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DEF WISH CAST
Posted by AliaK on Saturday, 11th October 2003 4:55 PM
here's some research compiled for an interview prep with sereck around BOTY 2002 time (there's more recent info as well if u google). i've got the tapes from the chat but haven't transcribed them all yet (been slack :( ) sorry I don't have an email, only mobile but it could have changed. u could try contacting Kim @ Rockstar (rockstar.net.au) as she would know how to reach them
I heard there's a new album coming out later this year? or possibly next year.. should be good.
Def Wish Cast
"Mad as a Hatter" Four tracks released on vinyl 1992.
Digitally remastered on CD 1999.
Voted the second most popular Rap group in Denmark 1992
This is world class "Hard Core" Rap from Australia.
RRP US $9.00 AU $14.00 plus postage.
Click the title to hear samples of each track:
1. Paper track novel 2. Daily nightmare
3. Mad as a hatter
4. Proppa Ragga
Return of the Knights - 3D World Magazine
by Mark Hebblewhite - 01.04.02
Amongst the pantheon of human emotions hope has always been one of my absolute favourites. As far as I'm concerned hope signifies life itself, it's the reason why the sun bothers to make its lonely journey from east to west every damn day of the year. Hell, it's the reason why we all decide to get out of the bed in the morning: without it we cease to be human. Well my favourite emotion has once again proved its worth: forlorn hope has turned into crystal clear reality. The Def Wish Cast have reformed. Yes Virginia, there is a Santa Claus.
For those unaware, or still in their teens, the Def Wish Cast are one of the main reasons that Australian hip hop didn't go the way of the dodo. Hurtling out of Sydney's Western suburbs in the early nineties, four brash youngsters, Sereck, Die C, Def Wish and DJ Vame made an instant name for themselves with the amazingly dope Mad As A Hatter EP. As good as this slice of lyrical mayhem was, the best was yet to come. In 1993 the crew unleashed their seminal debut LP Knights Of The Underground Table. Fifteen tracks deep, Knights was one of the first Australian releases to meld the four elements of hip hop into one complete package. Bursting at the seams with furious lyricism, aggressive beats, unique samples and a truly Australian attitude, Knights was unlike anything ever heard from our fair shores. Unfortunately, good things don't last forever and the crew went their separate ways in the mid nineties, although individual members remained active with projects such as Kilawattz and Celsius.
Now, a good six years later, the boys have thankfully decided to reignite the flame. And now the only question surrounding Def Wish Cast is why? According to Sereck the answer is blindingly simple. "You want to know how Def Wish Cast was reincarnated," asks an obviously exhausted Sereck (breaking all day at the Easter show can obviously be hazardous to your health). "I simply turned to the boys one night and said how about it. They knew exactly what I was talking about, and had obviously been thinking about it as well".
In saying this Sereck puts his finger on the pulse of what made, or as I should now say makes, Def Wish Cast so special. The fact is that Def Wish Cast have a magical chemistry that is almost impossible to re-create. "We bounce off each other really well," confirms an animated Def Wish. "It quite amazing really, at the moment it feels like Def Wish cast never broke up in the first place".
This said, there is the admission that this time round things have significantly changed. "We've all grown up a lot," says Die C. "Now we really take time to listen to each other, and that's how we're going to get the results this crew is capable of. I think another important factor is our attitude to the business side of things. I can't give too much away at the moment because we are in negotiations with a label, but I can say that this time round we are determined to do things properly".
With Sereck, Def Wish and Die C all in the one spot, I decided to pop the question that has been on the minds of many Aussie hip hop heads, isn't there someone missing? "DJ Vame will be involved in the reformed Def Wish Cast, in the sense that he will be providing some production," answers Sereck. "I think what people need to realise is that the heart of the original Def Wish Cast was the three MCs, and when we broke up Vame actually wasn't involved at that point. This said though were glad to have him on board and his contribution is very important".
