releases vying for the attention of the audience. In the last magazine's issue we wrote about the best albums of the New York rap of 1996. Today we will talk about west coast records, which this year celebrated their twentieth anniversary. Some of them firmly occupied the first lines of the American charts. And their authors went around his New York colleagues. But is it their value? The main thing is that all of them, regardless of geography, have passed the test of time, enriching the hip-hop music forever!

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2Pac - All Eyez on Me The album that conquered all. It became not only the most successful rap release of 1996, but in the whole Tupac's discography to this day many critics and listeners called this plate the best. In fact - this is the most commercial his album. There are much less social topics, what was in the early Tupac's records. Instead of it - lyrics of the album entirely revolves around the theme of "thug life", in which, according to many, Pac played too many in that time.

But all this seems contradictory to exactly that time until you turn on the album. He immerses us in the great sound! Its soft sound, filled with melodic rhythm and blues, coupled with quality lyrics and recognizable Tupac Shakur's recitative will make everyone fall in love with this record. And time hasn't power.

Makaveli - The Don Killuminati: The 7 Day Theory Tupac at the end of his life was so creatively active, that recorded hundreds of tracks. And not just for the "main" albums, but also for his alter ego Makaveli. Album "The Don Killuminati: The 7 Day Theory" was planned as the

first release under this name. But it was released only after the author's death. It differs from album "All Eyez on Me" in that it has rather less "combed" sound and the selection of tracks. Yet they have more in common than differences. This album from the first to the last second represents recognizable style of Tupac Shakur. It is not surprising that this album, absorbed all the best of the best period of Tupac's creativity, has become one of the most favorite among his fans. Music journalists constantly include "The 7 Day Theory" in the list of the best releases in the rap music history.

Digital Underground - Future Rhythm This is perhaps one of the most funk albums of that era.

There is g-funk, where is more funk than a philosophy of "G". "Future Rhythm" is the fourth plate of Digital Underground, in which the young Tupac Shakur began as a back-up dancer. He became more popular than his comrades. However, Digital Underground also got their place in the history of hip-hop, especially in the music library of lovers of funky sound in rap music.

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those years. But we have it in our time too. The album was well sold, but critics didn't evaluated it very high.

Yes, and his success in comparison with the most popular plates of the year was not comparable. On the other hand - this is only a compilation. And the fact that he competed with a full-length album, more than convincingly indicates the status of Dr. Dre. Why should you listen to "Dr. Dre Presents the Aftermath" today? Because this disk will give you a lot of fun.

Secondly, it will help to immerse in the unique atmosphere of a Californian hip-hop of those times.

Dr. Dre - First Round Knock Out; Back 'n the Day; Dr. Dre Presents the Aftermath Dr. Dre abruptly changed his life in 1996. As shown by the future - it was successfully. He left the record label Death Row Records, founded his own Aftermath Entertainment, and released three interesting collection.

The first, "First Round Knock Out" was released on 21 May. On this record Dr. Dre's creativity appears in all of its diversity - from the tracks in the genre of electrofunk, recorded as part of the team World Class Wreckin 'Cru in 80-s, to up-and-coming hardcore west coast hits, which Dr. Dre produced for Snoop, The D.O.C. and many other legendary MCs. There were, of course, also g-funk and even R&B tracks.

The second compilation "Back 'n the Day" was released in 26th of September. It include mainly tracks (remixes on them) by Dr. Dre from the times of World Class Wreckin 'Cru. And finally, the compilation "Dr. Dre Presents the Aftermath (Aftermath Entertainment)" appeared at the stores in 26th of November, that opened the era of the legendary label. This is a typical release for Californian hip-hop mid 90s. Soft melodic g-funk, with beautiful choruses and lyrics filled with themes of sex, gangs and all that surrounded the young resident of the ghetto of

Eazy-E - Str8 off tha Streetz of Muthaphukkin Compton Dope album! The word "shakes" will be the best definition of the effect of its listening. Juicy g-funk with gangster lyrics and hardcore recitative! "Str8 off tha Streetz of Muthaphukkin Compton" should been released a year earlier. But detection of the disease that Eazy-E had, and then last months of life carried out on a hospital bed changed MC's plans. And the album, unfortunately, became a posthumous both for Eazy-E and for Ruthless Records. Two legends left us. But this is the best monument for the MC! And this album is a diamond in any record collection!

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detailed and "balanced." Later some producers started adding electronic sounds, which brought fame to them, but killed the melodic, what was a base of the atmosphere of West Coast rap of the late twentieth century.

Ice-T - Ice-T VI: Return of the Real One of the founders of gangsta rap and rap veteran of the entire west coast hip-hop, Ice-T already had a star status. And "Return of the Real" did not bring any surprises. People just waited for the album of the master. Killers, pusher and "bitches". Uncomplicated set, straightforward and evil lyrics. Ice-T raps confidently and impressively, each his word putting on the rhythm. The unique way of rapping and hardcore g-funk style - what could be better for a fan of West Coast rap?

MC Ren - The Villain in Black As with MC Eiht, this is the second album in the discography of the artist. MC Ren, part of N.W.A., invested a lot in this album. This is the death of friends - DJ Train and Eazy-E, and his journey to Egypt under the auspices of the Nation of Islam. As a consequence, in the album along with gangster lyrics appeared texts dedicated to the rights of African Americans.

Most of the album was produced by Cold 187um.

"The Villain in Black" distinguishes by the heavy bass line that passes through all the plate tracks. If many gfunk albums have relaxing atmosphere, and only lyrics can hold the listener in suspense, in this plate the sound prepares us to the narrations of the actual and sore topics.

MC Eiht - Death Threatz "Death Threatz" became the second full-length album

of MC Eiht. In addition to the solo career, he is known like as part of Compton's Most Wanted. In a word - he was a noticeable personality in hip-hop culture of the west coast in 90s.

This record marks the heyday of his style. There is professional production and no less exciting mcing.

The sound, of course, entirely soaked in the same gfunk style. Actually the era of mid-90s was great, because in those times was created canon of g-funk, 023

Ras Kass - Soul on Ice The debut album of Ras Kass, after which The Source magazine called him "Nas from west coast."

Subsequently, Ras Kass with his lyrics regularly confirmed this title. For the west coast rap the "lightweight" lyrics about the gangs, business, and girls is typical, however, its rhymes do not become less bright and interesting. Ras Kass wasn't typical MC. He told about the problems of American society.

Even sometimes with a bias in the conspiracy theory.

But he told about sharply and important questions.

This all sounded interesting and unusual. All tracks have recognizable "popping" snares. A melodic part moves from g-funk keyboards to jazz samples in the east coast style. The result is an original disc. Since the first release, Ras Kass has created the foundations of their own style.

The trial of the murder case preceded the recording of this disc. Snoop Dogg was held by the accused, but he was acquitted and was able to proceed to the studio's work. Otherwise, we would not have heard his releases for a long time.

The album became one of the most successful releases of Death Row Records, though, of course, Tupac records of the same year it is not surpassed.

After this record, Snoop left the label, and by the end of the year Suge Knight (finally) became a prisoner.

The story of Death Row Records as the company, what moved rap, was finished. About it can be heard to this day, but only as a brand under which issued compilations of hits of those years.

Snoop is not tired to do experiment till our days, sometimes returning to the sound of the 90's. And among his fans there are a lot of people, who nostalgic for his first discs, including "Tha Doggfather".

Snoop Dogg - Tha Doggfather Snoop cannot be confused with anyone. His rap you can either like or do not like. But it does not leave you indifferent. This album is from those times when Snoop was still "Doggy Dogg". And it's his first album, produced without the participation of Dr. Dre. 024

Too Short - Gettin' It (Album Number Ten) "Gettin' It" was one of the most popular rap albums of 1996. He took the third line in the chart Billboard in the first week of sales. For the pioneer of rap in the American West, it was the tenth record. After it, he announced his retirement from music. But in fact, after a couple of years Too Short back again and releases albums to this day. All listeners lost count of their number.

"Gettin' It" was the album on which Too Short a little moved away from his favorite themes of sex and pimps.

In the sense, that lyrics of this album include also other issues. In general, the record is good. But it is expected from this artist. Probably it is reason why album became so popular - the audience did not need surprises.

Xzibit - At the Speed of Life Xzibit is another debutante in 1996, who subsequently became a great person in rap music. But in 1996 he could only dream about it. And work on the realization of dreams. What he did, writing "At the Speed of Life" an album that sounded quite unusual for the West Coast.