With conversation heading towards the nature of the new material, I wondered just what Def Wish Cast 2002 will sound like? Def Wish was ready to provide the answers. "Expect diversity, power and aggression. First off well be using a number of different producers including Vame, Sereck, 2Dogs and Bonez. The album will feature hyped up-tempo tracks, head nodders and even some slower beats, but all with the characteristic Def Wish Cast hard edge." "Lyrically, well also be bringing a lot to the table," adds Die C. "Expect a lot of aggressive lyrics, for example our first single is called 'Uprock', which is all about the raw attitude breakers bring to the floor." While the material seems to coming together nicely, the crew seem to equally as hyped about the stage show they'll be soon unleashing on unsuspecting punters around the country. "When you come and see a Def Wish cast show, you're coming to be entertained," enthuses Def Wish. "We'll be combining all the four elements into one show. We have Bonez cutting, painting will be happening, and b-boys Versastyle and Yasuhi will be tearing shit up on stage."
"Basically, Def Wish Cast is here is bring a good feeling back to hip hop, and we want everyone along for the ride."
Def Wish Cast @ Bar Broadway - 3D World Magazine
by Mark Hebblewhite - 15.04.02
Having filled the shoes of a music journalist for the past five years, I've become exceedingly cynical. After witnessing so many shows, it now takes a fair bit to excite me these days. So it's testament to the live reputation of Def Wish Cast (DWC) that they had this old hack in a state of high anticipation for their comeback show. But would they still have it? I mean it had been over six years since they had last performed together. The answer to the this question came about two seconds into their performance.
Had these guys ever really broken up? The chemistry of DWC is amazing, Serek, Def Wish and Die C effortlessly gelled on stage, presenting a great blend of new and old material. Designed to be a taster rather than a full set, the crew blasted through an all too short set. From the new material b-boy anthem 'Yuprock' went down well, but it was a classic that really set the crowd alight. The reaction afforded to 'AUST' sent a shiver down my spine: this was a moment people.
Once heads get used to the new material I'm sure these tracks will get the same reaction. Backing up the boys was DJ Bonez who delivered a flawless display, while the choreographed breaking of Yasushi and Yersastyle provided the set with a thematic quality. As for the rest of the night, special mention must be given to Terminal illness. It's a shame Case, Illergic and Maniak don't get to perform more often because they are truly a force to be reckoned with. Tight, powerful and extremely intense, Terminal Illness put many big name live international acts to shame. Overall, it was great night. The kings are back: don't sleep.
Def Wish Cast - Proper Ragga
Def Wish Cast - Hear My Roar
Knights of the Underground Table
gig-reviews : Return of Def Wish Cast
by: marty middlebrook - Mon 6th May, 2002
Almost a decade after Def Wish Cast all but disappeared from the Australian Hip Hop scene, they have reemerged, courtesy of Jim Beam Noize Fest (a definite law suit in waiting). Headlining a "Hip Hop Nite"
Return of Def Wish Cast
by: marty middlebrook - 6th May, 2002
Almost a decade after Def Wish Cast all but disappeared from the Australian Hip Hop scene, they have reemerged, courtesy of Jim Beam Noize Fest (a definite law suit in waiting). Headlining a "Hip Hop Nite" at Bar Broadway, Saturday May 4th, DWC played a stellar, if rather short, set featuring new and past material.
Unlike many gigs where the crowd ordinarilly mills around the bar waiting for the headline act to hit the stage, the first act B.O.P. had punters already struggling to reach the front row. Leading the crowd with chants of "City to City" - "Country to Country", B.O.P. reminded me how interactive the Hip Hop culture is. Something that would be reiterated throughout the evening.
Lady K followed, providing some RnB flavour for the evening. Not my cup-o-tea, but the audience didn't miss a beat. After her brief set, Koolism kept everyone entertained and involved. Although suffering a little from "same as the last song" syndrome, this Canberra pair kept heads nodding, with DJ Danielsan scratching up a storm on request.
And then Def Wish Cast.
In a culture so often misrepresented by guns, pimps, and whiney bleach-blondes with chainsaws, it takes a gig like this to truly see the nature of Hip Hop, especially in an Australian context. It's not about one MC rapping about something and people watching. It's about sharing a vibe and everyone having fun, which, as I have said, needs to be experienced to be understood.
Performing only 6 songs (who ever decided to limit each act to a max. 45 minute set should be fired) DWC still managed to bring the house down, interspersing new material with tracks from their 1993 LP "Knights of the Underground Table". Again marching right into the crowd and inviting (demanding) everyone to join in for favourites "AUS Down Unda Comin' Uppa" and "If ya don't run amok ya fuckin' suck" - it's amazing to think MC's Sirreck, Die-C and Def Wish separated for as long as they did. Australian rap crews could learn a lot from DWC, who mix hardcore rhyming, innovative samples and catchy choruses, without gimmicks about BBQ's and Scollops.