This can be partly explained by the participation in the

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work on the record of producers from New York. In particular, it was the legendary Diamond D. But even among the East Coast rap, album also stood out. And most importantly - it showed masterful Xzibit recitative, good lyrics and gave several hits. The main among them - "Paparazzi" became an international "hymn" of many parties in the decade ahead.

Westside Connection - Bow Down This supergroup was composed of Ice Cube, WC and Mack 10. They immediately attracted attention. All of them were well known to rap listeners. Cube was on the top. And he fueled interest of fans by many disses. "Bow Down" also was not without them. Album includes disses on the Cypress Hill and Common. The plate was another brick in the wall of gangsta rap. Is it not original? But it was quality and has spirit of that time.

People waited only those albums. Three MC's that have different mcing styles. And, in addition, it was recognizable sound that distinguishes "Bow Down" from other g-funk albums of the year. In general, there is dope rap, what you need to listen to.

Dee the Conscious One was a guest of our magazine several times. And fortunately, he always gives grounds for new material. New album "#Deenspiration", that was released in August this year, a number of joint projects and changes in the Ukrainian hip-hop - all of that are topics of our new interview.

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I want to begin a conversation straight from your album "#Deenspiration". The album introduced a lot of guests from other countries. Tell us about them.

Peace! "#Deenspiration" album was created during three years and started from the track "Rush" featuring Brooklyn duo M-Tri & DJ Leecy T in process of organizing Represent #7 Festival, which, actually, we presented there, and a day later shot some video in Lviv.

Near the same time I started to work on the track "Inspiration", and decided to invite the duo from Australia Dialect & Despair, whose album "The Vortex" wildly inspired me back then. Otherwise I was invited to do a verse on "Flow Betta" but it turned out that Price of tha Rhythm was unable or unwilling to take it on their release. Instrumental "Surrender" by Klim Beats impressed me soon as I first heard it on the beatmakers battle at Yalta Summer Jam and it formed the basis of "One", which is also featured one of ancient representatives of the city of Wellington (New Zealand) and Aotearoa Zulus, graffiti writer and emcee Q the Kurst One. After this single's release another group from New Zealand - The Doqument, whose song and video "Vocals be Travellin" really affected me, offered some cooperation, so I immediately sent them a fresh instrumental from Sunniq and a sketch titled "Tape Era". But, unfortunately, they are still writing... We connected with D J Marrrtin - Funky Bijou representative and founder of record label Lord Paramour (France) at Burn Battle School in Kiev.

Hearing my work, he offered to write a beat, which, over time, turned into a track "No Rest". And, of course, the

participation of DJ Technic (brother of Confidence of Ill Adrenaline Records) on the track "Years and Buildin" ...

That's quite everything that started my work on a new album, if we talk about creativity. At first sight, it all seems "rap about rap", but those who are able to listen, not just to point familiar words in an incomprehensible language, can find internal conflicts and attempt to not lose myself in the whirl of events there, both general (the situation in the country) and personal (family and fatherhood). The album has everything and everybody who inspired me and kept me afloat this entire period, even a little bit more.

Internet allows almost everyone to become part of an international scene. Deterrent factor is the language barrier, but you do not have it as well.

However, many MCs do not even think about it, being immersed in a local rap party. What does involvement in the world hip-hop give (without commercial overtones)? Is there some interest in this for young Ukrainian MCs? ...Internet is a huge opportunity and demotivator for many artists at the same time. Free access to information simply devalued it, so young people will never understand how it is to collect the album by separated songs in tracklist and everything else that makes Hip Hop so close and related for us. The time and efforts, the joy of the process and achieving a result.

But, at the same time, the network has opened an access to millions of listeners outside the hood, school, town or country to many artists.

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And the language barrier - is not a barrier at all. Music brings a little more than rhymed 16, and if there's magic – they'll feel it even without understanding the language.

I'm both hands for not to limit yourself due to the creatively comfortable environment. Only this way we would stop beating our heads against the wall of socalled "Ukrainian hip-hop" and finally start to develop a hip-hop from Ukraine!

In recent years, Ukrainian rap scene became quite different. Variety of new names, particularly in Western Ukraine, who work with traditional hip-hop sound, and modern, as well, shows an interesting and technically skilled rap. How do you see this process f ro m i n s i d e – a s a q u a l i t a t i v e g ro w t h o r predominantly only quantitative?

I doubt that my opinion is objective, due to the fact that recently I be watching the internal scene half-heartedly.

But I'm quite not satisfied of what I see, because an interest in "Ukrainian hip-hop's” development comes from an idea to get away from the "Russian rap". It's a nice try to find the special, original product, but such an approach makes our circle more tide and possibilities only smaller. As for the quantity - "Emcees come and emcees go..." – said by Bumpy Knuckles.

All the arguments "for" and "against" old and new hip-hop is now falling out. People do not perceive modern rap sound so critical already, if it's interesting, and carries cultural significance for hiphop in general. Does your attitude to different trends in modern hip-hop music change?

Hip Hop ain't standing at one place, it's ahead of the planet, if so to speak. Therefore, I go with everything that develops the Culture and takes it to the next level. But, unfortunately, that's not everything what Hip Hop appears in nowadays. Long story short, I am a liberal purist (smiling) I'll not stand dumb ignorant, 'cause no one has canceled the fifth element!

ime to hear the beats from DJ Marrrtin, DJ Muki, Sinuz was interesting, and most importantly, they fitted the album, made it complete. I have my own criteria of selection beats, hardly understood even to myself sometimes, but when I hear the beat - I can say immediately whether it's mine or not. Fortunately, it was the exact case with all the instrumentals on the album, the rest doesn't matter! As for Ukraine, we have guys with a sound recognized far beyond the borders, and hard workers who sit and "do the job", and each one brings his contribution to the overall development.

The sound of the golden era can be studied eternally.

It refers not only to music fans but to beatmakers as well. The challenge is to find their own sound in this genre. Tell me about the beatmakers who did music for your album. And which Ukrainian beatmakers, in your opinion, were able to develop their own distinctive style?

It takes years of work! Tons of materials and hard work on yourself. Each one has his own formula and his own approach. Some study others, gradually adding their own, someone invents the wheel, some just do what they do, but if you long to suffer - something will come out said the wise ... Different peeps made music for "#Deenspiration". Some of them I know personally (Rashyd of Ghetto Blasta, KyLЯ of Tulym Posse, Chamber Beats, Klim Beats, Sunniq, Price), at the same t

What draws attention among your new projects is Pentagrhyme. "Raw", I mean natural, cyphers with great lyrics. What are the plans for association?

Perhaps, a joint album or EP? Pentagrhyme is an attempt to look beyond ourselves, the collaboration of five alter-egos of already known emcees. Each has its own history and purpose, but they all united by one goal. The plans, of course, are noble and ambitious, the material is in process, and the ideas are in minds also. Fortunately they (heads) are five, and each takes the initiative. Whilst not all are ready to work on several projects at the same time, but the process is started and already on its way. We came up with cypher, to gain some interest. For now we collect stuff, looking for opportunities to promote, analyze the situation. It's gonna happen real soon.

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What's the deal with Mad Cypha, your first team?

Have You been working on some new tracks with Dead Laim?

It ain't all that well as we'd like here... Sometimes we willing to shake dust and do something together, even making an attempts, but there's always some unknown force or simply "not feeling it". The last thing we were able to do is "Years and Buildin" - dedicated to the 10th anniversary of the band. Hard to believe, but it seems that it was the last song in this format, I mean Mad Cypha with Ghetto Blasta on the beats. The rest - time will tell.

There's a lot of talk about changes in the release format - people cannot listen full-length album to the end. Maximum for the audience is EP, and many of them even say that the future goes with the singles. That is predicting a return to the point from which the history of the recording began. How do you feel about that? And when you preparing a release, are you guided only by its conception or listeners perception details as well?