It was a shame that Def Wish, the youngest in the group, didn't burst into any of his unique brand of speed-rapping (known at the time as 'raggamuffin') featured in songs like "Knights of the Underground Table" and "They will not Last". No matter. Def Wish Cast proved they are still some of Australia's finest rappers, ending the evening in true Hip Hop impromptu fashion, with a break-battle. With MC Die-C providing a running commentary, Def Wish, Sirreck and the DWC break team challenged old skool team 'the Destructacons', who had just come along for the show.
Finishing up with truly impressive breakdancing, the action didn't stop there. After DWC finished up, DJ Bonez, who has taken over as DWC dj in place of DJ Vame, kept the turntables spinning for a full battle royale, as more and more breakdancers emerged from the crowd.
No backstage passes necessary, this Hip Hop 'nite' proved the truly egaletarian nature of this misunderstood culture, with all races, sexes and even age groups represented on the dance floor.
Ironically, the evening also showed that Def Wish Cast have returned to claim their place as the Kings of Aussie Hip Hop.
artist: Def Wish Cast
genre: Hip Hop
where: Bar Broadway
the good: The Atmosphere
the bad: The time limits
the vibe: To be read about is not enough.
Click here to listen to snippets from Bomb Worldwide in Real Audio.
01. Worldwide Intro
S. Members - Canada
Down 2 Earth - USA
04. Hip-Hop und Rap
Der Tobi & Das Bros, Stieber Twins, Ferris MC, Massive Tone - Germany
All artists appear courtesy of MZEE Records, Germany
05. Hazardous Jounrney
Mindbomb - UK
Mindbomb appear courtesy of The Ruf Label, UK
06. Open Your Eyes
10 Bass T - USA
07. Just Business
Defari - USA
08. Raised in Rhythm
Krispy - UK
Krispy appear courtesy of Damn Right Records, UK
Muro featuring Gore-Tex - Japan
Muro and Gore-Tex appear courtesy of Still Diggin' Records, Japan
10. Hush The Crowd
J-Live - USA
J-Live appears courtesy of Raw Shack Productions, USA
Funky DL featuring Versatile E - UK
Funky DL appears courtesy of Almost Records - UK
12. Hear My Raw
Def Wish Cast - Australia
Def Wish Cast appear courtesy of Random Records, Australia
13. F.A.B. Am Mikrofon
F.A.B. - Germany
F.A.B. appear courtesy of MZEE Records, Germany
14. Payin' tha Price
Mr. Pink from Hijack - UK
Hijack appear courtesy of Reservoir Records, UK
Cipher - Canada
Cipher appear courtesy of Mocca Records, Canada
Dilated Peoples - USA
17. Lost City of Rap
Suspekt - UK
Suspekt appear courtesy of Move Records, Germany
18. Worldwide Outro
This album is dedicated to the memory of David "Funken-Klein" Klein
DOWN UNDER HIP-HOP
by Bevan Jee
Firstly I'll set this off by letting everyone know a little bit about myself. I'm a hip-hop fan and for the past two years I've been representing the Bomb Hip-Hop Magazine out of San Francisco, in Australia. Over the years I have grown to really appreciate and respect all the aspects of the Hip-Hop culture especially the b-boys/girls and dj's. To put it plainly Hip-Hop takes up the biggest chunk of my life and if I didn't like it I wouldn't be doing any of this and you wouldn't be reading this now... Comprehend?! I am also lucky enough to have some of the dopest underground hip-hop make it's way to my post box! everything from the Northen Lights Crew/Brigade from Sweden to Mystik Journeymen outta Oakland to Company Flow from New York to... Like most other counties Australia has a flourishing market for US artists as well as a thriving local scene of b-boys/girls, mc's, dj's, writers and of course wanna-be half steppers with fake American accents! Instead of listing every crew and detailing a history of them all, I am just going to break the surface and drop science on the crews who have left their impression on the hip-hop scene down under. For a detailed history of hip-hop in Australia check out Blaze's article in The Bomb Hip-Hop Magazine issue #42. For a geographical run down of Australia check out an Atlas! Out of all the groups in Australia I am confident enough to say that the most established and well-known is Def Wish Cast a trio of rappers (Ser Reck, Die-C, Defwish) and a DJ (Vame) who emerged from the West Side of Sydney. The crew hit us with their high powered flavour of hip-hop in the form of a 12" vinyl single titled 'Mad As a Hatter - Crushers of the Wild Style - Part One' and they followed that release up with the CD/Cassette album 'Knights of the Underground Table'. The rapping and beats had the same hardcore English sound reimniscent of the group's Hijack and Gunshot from England. A few of the songs even contained samples from movies such as Beat Street and Star Wars, which was something original at the time. Def Wish Cast had good distribution/coverage in Australia and in Europe and were seriously one of the greatest accomplishments for Australian hip-hop. It is a pity to report that the group decided to go their separate ways in the early part of 1996. The last track the guys completed together was 'Hear my Raw' which can be found on the `Bomb Worldwide' compilation.. The latest news from the crew is that Ser Wreck has gone solo, look out for some material ready to wreck shop later this year.. Another exciting and promising rap group to emerge from Sydney were Easybase. This crew of mc's were seriously ready to wake peeps up worldwide with some of the best production and lyrics that Australia has ever seen to this day. Easybase consisted of four mc's - Sleeping Monk, Illpickle, Simple and JU and they released two cassettes in their lifetime as a group. The first was titled 'Straight Up' which managed to capture a slice of what heads were to expect from the posse in the future. Before breaking up in late 1995, they managed to release the cassette 'Space Program 1996' which was produced on the 4-track and packed eleven songs. I was damn impressed. If you can find this tape somewhere I seriously recommend it, believe me it is some crazy next level shit. The last group I am going to mention are Warcry a trio of rappers (Sabotage, Syke and Wishbone) and a DJ (J-Ray) from The Gold Cost. They are the first hip-hop group around my area to have released a full CD 'The Art of War'. This folks, is some hella hard hitting hip-hop. The guys live performances are so energetic and hype that they have been known to make the needles jump off the decks!. All the power of their shows are fully digested into the 8 tracks on the CD. Straight up Australian hip-hop. For more information write to Warcry, c/- Unit 6/38 Chelsea Ave., Broadbeach QLD 4218, Australia. Enough of this rapper stuff what about all the other aspects of hip-hop? I hear you screaming! Well, there are graffiti artists bombing the system everywhere in Australia. Check out any graffiti magazine and you could pretty much rest assured there will be some Australian flix in there. We even have an organisation in Brisbane called 'Smart Arts' which is dedicated to organising the graffiti art movement into something more positive. I myself don't follow the aerosol art scene very closely but I can definatly say that we have some dope style. Breaking and B-Boys are harder to source but crews like Rapid Fire Breakers, The Original B-Boy Allstars, Wicked Force and Robotech are still busting out flares, 2000's and crazy combo's. You can also be assured that we also have every type of DJ here from the trick DJ, to the club DJ, to the crossover Techno/Hip-Hop DJ!! they are all here but there are just too many of them to name! Local and International Hip-Hop Jams are held on the regular. As a matter of fact I just came back from doing the Q-Bert Australian tour, yes that is right I was lucky enough to organise and travel to all four show's around Australia with the man, which gives me a good reason to end this article right here. I am worn the hell out! and the deadline for this article is about now, check the next issue for some more exciting stuff. In the mean time - Peace and send hip-hop vinyl, cassettes and anything else for mention/review to: Bomb Australia, Attn.- Bevan Jee, Suite 123, 131 Old Cleveland Road, Capalaba QLD 4157, Australia.
by Robert Christgau
The World's Most Local Pop Music Goes International
May 2nd, 2002 6:00 PM
Rapping French girl-magnet MC Solaar (photo: Phillippe
Paradoxically, or maybe not, hip-hop is at once the fastest spreading and most local pop music in the world. The media-saturated, electronically hooked up world, anyway. Ethnomusicologists mourn the indigenous idioms that mutate or fall into disuse once their practitioners get a load of Bucharest or Bangui, and in a sense, hip-hop reverses this process, not musicologically but emotionally. From 'hood to city to coast, what other pop genre makes so much of geography? Early rock and roll lived off a dynamic in which the local went national, usually from a base of local radio; now, local radio barely exists, and even in the Internet-surfing, CD-scarfing indie/college realm, local scenes rarely generate local sounds or more than a smattering of local references. In hip-hop, styles are regionally distinct, although they certainly crossbreed, and representing where you're from is the rule, especially when you're coming up. Hip-hop speaks so loudly to rebellious kids from Greenland to New Zealand not because they identify with young American blacks, although they may, but because it's custom-made to combat the anomie that preys on adolescents wherever nobody knows their name.