In early period, somewhere till the year 2009, I didn't release singles but exclusively an LPs. After 2009

singles and EPs started to come out, but it wasn't due to the trends and preferences of the listeners, just the abundance of various joint works with a variety of artists from Ukraine and abroad, which was impossible to hold in a full-length album. Plus they were quite diverse. I managed to gather some of these tracks to "The Prints" EP, rest of them entered the "Unactual Facts (Collabs, Remixes, Unreleased)". The following EPs also came out in cooperation with one or another emcee/beatmaker ("Main Ingredient" with MC T, "Check da Clock" with KyLĐŻ, "Amazing ..." with DJ Vag). Being an artist you always want to bring fresh material to the listener asap, so it turned out to be only 4 previously unreleased tracks up to "#Deenspiration's" release date. I doubt I'll ever be picking the content of an album depending on the number of tracks that can be placed in one post, but if in order to deliver the album I'll have to pre-release all songs as singles - let it be so. As for me as a listener - I still prefer full-length albums, even download complete discographies sometimes, I don't listen to music on social networks, moreover, I plan to purchase a vinyl player, 'cause I need to listen to the classic hip-hop from vinyl. In this regard, the format change has passed me by.

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Hip-hop festivals in Ukraine, as in some neighbor countries, often do not collect enough audience to even justify the costs. You recently performed in several Polish cities. What is the situation out there?

Is there some different attitude of the public to concerts?

Looking at the situation there, comes out the question, where was our "wrong turn"? Fundamentally different attitude to their own, even local, as well as to foreign artists. Moreover, both the organizers and the audience. Likewise, artists do "make a show" rather than "perform", I mean the approach to performance is much better than here. And that goes to almost everything. Regarding the infrastructure in Ukraine for me it is a very sensitive issue, because I look at it from different angles: as the organizer, the artist and the listener. The result is a lot of controversy in the search for possible solutions. I'm sure many organizers here have the same feeling, though, judging by the number of events, the enthusiasm still triumphs, and this is quite good. For now...

This fall you will perform in Kiev. Maybe the situation in Ukraine is also changing, and people are beginning to go to clubs, for the sake of music, not just to "hang out"?

I hope that I will do shows in the fall, winter, spring and summer (smiling) I also hope that the situation in Ukraine will change in all ways, not only in music.

Ukrainian representatives of Universal Zulu Nation, despite the scandals in the United States are engaged in ongoing projects. Infinity Lessons are still taking place. What else is in the plans? And what are the results?

The scandal committed a crushing blow to the Organization, peeps even talk about the end of its existence at all. At the same time, many chapters continue to operate under the name of Zulu Nation, but on their own. I believe such a scenario is quite correct, because the actions of one man, even if he was at the forefront, can't discredit more than 40 years of successful community work. U-Born, which we are officially part of, continue to operate, and therefore do we. In fact, in Ukraine, as elsewhere, members of Zulu are mostly proactive people who, one way or another, direct all their efforts to develop the Culture in our country, and did it regardless of whether they have ID or not. Unfortunately, we have no joint projects due to the fact that we all dwell in different cities, but our young team is most definitely doing something important. Yes, the results are not quite loud, but we never promised to raise the Hip Hop in five next years.

In all fairness, it should be noted, that in any country Zulus are not the flagship of Culture, never the best artists, promoters, activists, etc. but, nevertheless remain its keepers.

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For me personally, the scandal has not passed unnoticed - I feel the residue of misunderstanding over many people's actions and statements. And I'm still trying to deal with it till this very day.

Are you satisfied with the development of these projects? How did the issue in Organization leadership influence on the attitude to UZN in Ukrainian hip-hop community?

Let's just say, we have lots of work to do. First of communications within the Organization. The management issues impacted primarily on the formal processes, such as registering a new members, chapter registration etc. What is most interesting, despite the availability of information, very few people here are aware of what is happening, or simply pay no attention.

It is one more indicator of the state of Hip Hop Culture in our country for me.

Is there some projects that you have been wanted to start for a long time, but postponed them to the distant future?

For last 10 years I have worked on several projects at the same time, so now I do easily combine my work on the joint release with M-Tri & DJ Leecy T, on Pentagrhyme and Tulym Posse, as well as several solo sketches. But for two years already I burst into fulllength project entitled Family and it "turned the game around". It easily moves any deadline and makes the most unexpected adjustments to any other project, including closure. But seriously, regard to creativity, I want to discard everything that holds me back and just do the hip-hop music as I love it. Increasingly think about complete solo (well, maybe with a couple of interesting featurings) album under the production of one beatmaker/deejay, released on vinyl. I got the producer so there's only one thing left - to make a breakthrough. Peace and Love!

https://www.facebook.com/deetheconsciousone https://madcypha.bandcamp.com https://vk.com/mad_cypha 031

Мэйти - Дневник Сельского Священника (Maty - Diary of a Country Priest)

Mark Evich & Urbanmonstaz - 27 In Russia, rarely hip-hop albums, whose level is not inferior the best American albums. And at the same times it is not a copy of them. No better is the situation with soul music. "27" is an exception to this rule. Here you will find beautiful instrumentals and beautiful vocal, quality recitative and warm atmosphere that reflects the love of the creators of this disc to the hiphop culture.

Pop-rap can be done sugary and artificial as it does most artists. That rap designed for the mass market.

And it is can be as it does the Maty - emotionally, with discussions with yourself and dialogue with the literature. It makes a strong impression. https://vk.com/meyti_community

https://vk.com/mark_evich_group

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Atmosphere - Fishing Blues

Bishop Lamont - The Reformation

Here you will not find hymns and hardcore songs.

There are many interesting lyrics, original music and nice mcing. All this for a long time included in the kit, which Atmosphere's admirers wait. And they received it once again.

We have heard many Bishop Lamont songs. For many years, he pleased us by his verses on tracks of other artists. And finally we got his solo long play. It is highquality and varied. One of reason of this varied is a huge number of famous guests. "The Reformation" represents a hip-hop of past and present.

https://www.facebook.com/Atmosphere http://www.bishoplamont.com Banks & Steelz - Anything But Words Boogie Belgique - Volta

Music hasn't boundaries. Genres are only the lighthouses, and each artist, who is not deprived of imagination and love to creativity can swim past them.

The duo of Paul Banks from the indie rock band Interpol and rap legend RZA surprised many listeners.

But the result sounds like as this album reflects contemporary music in its diversity and eclectic splendor. https://soundcloud.com/banksandsteelz

It is an album of rare beauty! Each track sounds so melodious, rhythmically and juicy that you cannot resist the desire to dance in time with him.

Such music does not need words. They will only hinder feel all its splendor.

DJ Boogie Belgique created the album, which must be in the collection of hip-hop fans, as well as lovers of modern experiments with jazz. They will find many of the sound of Swing Era. https://boogiebelgique.bandcamp.com

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De La Soul - And the Anonymous Nobody

https://soundcloud.com/kamaiyah

In their music, as always is a lot of jazz and soul. It is a beautiful, soft and soothing. De La Soul released a very good album, despite the doubts of many listeners after the release of their recent EP. This album is a wonderful soundtrack of leaving summer.

Missy D - When Music Hits You Feel No Pain

http://www.wearedelasoul.com

How unite melodic and pressure and get a harmonious hiphop? Hip-hop, which captivates with its sincerity and beauty since the first track of the album. Missy D knows the answer to this question. And she gave it in his new album "When Music Hits You Feel No Pain".

Kamaiyah - A Good Night in The Ghetto

https://soundcloud.com/themissyd

A couple of years ago, many people were talking about the young generation of artists who reviving the traditions of classic east coast rap. Now there are those who have returned to our headphones G-Funk from the west coast.

Kamaiyah is a child of hip-hop. Her tracks are modern and at the same times they are imbued with the traditions of the past decades. And it's not only the already mentioned GFunk, but also a tribute to the memory of the legendary Phife Dawg. Dedicated to him track is a hit of album "A Good Night in The Ghetto".

Rawberry - From Bad To Worse EP This is the best boom bap release of the year! Hardly anyone would beat him. Here everything is perfect recitative of Rawberry, beats of sneadr and atmosphere, without which the EP would not have sounded so powerful and natural! https://sneadrmusic.bandcamp.com/album/from-bad-toworse-ep

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Beep is a well-known person to Lithuanian Hip Hop community. He is a very active MC, beatboxer, host of a radio show "Few Words", as well as the organizer of the Lithuanian Beatbox Battle. Last year, he and hip-hop producer SLJ released an interesting album and videos for couple of the songs from that album. We talked with Beep about the album and current situation of Hip Hop scene in Lithuania.

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Since our first interview with you a few years have passed. During this time, much has changed in Lithuanian Hip Hop in general and you are a part of those changes too. I would like to start our conversation about your joint album that you released last year with hip-hop producer SLJ. The album is called "Kelionės" ("Travels") and it is an excellent example of classical hip-hop. All fans of the 90's, The Golden Age, that love jazz, soul and funk samples, strong rhythmic percussions and traditional emceeing skills, can definitely find all of that in this album. So could you tell us more about the release, SLJ's music, and about your work together?