The aforementioned antipodes weren't picked out of thin air; I got them from a book and a CD. The book is a recommended anthology from Wesleyan called Global Noise: Rap and Hip-Hop Outside the USA, edited by Australian cultural studies lecturer Tony Mitchell, whose own chapters concern Italy and, yes, New Zealand, home to a Maori hip-hop subculture spearheaded by the long-running Upper Hutt Posse. The CD is a recommended compilation on Hip-O called The Best of International Hip-Hop, whose single best track originated in, I wouldn't believe it either, Greenland: the even longer-running Nuuk Posse's "Uteqqippugut," a/k/a "Back in Business." Since hearing most of the acts referenced in the book is next to impossible in America, it's good to have the record despite its awful notes ("The land of Aristotle and Socrates found its 21st century hip-hop philosophers in Terror X Crew"). But there's little overlap. France, Japan, and Australia are the only countries that make both, with Canada, the U.K., Germany, Italy, the Netherlands, Bulgaria, Korea, and New Zealand (plus Basque nationalists and Muslims) described in Global Noise and Portugal, Switzerland, Austria, Romania, Croatia, Greece, Israel, Greenland, Argentina, Algeria, and South Africa represented on The Best of International Hip-Hop.
Assuming the book is accurate (only the Canadian chapter seems inept, but selective reporting is a temptation of such projects), hip-hop is different wherever you find it. In Germany its pop breakthrough dates to 1993, as does a familiar schism: "old school" purists, an Italian-Ghanaian-Haitian immigrant trio rapping "in clear German" about racism, versus white schlagermeisters from the south sprechstimming romantically over "highly polished breakbeat stylings" and insisting that rap doesn't equal hip-hop-which is linked by both sides to not just freestyling but breaking and graffiti. In Japan, having rhymed to the best of their abilities in an unaccented language whose sentences all close on the same handful of verb endings, rappers divide up "underground" (focus of a huge and intense late-night club scene) and "party" (pop in the extreme Japanese Tastee-Cake sense); at consecutive outdoor concerts, the audience for the former was 80 percent male, for the latter 80 percent female. Elsewhere the music is far more rudimentary-a techno-flavored symbol of American wealth and worse in Bulgaria, a stylistic trapping in Korea, where the big star is a lower-middle-class surrogate rebel who got large protesting an educational grind more joyless and authoritarian than Japan's. Most telling is the Australian chapter, centered on Def Wish Cast, "westies" from the underclass suburbs 30 miles on the inland side of Sydney, who since the 1980s have given their all to a hip-hop culture open to anyone who gives his or her (usually his, natch) all to it. It opens with headman Ser Reck laying down the hip-hop law to author Ian Maxwell: "They'll tell you it's a black thing, man, but it isn't. It's our thing."
And with the obvious reservations, he's got a right. Ser Reck isn't dissing the African American originators of the music he's made his life-he reveres them. But he's not them, and good for him for knowing it. Instead he's constructed the identity and authenticity he craves on a model learned from hip-hop-a model that however arbitrary its specific rituals (graffiti and break dancing again) reconceives community at least as explicitly as the hippies did 35 years ago. Ser Reck works, commits, represents. Hip-hop is his. But unless you're Australian-and probably not then unless you're also young, alienated, rebellious, male, etc.-his hip-hop is unlikely to be yours even if you're in the market for rocked-up Public Enemy on a definitive 1992 CD that'll run you 35 smackers shipped. Although Maxwell devotes a rapturous paragraph to the fondly remembered funk spell of "White Lines," his only musical description of the local stuff contrasts Ser Reck's "ragged, guttural, barking," Australian delivery against "the smooth, mellifluous flow of a NAS or a Dr. Dre."
Ah yes, music. Long before rock and roll, the local-goes-national dynamic went global with Italian opera and fake ragtime, but that kind of move is rare. Which is why The Best of International Hip-Hop stood quietly on my not-bad shelf for a year before Global Noise opened me up. Turns out it's a fun record, and a revealing one, full of catchy beats and local flavors. If you want deep funk, Timbaland or Organized Noize or RZA or Mannie Fresh, listen elsewhere. What prevails instead is remarkably consistent despite its all-over-the-place provenance, maybe even the real world-beat-a generally uptempo electro groove with universal hooks, insistent basslines, off-and-on scratching, and such sound effects as oud from Algeria, balalaika from Greece, and whale from Greenland, plus no doubt a few folk melodies. Far from disrupting music that might otherwise go down queasily lite, the language shifts texture it, with the coughed-up consonants of Greenlandic, Croatian, and Hebrew especially welcome.
Apparently some of the rhymes are interesting too, but when Fijian-Australian Trey comes on, it's not her modest boast that'll perk you up, or even her dulcet female tone-it's her English per se. This isn't chauvinism, it's aesthetics. Although "flow" can mean anything, just like "beats," its relationship to language is always one of its prime pleasures. You don't have to get every word to hear how a rapper's phrasing, intonation, pronunciation, and timbre inflect meaning, reshape sonics, and fuck with the other man's culture. But you have to get some of them. Thus, Nuuk Posse's hip-hop, say, is even less likely to be an English speaker's than Def Wish Cast's. When it comes to African American music, I scoff at talk of cultural imperialism. Only a Frenchman could imagine that white capitalists conspired to impose Negroes on the world. But English's status as a lingua franca has always helped African American music get over. That's why Frenchmen invented francophonie.
Skeptical of French pop, and with my experience limited to MC Solaar's mellow-to-a-fault, never-quite-released-stateside 1997 Paradisiaque, I was intrigued by Global Noise's account of French hip-hop as an oppositional music dominated by Muslim and Muslim-identified immigrants, then surprised to learn from my general nosing around that hip-hop of every sort is a much bigger deal in France than in the U.K. or anywhere else besides America.
Perhaps prodded by the Senegalese-born rapper's sometime collaborator Missy Elliott, Elektra has taken a flier on Cinquieme As (Fifth Ace), the latest by Solaar, a violence-hating, million-selling girl magnet who's barely described in Global Noise. Although the beats continue to go down too easy, they have rather more body than those on Paradisiaque, and when I read along or just concentrate, I can appreciate his flow-but still not its verbal components, including what insults it does or doesn't visit on la belle langue. Musically, I'm more taken with what little I've heard of Marseilles's Sicilian-led, all-Muslim, multiethnic IAM. But even were I to beef up my spoken French, their slang and accents would be beyond me. So it's no surprise that my favorite non-English rap album to date is the Sahel-generated Africa Raps comp Michaelangelo Matos pumps elsewhere in this section. Whatever localism's undeniable validity and just rewards, black people have always been best at taking it worldwide. Be it nurture or nature, rhythm is at the forefront of their musical skills-on Africa Raps, the goddamn Ousmane Semb√®ne dialogue sample has some funk-and also at the forefront of hip-hop. So it's striking that African hip-hop is ignored in Global Noise. Equally striking is a half-articulated anti-essentialist resentment of the African American claim on hip-hop. It's as if Jay-Z, to choose our biggest willie, is merely a point man for cultural imperialism-although the perp actually named is that tireless profit taker and hip-hop ambassador Chuck D, who's criticized for disdaining white fans in Bilbao and white rappers in Sydney.
Maybe that's what Jay-Z gets for rapping over a cushier rhythm bed than Europeans can manage at a five-star hotel. Maybe it's what Chuck D deserves for agitating hearts whose pain he can't comprehend. But what if the dislocated continuity that animates each rapper's deep funk fills a need that upbeat electro cannot? What if it's such a vivid aural metaphor for all attempts to re-create community in this undoing world that no roots rap however authentic can replace it? What if it's just better music? What happens to the local then?
is for the sydney heads....
Def Wish Cast (who played their comeback gig last night at Bar Broadway) are supporting my friend's band Porcelain and Machine Gun Fallatio. This
Thursday, Friday and Saturday at:
April 13th Eastwood Hotel
April 12th Coyotes Caringbah
April 11th Monavale Hotel
both the supports are awesome and well worth seeing...
registered: 3/12/2001 10:41
Mik: Do you want to tell us what your name is?