This is our first album, our first child. We worked hard on it, we put our hearts, a lot of energy and ideas in it. We planned to release it much earlier, but since it's our first album and we had to learn a lot, all the preparations for the release took much longer than expected. One of the reasons why the album is called "Kelionės" ("Travels") is that the whole creative process became a journey for me and SLJ, it was a hard but really interesting journey for us. The sound of the album is influenced by the styles of the Golden Age. We are big fans of the 90's. However the topics of the songs are very different. In my lyrics I talk about parties, love, daily life, death, dreams and visions, and of course about the travels of mind and body – everything that I see, feel, and what I believe in. Music of SLJ is that true sound of the 90's.

Nobody except SLJ and his friend HDZ (they released 3 albums of remixes for 90's acapellas - "Straight from the past Vol 1 / Vol 2 / Vol 3") can produce such authentic golden age beats in Lithuania. The inspiration for the lyrics came under the influence of his music. And I am grateful for that.

At that moment that was the music I connected the most.

In support of the album, you released videos for featured tracks "Atrask (feat. RA) " and "Kelionės". "Atrask" already has over 85 thousand views. Who worked on the video? And what are your requirements for the videos?

What is the guarantee of their quality?

My friend – Karolis Labutis – worked on both of the videos.

He filmed and edited them. Quality depends on the person who films. If he knows and likes what he is doing, everything will go smoothly and a high quality video will be made. However, we filmed "Kelionės" twice from the top as the first version we made didn't meet our expectations, so it means you have to be sefl-critical too.

Today videos is one of the best ways to promote an album. However not many of them are great. If we talk about Lithuanian hip-hop, which videos of past years you would mark as worthy to see?

I would single out 5 videos that have appeared last year. Two were created by the same guy, my friend – Karolis Labutis.

He made videos for songs RA x SLEM "Pats sau nuodas, pats sau vaistas" and Omerta "Lubos". Another dope video was created by a guy, who is already very well know to UK ABOVEGROUND (he worked with The Four Owls and DJ Premier on the video "Think Twice" and other artists from High Focus Records). He made a video for the song Ade "Outro". And other two video LTZOO x Jang MP "Girios" by Morexaz F I L M Z and M I C R O O N E "KATANA" by JonikasMedia.

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How did Lithuanian hip-hop changed over the last few years? Are there any new talented young artists?

Recently, some artists rap broke into the Lithuanian mainstream and it is a consequence of the fact that more and more young people began to listen to rap. They have nothing to do with Hip Hop culture, but they like Lithuanian rap.

There are some new rap artists, and those who are experienced, are becoming more recognized. The hip-hop scene grew but to highlight someone one is difficult.

Did the sound of Lithuanian hip-hop change in unison with the overall world tendencies? Perhaps more and more producers and MCs are on to trap elements, heavy 808 bass, drums, etc.?

Of course the sound changes. You know that rappers learn from other rappers all the time, so it's not strange that the sound changes in unison with what is popular in the world.

However there are 3 categories of people now: there are new schoolers, there are universal rapper who do traditional and the new stuff, and there are old schoolers who stick up with the traditions.

Actually, looking back at the history of the Lithuanian rap, can we talk about the actual existence of Lithuanian style? A distinctive sound form for Lithuanian rap?

Lithuanian rap can be determined only by its language.

There isn't much difference in our style or topics. It's really similar to Russian rap as we are living pretty much similar lives, somebody may be richer, some poorer but our environment is almost the same. Some rappers try to sound like Americans (similar topics and trying to be gangsta) but it's not real because our lives are not similar to US (we would like that but it isn't). We are Eastern Europeans. So our style is determined by the environment we live in and that is Easter European style.

I know that Lithuania has tendencies of development of pop-rap. Some artists of this genre became popular far beyond the subculture of rap music. Tell us about it. And what are the factors that lead rap to become a part of the Lithuanian mass culture?

As I said before, a lot of young people began to listen to rap and have nothing to do with Hip Hop. And that lead to the exposure of rap to the mass culture. In my opinion this is a good thing because at least some of the artists can live of doing what they love or at least have some extra income from what they do with love.

If we talk specifically about your style, how did it change over time? And what affected it?

I always thought of myself as a versatile MC. I can go hardcore but I can about love too. With one track I can blow up a party, while another one will get you so deep and will make you question yourself. As Q-Tip said: "I am MC chameleon".

You are not only MC, but also a beatboxer. Tell us about beatbox in Lithuania, upcoming festivals and the participation of Lithuanian beatboxers in international tournaments.

Since 2014 I took the beatbox culture into my own hands. I began to organize beatbox battles and created an opportunity for our beatboxers to participate in the world championship. We met there a lot of beatboxers from all over the world and became friends with them. Now they know that there is a beatbox scene in Lithuania and we ask them to come and judge our battles. Right now, I am already planning Lithuanian Beatbox Battle 2016, which will be held on 28th of October.

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Also, as far as I know, there will be some big events for the MCs in Lithuania. Tell us more about them.

Yes, on August 19th we had a qualification round for MC Freestyle Battle. 8 people were elected to the main event, which will be in December. These people will meet with the champions and vice-champions of the past years. Also in late October, an online MC Battle will take place. And MCs from Belarus, who rap in Russian, are more than welcome to participate too. A few years back members of Belarusian team HoodUnderWeed, Makka and 359, were involved in Lithuanian online MC battle. And it was a pleasure to have them.

For many years, there is a Hip Hop radio show "Pora žodžių". And you're one of hosts. Did the format of the show change? Is the audience growing? And what affects it?

The show's format remains the same, and it separates us from another Hip Hop radio show "Gatvės Lyga" ("Street League"). Our show is based on a conversation with a guest and music that is not played on other stations. Every year the audience is growing, as I know there are even listeners from other countries. I think that this growth was mainly influenced by the music that we play and interesting conversation with the guests of our show.

Lithuania has Hip Hop Music Awards. Who are the organizers? The awards are based on popularity or the quality of the releases? Who was awarded last year?

The Hip Hop Music Awards are organized by Street Up, but all of Lithuanian Hip Hop community is involved in it, even the listeners. It's not a set rule that award will go to the artists that are most popular but usually they are the ones to get the awards. Last year our song with RA was nominated for best collaboration of the year. There were 11 categories in total last year. A lot of different artists were nominated but most of the titles were received by already recognized artists and bands, such as Mesijus, G&G Sindikatas, Omerta and Tie Geresni.

Are you working on any new releases? Any solo or collaborative songs? Or maybe a new album?

At the moment, I am taking a break from recordings, however I still write from time to time and participate in various Hip Hop events. Also I returned to my first love beatbox, and I am spending much more time developing this skill. Although recently I participated with a new verse in a new rap project called OneTake, which was started by my friend Karolis Labutis. This is a video project of live rap sessions with different MCs in different locations around Lithuania.

https://soundcloud.com/mcbeep https://sljnbeep.bandcamp.com/releases https://www.facebook.com/sljnbeep https://www.facebook.com/F2FClik https://www.facebook.com/PotologRecords https://www.facebook.com/Pora-žodžių-181675131873756 038

The experiment always has been the basis of hip-hop. Part of the experimentators want to became famous among the masses of the ordinary artists, surprising the listeners with their innovative tracks. For others deep studying of music was a value in itself.

Despite the investigated along and across the field of hip-hop, we constantly receive extraordinary albums that extend the concept of hip-hop music. Therefore, you can safely say that hip-hop world has been and will be rich of experimentators. And we will write about them more than once.

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El-P has kept its foundations, and make it more modern. In general, he proved that even with the most traditional material you can do innovative things. Part of the secret of his success is the ElP's work with jazz, or rather in an unusual interpretation of the genre, as well as rhythmic constructions of hip-hop. By the way, modern jazz musicians, like Matthew Shipp, are fans of this beatmaker. And they are working with him.

Like dozens of famous MCs from various subgenres of rap music.