Unique: Unique, aka Sereck
M: How did you get involved in hiphop?How did it all start for you?
U: Basically, the first smidgets of things you ever seen were like Buffalo Gals film clip, and Blondy - shit like that. But the first main thing, like I always say in every single interview - Flash Dance man. Flash Dance did it. It was the first movie out before all the breaking movies were out. It was the first one that had breaking in it, so that's why I got into it.
M: What year was that?
U: Eighty Three
M: Is that a movie from America?
U: Yeah. It had Rock Steady Crew doing a certain thing in it, and when I seen that, that's when I just flipped out and thought 'Fuck that, I'm doin' that.'
M: So it kicked off from breaking?
U: Yeah, breaking of course. That's pretty much how the whole Sydney scene kicked off.
M: So tell me about Celsius. It's yourself as Sereck and Brassknuckles. How did you get together with Brassknuckles?
U: I met him at Blacktown actually, at that youth center across from Street
Level. I met him there in the outdoor jam. He wanted me to go bust raps with him. He was a young dude. We rhymed together and it was all cool. And then him and a mate were going out to see Case now and then. I'd go over there and see him and then we just started getting along from there.
M: Celcius seems like a pretty hot name. How did you come up with it?
U: A good day of thinking man. We come up with some stupid names. I'm glad we didn't go with it. Actually, Spice, she come up with the name years ago. She's the cause for most of the stuff, like sometimes even the old Def Wish Cast shit, she named some songs. She's just got one of those minds to come up with shit.
M: In the early days, how was it that you made all your beats and stuff? What do you use, what sort of equipment?
U: When we first started, it was four tracks and drum machines. Now days its samplers. So basically, a cheap easy set up is a sampler. An S900 or an S950 like Akai - cheap - with a sequencer. Even if you want to go to an old Atari and get an old Q based program. That's really cheap, that's like 250 bucks. So you can set up under a grand if you want to.
It depends on how you want to do it, because these days you've got your own computers. Everyone's got computers. You can always get sound cards. You can get anything. You can get on the Mac and get Logic. Get full audio recording programs for free now, you know, they're all cracks. But it is a lot harder to find shit for PC, the Macs are a bit easier.
M: Have you travelled overseas anywhere, or done any tours across Australia?
U: Yeah, I've toured Australia. Perth I've been to once, but we've done Brisbane, Melbourne, Adelaide about four times. Something like that. DANE: Do you get much feedback when you're going around Australia? U: Oh yeah. We went up and did a gig up there, and we always draw a few hundred people in the house. People come and check out the gigs. It's good man.
And Germany, I went to Germany.
M: Yeah? Doing shows? Or writing?
U: Yeah, I did writing, shows and breaking. I was supposed to paint for a gig, these guys who I know helped me out. It was just fucken wild. I went over there, and all I had to do is paint a board about a meter, and a meter and a half. And then I said 'do you want me to do the show or what?' and he goes, ' Oh yeah, if you want.' I was like 'fuck, are you kidding me?' So I fucken got a free holiday.
M: What do you think of the graffiti scene in Germany?
U: It's nuts. It's out of control. I was up there at the point where yards were pretty hot. There were times when we couldn't do panels because they were carting all the nuclear waste. And in Europe because they're fucken activists, a lot of people are just full on, they're no joke. Australia is laid back. Over there, if something happens, a whole lot of activists will come out and do shit. They would cause riots or whatever.
So people were out there and digging up the train tracks and cutting lines and shit like that. So all the soldiers were out. If anyone was out there they would shoot them. So fuck that, we weren't going to do panels. But we got to panel up in Hamburg. That was dope.
D: Defwish Cast, now Killawattz and Celsius. Was that like a mutual thing? U: There's no beef at all, it's nothing like that. People don't understand it. We all grow up and we eventually do other things. There were some sad things about it, like the split up. But I think we're both happy as two separate groups and now you've got two separate releases.
M: Do you plan on doing any live shows or anything like that in the coming future?