This man has done much for the development of alternative hip-hop. All of his projects were innovative and original. In the 90-s El-P took part in the Company Flow crew, and their two releases become invaluable classic. Even then, his bits stood out among other producers. It seems that he worked in the "classical" tradition, but the atmosphere and emotions of his music were quite different. Solo albums of the 2000s became next step into the future. And the universal admiration aroused releases Run The Jewels, the crew in which El-P is responsible for the music, and Killer Mike is responsible for msing. So this music was the sound interpretation of the new golden era. El-P

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Ras-G How to make the mix of noise and broken beats, which is very vaguely reminiscent of hip-hop, but it will be perceived as the sound of the future? Ras-G knows the answer to this question and regularly shows examples of avant-garde sound on their albums. Attention! This music is not for everybody. But if you want to understand how far modern hip-hop has gone, you must listen to it.

Gonjasufi If we can speak of psychedelic hiphop, it is his doing. Gonjasufi mixes in his music very different styles, from hip-hop to dub and electronic music. We hear in his music also notes of hippy's psychedelic of 60s.

In result, it is a modern eclectic, very unusual, not everyone is understandable, but certainly innovative music. Plus, it is still imbued with oriental culture and atmosphere in which Gonjasufi is also looking for inspiration for his work.

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Kid Cudi This experimentator became a part of the "top tier", i.e. he became a commercially successful artist. In the spirit of the time in his sound you can found traces of electronic music. But in his music more indie rock. And it pleases, because with this genre Kid Cudi obviously works the best.

Death Grip Like Gonjasufi and Ras-G, Death Grip is crew from California. This region, associated in the minds of most listeners with gangster rap, also boasts a large-scale ground-breaking scene. Death Grip in contrast to the above artists, experiments with assertive and aggressive music - from noise and electronic music to punk rock. Their albums are an emotional journey through the dark corners of the human mind. They have enough depression and abstract metaphorical descriptions of the world. This is cross-cultural music and not just a mixture of different styles.

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Spaceghostpurrp With a name Spaceghostpurrp is associated revival of Houston chopped & screwed style. And this well forgotten old technique actually seems for many people as new.

Of course Spaceghostpurrp added to it his own ideas. But today his music often sounds boring. We hope that this is temporary and the MC will show more interesting hip-hop and he will not remain in the history like as unfulfilled hope.

Bones Only lazy people don't speak about cloud rap today. Bones, perhaps, is one of the interesting of its representatives. Prolific number of his releases already has a couple of dozen.

Depressive and faithful own style in everything. His primitive videoclips perfectly complement the short rough tracks. It is seemed that dude does not think about concept of the long plays, releasing tenminute sketches. This creates around his music a sense of impromptu creativity.

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cLOUDDEAD cLOUDDEAD is one of the classics of abstract hip-hop. Many listeners discovered the genre in the early 2000s with them and a pair of other artists. Their two albums have remained fundamental releases of the genre.

And although the crew broken more than ten years ago, people don't forget about them.

Dälek These guys are an abstract hip-hop. They were also one of its pioneers, and continue to enrich the genre to this day. Dälek recently have released a new album, still innovate, but it is completely saturated with hip-hop atmosphere.

Everyone who loves hiphop with the prefix "alternative", but did not want to go into the jungle with too distant from the hip-hop music styles, must listen to it.

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Beastie Boys They were not afraid to mix different styles of music in those times when "canons" of hip-hop yet were not fully formed. They combined rock and rap music and became a bridge between African American and white youth cultures.

The spirit of rock music has always felt in them. By the way, in some periods of creativity, they started to play punk in its purest form, and then again they returned to hip-hop. All this is held together by bright humor in the lyrics of Beastie Boys.

Madlib What we can say about this musician and beatmaker? Such people we called "the greatest"! Madlib has dozens projects, he plays on many kinds of instruments, and even on things that are not a musical instruments. His music has a close relationship with jazz. And he gets the love of millions of listeners around the world. All this is just a part of facts about Madlib. He never raced for the experiment as a goal in itself. He did not release very unusual and non-standard tracks. All his music has been maintained in line with the traditional hip-hop. But the title of the experimentator and innovator was taken hold for him. And this is probably the main indicator that the music speaks for its creator. And do not hang over the labels. You just need to make real music, that coming from the depths of the mind and soul.

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ForesterZ BanD is a remarkable hip-hop band from Yekaterinburg. Their main feature besides working with 100% live music is making an original mix of hip-hop with various other genres and styles of music. Some might say there is nothing new about this, but how many bands do the same in Russia? Add up the quality of their music - it's obvious that ForesterZ BanD is one band that cannot fail to draw attention.

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Tell us about the creation of ForesterZ BanD. It all started with a band of two MCs - 45th and 3G, named ForesterZ. In 2015 ForesterZ were joined by DJ Mista Radar, who played in another live hip-hop band DidjerAydu. Naturally, the idea to combine the two proved to be successful.

What music did you play before? And how did it affect Foresterz BanD? All band members come from different musical backgrounds. Some used to play black metal, some came from ska or rock. We can't list all previous bands (laughing). But we use this experience to make our music interesting.

Live hip-hop gives the artists an opportunity to experiment and there aren't many bands that won't mix it with funk or rock music. What is so special about this genre for you? What nuances do you see?

Music has always been a field for our experiments. For us, hip-hop is a cornerstone, but it has no boundaries, so we can have fun the way we like it.

solo releases of the band members.

Original ForesterZ have two releases "The Knights of the Cross" and "Side A". These albums gave birth to party rap. 45th has also released a joint album with MC Grammatey named "4.5 grams of Good", which was meant to emphasize Russian rap originality. ForesterZ BanD released one EP titled "7". This work was a kind a test and we're happy with the results.

You have some interesting and informative lyrics that talk about real life but stay off lecturing the audience or telling them how to live their lives. They are simple to understand and involve a great deal of humor. Tell us about the mood that you put into your lyrics, what inspires the ideas for them?

We write about what's in our hearts at the moment. And since we are positive, our songs usually tend to turn out funny. Of course we may also be sad or shout viciously, but most of the time we bring joy and fun to the party.

A live hip-hop band tends to have a diverse audience. How do you see your listeners?

Drunk and happy (laughing).

Tell us more about Foresterz BanD releases and 047

What about contemporary Russian hip-hop, how did it change in your opinion?

Hip-hop is western music, so naturally everyone looks up to the West. Russian hip-hop began to lose its originality and "sometimes it was a good thing".

Did the audience cease to perceive live hip-hop as something "experimental and exotic"?

Live hip-hop is and would always be exotic.

Live music performance requires certain skills and proficiency from the musicians. What about Russian hip-hop? And live bands in particular?

For Russia, there is a very significant increase in professional artists' level, compared to what we had 10 years ago, and hip-hop is no exception here.

Whom would you note out of your colleagues?

Generally speaking, there isn't a lot of people in our country who are engaged in live hip-hop. Most notable would be Noize MC, Anacondaz and the guys from our city Groovbag.

Talking about commercial side of things, can you note

any positive changes in concert and recording industry in Russia? Or does the notorious format impose its limits on the young artist promotion as usual?

Yeah, there definitely are some positive changes. Like, there are several major labels interested in promoting the artists not just cashing in on them. Thanks to the Internet music can be monetized easier now. And the attitude has changed, people are ready to pay a certain amount for the album of a young band.

How many live shows do you have? And is it more complicated to stage a live band performance compared to conventional MC crews?

On average, we have one or two gigs a month in local clubs.

And yes, it is more complicated with the live band, we need a lot of proper stage equipment, and we have to share the stage with other bands so we need to be friends with them.

What are you working on now, and what are you future plans?

We're working on our second release and also a collaboration project with Bugs and Mike (Corporation 11).

Besides, we've almost finished shooting our video, and are also getting ready for a solo gig in Yekaterinburg.

https://vk.com/foresterzband https://foresterz.bandcamp.com/releases https://www.instagram.com/foresterzband https://itunes.apple.com/album/id1095165065 048

Making forecasts is a thankless task. But it is very interesting. Especially predictions about the culture, of which we are. After all, what if not culture will shape the future? It absorbs technology, and fashion, and the economy. It will show the image of a man with the same needs that today, but expressed in other things and activities.

Hip-hop culture, as part of the world, will not remain on the sidelines. Despite forty years of age, she continues to conquer people and penetrates deeper into popular culture. But, of course, becoming a mass, hip-hop varies. So let us think what it will be in the future.

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Electronic sound Electronic music and hip-hop have common roots.

And from the beginning they were developing parallel to each other, touching and interacting. Yet the classic sound of the golden era is a living and "warm", based on jazz. You cannot say that about the contemporary genres of hip-hop music. It use more and more "plastic" drum samples and melodies of "space" synthesizers. And this trend is becoming more stable and mass. It is understandable generation, who don't remember itself without computers, the Internet and all sorts of devices, became adult. It's devices showing that the world is not only immersed in nature, but in an artificial reality. And this reality also need in music, what be her voice.

Visual content For a long time without videoclips cannot do almost no one album, and certainly none of the actor. And in addition to clips on the network appears a lot of number of video-invitations for concerts, filming concerts with artists and moments of life. Stream of photos is already so huge that nobody did not look it really. Why all film it? To remind about yourself and don't lost among the huge number of other artists. And because the world today has a mirror in the form of media production, amateur and professional. We already get video albums, and will continue get it in 3D, with varying degrees of listeners involvement in

the album. For example, with the ability to watch it by the eyes of one of his characters, select the appropriate tracklist, swapping album tracks and adding to them some of their chips. The music will turns into a quest, part of which could be anyone.

Back to the Future Format of releases today returned to its roots.

Listeners are not very like LPs. Increasingly, MC releases EPs and singles. The practice of release of individual tracks has become the Internet standard.

But we are not talking about the death of albums.

They will "reportable" releases, collecting much of the already published tracks and a few new ones. And, of course, the albums will continue to be in demand by vinyl's collectors and music lovers.

Fun Humor always has been in hip-hop. Moreover, in all of its elements. But today more and more artists create primitive jokes, which use hip-hop only like as means and a set of stereotypes. Of course there are examples of talented satire, including mocks stereotypes subculture itself. But along with them people distant from the culture began to make a primitive kitsch for youth. And this kitsch becomes a popular, despite the poor quality of such music. Primitive is basis of mass cultural product. And so we can predict that this type of rap will become more.

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Mass culture for the elderly The generation, which grew on hip-hop became elderly. So, and hip-hop itself will become not only a part of youth popular culture, but also one of its layers, where the age of audience has already passed for fifty years. And if today's hip-hop sounds in the soundtrack of youth comedies and spectacular action movies, then in the future it will be part of serious film for adult audiences. And it will not commercial hip-hop, but hip-hop, which stood the test of time and became a legacy of the entire musical culture.

Eclectic and avant-garde If earlier hip-hop subculture represented himself with clearly defined boundaries, but today there are so many people who do not belong to anyone subculture. Including to the hip-hop subculture.

They equally can borrow elements of very different cultures, often without even knowing that they belong to him. And they mix it all in his own work.

The result we get an eclectic visual and acoustic

images that are equally possible to see on the exhibition of avant-garde art and fashion houses podium.

Money Where do without them? In hip-hop, they always were an important topic. But before MCs talked about money as a goal and a means that will help to get out of the ghetto. Today, money is achieved goal. And the hip-hop has become a means of advertising. Not all hip-hop, of course. But every day we see dozens videos in which artists compulsively demonstrate us brands of cars, alcohol, clothes and stereotypes artificial "ideal" women and men appearance. And it is unlikely the industry of production and promotion of things themselves and their consumption patterns will not use rap music as a means of achieving their goals.

And consumers have been and will be susceptible to such "colorful" pictures.

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Diversity Many trends are contradictory. Some see them as the bright future of hip-hop, someone his decline.

Unambiguous achievement is increase of hip-hop music variety. And it will be even more in the future. The classic hip-hop does not disappear.

Each new generation has its fans, which create new great albums. But in every new style, even when it ceases to be popular, are people who develop it and transmit to the younger generation. And it enriches the culture!

Separating of elements Most of the trends described above will be reflected not only in hip hop music, but also in the development of its other elements. The DJ sets will include more "electronic hip-hop", like as bboys playlists. Graffiti is increasingly transferred into the sphere of street art, remotely connected or do not connected with the hip-hop subculture. Money is converted commercially successful b-boys in athletes-acrobats, but not dancers on parties.

Music is the central element, which unite subculture into a coherent whole. In result of development of many subgenres, which "forgotten" about the original hip-hop roots, the

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other subculture's elements will separate more.

Especially because they also have their own processes of development that transform these elements into a separate subculture. And these processes cannot be stopped. But it does not matter. Those who are interested not only in the dance or painting on the walls, but namely subculture of hip-hop, will be associated with it.

The other people choose what they like.

Local specifics Hip-hop music has taken root in many countries, finding there the local specific features - from subjects and manner of execution of rap music to its sound. However, we can listen only a few truly unique local styles. Basically, it all comes down to borrowing subgenre of American popular rap with the addition of local elements. And in the future, probably this trend will continue, because the United States are the birthplace of hip-hop, and the country with the most developed show business.

So it is logical that this country will hold the leadership in his own music style.

Bboy Sun is the part of Chinese breaking during 14 years. All this time he was involved in dozens of festivals, not only local, but also international. He is the leader of Hubei Chief Dance Group, Nine Head Birds Dance Team and Wuhan Special Group, and director of Chinese Dancers Association Executive committee. This track record give him the right to talk about the development of Chinese breaking, its problems and achievements in terms of the direct participant in the culture.

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China is a very big country, but about its contemporary musical culture outside China is not too much known. How hip-hop was born in China?

And what stages it passed in own development?

Initially, our style was based on the imitation of styles of Michael Jackson and the team H.O.T Crew from South Korea. At the time when hip-hop and breaking in China were in infancy, bboys danced only in the streets.

During battles you could see the lack of culture, swearing and fights. Then bboys were not able to properly express the energy in breakdancing. Active development of bboying is still observed in two cities Beijing and Zhengzhou. They were the first cities in China, where hip-hop began the way of own development, and where people got first information about it.

Today, how do you see Chinese hip-hop?

I do not think that our hip-hop now is better than before.

We dance in the streets, as before, but now some people also dance in studios and earning money from it. For the time during which I am bboy, of course, certain changes have taken place. I noticed the following trend – If earlier the dancers wanted to participate in the competitions, no matter where they took place, now if one school arranges festival, another get-together is not involved. This leads to a failure from the main value and goal of hip-hop – unity. Thus, the hip-hop culture in our country is changing for the worse. Specifically, in this

regard, the hip-hop of the 2000s was much better than it is now. Need more jams and less commercial influence, and everything will be cool!

What is the role of braking in hip-hop? How it develops?

Breaking is an important element for those dancers who focus on street culture. Chinese bboys are not steadily developing in other styles, particularly in popping, hiphop and locking, and do not support commercial breakdancing. It is reason why they often faced with financial problems.

What features of the Chinese breaking?

The most important thing that has influenced on the style of Chinese bboys is a kung fu style. In China, there are many original bboys, but they do not get respect from other cultural figures. For example, there is a typical situation when dancers want to include in his dance something original component of his other hobbies, but the other dancers do not support it.

Therefore, original Chinese breaking disappeared due to a misunderstanding on the part of the other dancers.

Chinese bboys often follow to Korean style that doesn't adds individuality to them. If you take the overall picture of our breaking, I can say with certainty – there are bboys with their own unique features, but in our country are very few.

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What kind of music preferences among Chinese bboys? How do they affect on their dance styles?

I cannot say exactly how many bboys prefer funk music, but I personally like it. I like to train with funk more than with a classic beattape. Chinese bboys have no clearly expressed musical tastes. Different dancers train with different music. On Chinese breakdancing training you can heard completely different music, from funk to the Chinese stage. But at the same time listening to different music, many dancers cannot express their own style, because they simply do not have a taste.

What names – MCs, DJs, bboys and writers from China you would be singled out?

MC: Killa4nia, Wuhan Big-Dog (from Xian city).

Bboys: Twist, Keven (from Chengdu), Danny (from Shanghai).

Writer: Ray (from Wuhan) is known throughout the country, it has its own vision of graffiti and own personal style.

DJ: Double-P and Terry.

You were one of the first bboys in your city. Tell us about your own way in breaking and hip-hop.

As I said earlier - my style began on the streets, where I met a lot of bboys and from them I learned about H.O.T Crew and in general about the hip-hop culture. Since

2005, I began to participate in the battles, and thus earned the respect of the other dancers. Later created my own style, based on a variety of air chers and trixies. Now I like to experiment with other styles of dance, from popping to wacking.

Hip Hop scene of Wuhan - what is it? How developed is the hip-hop and, in particular, breaking in your city?

In the 90s bboys in Wuhan danced only in the streets.

Then, in the 90s and 2000s, there were no other modern styles of dance, there was only a single break dancing.

Now in 2016 the bboys are becoming less and less, and dance styles are becoming more and more, for example poppers now quite a lot, and in China it is the main style. Commercial industry prefers other dance styles, so the Chinese bboys are now have problems to earn for life by dance. Honestly, I miss the days of the 2000s.

How people of different generations perceive the hip-hop and break dancing? They see it as entertainment, sports, or a lot, and those who take hip-hop as a culture?

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When my generation first became interested in hip-hop culture, we looked it in the style of ÂŤhave in funÂť, and received from this energy for everyday exercises, and most importantly - fun. Today, when we have enough knowledge about hip-hop culture, it is possible to perceive it as an advanced culture with a lot of values.

That is, the original hip-hop appeared to me as entertainment, then as a sport, and only then as a culture. And this is the whole difference between generations of Chinese bboys. Those who dance for over 10 years, cut one into the subject and try to development of this dance culture, arranging festivals, street jams and parties. The younger generation of bboys dance for several years, and they strive only for victory. If such bboys does not occupy the first place their motivation to develop falls. But victory is most important? This is the biggest difference between bboys of different generations.

Have the people rejection to hip-hop as a culture, which came to China from the outside?

Chinese Kung Fu and Dragon Style crew make the Chinese hip-hop special. Take some time and check out my word, see the case show of Dragon Style. Bboys will immediately recognize what was going on. They show Kung Fu style in breaking from the 2000s. But at the same time almost 80% of bboys in China are deprived of individuality. The old school of bboys has his own style, formed with experience. But young bboys are eager. They want gain fame and popularity for a short time. And they love to copy other dancers.

So they get their victory.

Why with the increase in access to information, in the breaking still so many people are illiterate and interested only in commercial success?

In China, the commercial industry does not touch the culture, because the business pays attention only on profit. Some bboys are not interested in the industry, but others, on the contrary, dance only for money and this has a negative effect on our culture. Advertising can make our life better, financially support the dancers. But the leaders of the Chinese hip-hop get it rarely, because show business often uses us in the poor quality shows, where producers earn money at the same time introducing the culture to viewers in a distorted form. And all that viewers sees, they perceives it seriously!

Some dancers themselves have a compromise by offering their services for a lower price and, of course, the quality of the show is falling, but at the same time they themselves earn from this a little, delivering to business the low-quality shows.

What are your wishes for the younger generation and to all who live in hip-hop culture?

Young bboys must to respect themselves and hip-hop culture, learn their style, character, create their own elements, do not copy other dancers and form its own cultural foundation. The surest way acculturation is to know its traditions, which are the basis of our dance.

weChat ID: czm198710 056

Interviewed by bboy SlavON https://vk.com/id12427420

feminism and graffiti in Brazil

In Portuguese the words "rua" (street) and "arte" (art) are both feminine, yet in the past women were all but absent from the street art movement in Rio. This is quickly changing, thanks in large part to one of Rio's graffiti pioneers, Panmela Castro (aka Anarkia Boladona).

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Panmela Castro (aka Anarkia Boladona) works challeng the views of women in society, photo by Anarkia Boladona.

Graffiti and street art have long served as media for societies' oppressed to deliver their message of empowerment. The early incarnations of the modern graffiti tradition were borne out of the disenfranchised communities in the Bronx in the late Seventies. Pichação, the controversial graffiti movement originating in São Paulo, likewise, was originally intended as a battle cry of Brazil's havenots.

Now, in Rio, thanks to the trailblazing work of Castro (and a handful of other women working in the pichação movement twenty years back) a new generation of women is making significant strides in a once male-dominated genre.

Castro states, "I started as a pichadora. My work

today, with the feminist movement and painting on the street, is still influenced by the lessons I learned during that time. I wouldn't be doing what I am doing today if it hadn't been for pichação." Her time painting as a pichadora not only influenced her painting style but, perhaps more importantly, created an empowered mindset that set the foundation for her extensive involvement with the feminist movement.

“I want to change women's minds about their abilities, about our place in the world. This idea was formed while I was working with pichação.

There is a misconceived notion that women shouldn't do some of the things that men do. For example, some people are not willing to accept a woman scaling a building to paint a pichação. For me this made no sense. Women can be whatever they want."

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Castro's pichação work set the foundation for her work in the feminist movement, photo by Anarkia.

These thoughts lead Castro to develop Rede Nami – Feminist Urban Art Network, an organization that uses graffiti to promote the rights of women. The group has caught the attention of the world and earned Castro the much-earned respect and accolades from international organizations.

Castro was named by Newsweek, alongside Hillary Clinton and Lady Gaga, as one of the 150 Women That Shake the World. In March, Castro was awarded a DVF award, bestowed on courageous woman fighting for social change, one of five (including Oprah) to receive the annual award in 2012.

Rede Nami has helped forge a path for female empowerment. It provides a clear direction and end goal, but the struggle continues. Castro's involvement in various activities (including the upcoming SlutWalk, intended to raise awareness about prejudiced views of rape victims, on May

26th in Copacabana) demonstrates the artist commitment to making a difference in the feminist movement.

Castro's street work moves this agenda further in Rio and around the world. "I am traveling abroad more often these days, painting all over the world."

Castro's street work is focused on depicting the female form in a way that comments on a particular theme (e.g., abortion, enslavement). The result is as powerful as it is beautiful, invoking both admiration and reflection in the observer.

Panmela is a role model and inspiration for both the street art and feminist movement in Brazil. Her contribution speaks to the positive social changes that can be achieved through public art.

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by Nathan M. Walters, Senior Contributing Reporter http://riotimesonline.com/brazil-news/rioentertainment/anarkia-boladona-feminism-andgraffiti-in-rio/#

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Sunny cold morning and I listen to the stomp of my boots on the dusty asphalt. And juicy beats sound in my head with it, setting the rhythm of the day. There are beats with the dust rustling in the tracks of a vinyl record. The voice merges with the sound of the morning. It is his voice.

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I know all my records. They are not so much. But quantity is not important. Euphoria, that attends every music lover who has found an interesting new album, is real important. Or a plate, which you could hear repeatedly, but never expected to see her here in your city. In the shop or at a flea market, where people of all ages, mashed by life or looking at it optimistically, try to sell something that was part of their world. And now it does not. Or they need money more than those things. Ubiquitous money, without which you would not survive. Or just these people are bored and lonely.

And communication at the flea market adds colors to their gray world.

I go there. I go for plates and for the atmosphere of spontaneous crowding of flea market, which is not put in the framework of the consumer paradise of shopping centers.

I must say that my city is boring. There are gray houses and industrial zones. Artificial lights that burn in the center. Cheerless faces are replaced by young and it's a reason why they are joyful and naive. But, in general, here virtually everyone feels the emptiness and discouragement. And only a few flee from its emotions in their own world. Is it in the world of music? Yes, it is too. Music lover is always a fanatic.

Fanaticism makes his life different than life of people

around him.

I walk down the street and hear the music of the streets. Music is from another city, distant country and in another language. But such a close and clear.

And it is relevant in those empty yards, where are only local residents. It inspires me and motivates my digger's excitement. I'm looking forward to. I found at a flea market a rare jazz, rock and post-punk. Looking at some of these records, I am still amazed that they were in my town. And what story do they have?

Certainly it is an interesting story and it worthwhile to be told. But most of these stories are lost with their aged creators. And it is good when the records are transferred to the new connoisseur. Young and full of strength he will enjoy them. And then, perhaps, their children also will love music. At such moments, you'll believe that the world is not hopeless. Let this faith always will fight with doubt. But how it can be else?

We are glad to see each other. Me and man, who collected plates before I had been born. Today, aged, he is glad to pass his collection to young listeners.

Well and earn some money on that, too. We have something to tell each other, despite the difference in age and our superficial acquaintance. We are united by a mutual attraction to music. And nothing more is necessary.

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I was flipping through his stack of plates many times.

And always I found something. Something he bought and something has brought to him. And often among these were very unusual record. And every time I look forward to the opening. I wait for the euphoria of surprise and joy. Will I be rewarded today? Among familiar envelopes, I see the familiar cover. And I did not even understand that I hold in my hands. The world would be poor without these moments. Find the record of Miles Davis is not uncommon, but finding his album ÂŤDoo-BopÂť, which merged jazz with hip-hop is a huge success! And when I find it in

my town forgotten by all - it's an amazing moment!

Yes, I must get this plate!

Aftertaste of those trips to the flea market is the sadness because you need to come home. And you cannot dig there for hours. There aren't so many records on the flea market. But this sadness cannot overcome the anticipation of pleasure from the moment when sound of vinyl rustling fills the room.

A second later it will break by sharp and mellow sound of the Miles trumpet. Then I will forget about all, and I will think at the moment that the world is not hopeless.

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Since the release of the previous issue of our magazine has took six months. It is considerable period and during these months there were plenty of great rap releases in the Internet. Their number is so large that choosing the top ten or top twenty for the column of reviews is simply impossible. So we decided to do the experiment - separately describe only the latest releases, and in addition to these we offer lists of the albums that simply cannot be missed. And in order not to mix very different styles, we divided the whole body of the music in the thematic groups. As a result, from two hundred and fifty releases, we selected a little more than a hundred. And we present them to your attention.

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Experimental This chapter included albums that go from hip-hop to the infinite variety of genres. Here you will find funk, electronics, rock and punk rock, new metal, rapcore and alternative R&B. These albums have entirely different mood - from dance and rhythmic to the aggressive and chaotic, from depressive with a drawling sound melodious to the complex interplay of styles within a single track.

Araabmuzik - Dream World Clams Casino - 32 Levels Dälek - Asphalt for Eden clipping. - Splendor & Misery

Cut Chemist - The Audience's Following Dam-Funk - Dam-Funk DJ-Kicks Death Grips - Bottomless Pit DJ Shadow - The Mountain Will Fall Gonjasufi - Callus (Hed) p.e. - Forever!

Jesse Boykins III - Bartholomew Kilo Kish - Reflections In Real Time Kool Keith Presents Tashan Dorrsett - The Preacher Michael Franti and Spearhead - Soulrocker OmenXIII – NIHIL RJD2 - Dame Fortune Young God - ...but he who causes the darkness

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West & South Under this heading we collected a selection of releases from a canonic g-funk and a contemporary west coast rap to the dirty south with elements of trap music. I am glad that many MCs demonstrated also excellent vocal abilities, when others recalled the days of the early 90's and their new releases are impregnated the atmosphere of those years.

Ace Hood - Starvation V (mixtape) Big Tray Deee - The 3rd Coming

C-Dubb & Hollow Tip - Mercenary Mobb Muzik Camp Lo - Black Connection Cricet - Tijuana Southeast DJ Quik & Problem - Rosecrans EP Kokane - Kokane King of G-Funk Mistah F.A.B - Son of a Pimp, Pt. 2 Snoop Dogg - Coolaid The Game - Streets of Compton Thi'sl - Against All Odds Trae tha Truth - Another 48 Hours YG - Still Brazy Young Noble & Deuce Deuce - The Code Z-Ro - Drankin' & Drivin'

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Mac Miller - The Divine Feminine Macklemore & Ryan Lewis - This Unruly Mess I've Made Open Mike Eagle & Paul White - Hella Personal Film Festival RasKar - 5 ScHoolboy Q - Blank Face LP Sinitus Tempo - V Snak the Ripper - From The Dirt

Alternative Hip-Hop In this small selection each album is unique. We did not divide them by countries and included a few Russian-language releases in this list.

Aesop Rock - The Impossible Kid Astronautalis - Cut the Body Loose Invisibl Skratch Piklz - The 13th Floor LEV RE-PAC - Эфир (LEV RE-PAC - Ether) Mac Lethal - Congratulations 071

Keny Arkana - Etat d'urgence Kevlaar 7 - A Beautiful Soul Killah Priest & Vendetta Kingz - The Infinite Universe Mani Deiz - Comme Les Autres Meyhem Lauren - Piatto D'Oro Meyhem Lauren & Harry Fraud - Precious Metals Nolan The Ninja - He(art) Paco - Baraka Feat Slaine - Slaine Is Dead Szad & Szur - Człowiek Duch

Hardcore Rap For fans of heavier sound the last six months presented an excellent selection of diverse hardcore.

Blaq Poet - The Most Dangerous Blaq Poet & Comet - Mad Screwz Dom Pachino - Life Of Performer 2 Ill Bill - Septagram JP Beats - From Dre Till Now Junior Makhno - Clandestinity 072

Ceza - Suspus Count Bass D - Instantly New Freeway - Free Will Gavlyn & DJ Hoppa - Why Wait Jim Jones - The Kitchen Joell Ortiz - That's Hip Hop N.O.R.E - Drunk Uncle Nakk Mendosa - Darksun 2 Prodigy - Untitled EP Royce da 5'9'' - Layers Samy Deluxe - BerĂźhmte letzte Worte

From mainstream to classic sound Many popular MCs released albums with a claim to the classical style. When others, for example Prodigy, surprised us with releases with a frankly modern electronic sound. In this selection we include also artists whom traditionally accepted to rank to the underground. But according to the sound of their albums, they fit the best precisely in this company.

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Classic Sound And, finally, it is the biggest selection of the releases of spring and summer 2016. It includes all those MCs and beatmakers who still bases its music on a sample of soul, funk and jazz, and own mcing in traditions of the golden era. Seven dozen albums! All of them are as the selection - of the highest quality, from the legends, as well as from newcomers. After that, the phrase "golden age has not been completed" sounds uncontested.

9th Wonder - Zion A.F.R.O. & Marco Polo - A-F-R-O Polo Apathy - Handshakes With Snakes Ayatollah & DJ Budget Money - Weapons of Mass Production Episode 1 Black Milk & Nat Turner - The Rebellion Sessions BubbleWild & Jazzquarterz - Spirit Of The Roots Chillman - Abstract Patterns CookBook & Evidence - A Whole New Cook EP Copywrite - Blood Bath and Beyond Costello & GerryBoy - Overnight Legends Craig G - I Rap And Go Home

Cymarshall Law & Mr. Joeker - Hip Hop in the Soul 3 D.I.T.C. - D.I.T.C. Studios (Deluxe Edition) Daddy Grace - No Hip Hop for Grown Men Dday One - Gathered Between Dee the Conscious One - #Deenspiration Dr. Creep - The Ravagers Eastkoast & Phalo Pantoja - Merciless Beauty Elzhi - Lead Poison Epidemic - 4 Dimensions On A Paper Gensu Dean & Denmark Vessey - Whole Food Grand Puba - Black From The Future Grap Luva - Sounds of Mount Vernon Havoc & The Alchemist - The Silent Partner Homeboy Sandman - Kindness for Weakness Illa Ghee - Illa Matic J-Zone - Fish-n-Grits J Dilla - The Diary JakeGHNM & Bubblewild - Honest Expression LP Jennifer Kemple - Ugly John Robinson - Water The Plants EP Jonathan Hay & Mike Smith - When Music Worlds Collide (Deluxe Version) JSWISS - No Music EP

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K.A.A.N. & K-Def - Uncommon Knowledge K. Sparks - Seasons Theme Kaip - NewTone Kno - Bones KREC - FRVTR 812 Krumb Snatcha - The Key Lando Chill - For Mark Your Son Le Makizar - Schéma de vie Lentos & Dым - RestArt (Lentos & Dym - RestArt) Lessondary - Ahead of Schedule Libretto - Gangsta Jazz 2 - The Album Masta Ace - The Falling Season MC Gels - Wandering Souls MG Gost - Waking Walk Moka Only - #99 Mr. Lif - Don't Look Down MED - Bang Ya Head 4 No Panty - WestSide Highway Story Nuttkase - Back to the Lab Nyck Caution - Disguise The Limit Oddisee - Alwasta EP Oddisee - The Odd Tape Onry Ozzborn - duo Phesto & Izrell - Guillotine Music

Planet Asia & DJ Concept - Seventy Nine Powerule - The Anomaly Psycho Les - Dank God Vol. 1 Q-Unique - Momentum Red Pill - Instinctive Drowning Sach - fidelity Sadat X - Agua Seek the Northerner - Extra Gravy EP Sol - The Headspace Traveler Sole & DJ Pain 1 - Nihilismo Soundsci - Walk The Earth Substantial & Marcus D (Bop Alloy) - Present EP The Enforcers - The Jersey Connection Tha Soloist & B.B.Z Darney & Dj PhiLogic - The Penalty of Living The Sparkles - Soulbreakfast True Masterz - Almagest Ugly Heroes - Everything in Between VA - The Jazz Jousters - Endurance VA - MOLD Vast Aire & Raticus - The Heir Vast Verbal Kent & !llMind - Weight Of Your World Сонячне Перо - Тамагавчий Голос (Solar Pen - Voice of Tomahawk)

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