U: Maybe next year, I think there will be. At the moment Sydney has got a piss ass live scene. It's really shit. There's no proper places around no more. We've got the worst live scene now in Australia and there's nowhere to gig, there's no pub scene or anything like that. We hate Metro. Metro is really stale. It's not set up for hip hop. You want a place where you can fit a good three hundred crowd in, everyone having beers and your rockin' the mike and you can feel a bit of heat in the room. You know what I mean? It's a good environment.
I think a lot of people are really concentrating on their product at the
M: So you're in the studio at the moment?
U: Yeah man. Like a lot. For Basic Equipment there's a few releases coming
out early next year. And that's the label - Basic Equipment - that we
M: What other acts have you got on there?
U: We've got Thirteenth Son of December, and he's from Fathom. They've been
out for a few years, but now he's got his solo EP. Mac Cross from
Levelheads, he's solo. Ear Infection, which is Apex and Sleeping Monk.
They've got their album coming out. And then there's just this mock children
shit coming out.
Celsius now, we're working on two 12 inches that will come out through the
UK. They're not coming out through Australia.
D: The UK, how did you hook that up?
U: Hooked up with some guys like the Runaways from the UK.
M: Is it going to be hard to push the music out in foreign lands?
U: Yeah, it is. But because we've got a certain name on our next 12, we've
got distribution and pressing already. So it's all hooked up. This is a big
move for us next year. It's fucken dope man, working with Tommy Tee from
Norway. Things like that. It should be good. And hopefully K Note from
Canada as well. So a lot of big things are moving up at the moment.
D: So this label that you started, is this just you and a mate or something?
U: It's me and Spice who own it. It's a label but we don't want it to be
known as a label. It's basically a focus point of shit coming out. My
brother is designing the web site at the moment, and that's all going to be
sold online. We've got distributors and it's going to get reviewed around
the world. The best way I heard it described was by Sleeping Monk - "instead
of one dude kicking the door down, it's about eight of us". It will go down
for sure. And the wall as well.
M: Getting back onto graff, have you had much commissioned work where you've been able to make money or it's helped you to travel?
U: I don't do as many jobs these days. I used to paint shops for five grand and earn that in a week. But a lot of it I hated doing. I really hate fucken painting legals because it's not what I like doing. I'm only doing it because I need the money.It's bullshit.
You're painting shit like fruit and stuff like that. And then you got some dude telling you he wants his face there with a bird on his shoulder and he's coming over the mountain on a motorbike. (the boys crack up) M: Can you notice how much graff has changed over the years?
U: Graff has changed heaps. A lot of the history is lost. A lot of people don't know the history of it because it is taken off the train lines and there's only a few of us to tell people, and whether it gets around properly is a whole 'nother thing.
M: For people who aren't involved in graffiti, or anything to do with hip
hop, have you noticed their views changing towards its appearance as they've seen more quality work around? Do you think it's going to be the same in a hundred years?
U: It's always going to be the same because illegal graffiti is disturbing to them. They fear it. It's the normal thing - what man doesn't understand he fears. They will always grow up not understanding why the hell this is on a train. But some wall sitting in the street where it's a beautiful picture, and I'm not talking letters, then people understand that. 'Oh, look at the pretty bird', or 'the friggin' teddy bear', you know, something cute. They understand that so they like it. You throw letters in there and its 'what the hell is that' That's the whole concept, the whole wrong mentality. Illegal bombing, everyone is always going to fear that because it's just mass destruction, like taking out the sides of houses. No one likes that of course, but what can you do? Personally, if I had a house, I wouldn't like anyone to bomb my house. But that's the way it is. Every surface is a sacrifice.
M: Is there anything else that you'ld like to add?
U: Australian hip hop has got to be quality. It's at a good stage at the moment and everyone should just build on it.
1 March 2002
AAP=Australian Artist and Performance
Offcuts "Hip S" AAP
Braintax " Riviera hustle" ft Jehst
Koolism "beastiality" AAP
Krs One "Tears"
Mr Len ft jean Grae and the bayside melon drama club "Taco Day"
After Hours ft Simplex "Aussie Positivity" AAP
Bigfoot ft Reason and Fletchrock "Don't Stop" AAP
Def Wish Cast "Running Amok" AAP
Hilltop Hoods "Immortal Mc's" AAP
Brad Strut "My Joint" AAP
Automator ft Kool Keith "King of New York"
Sage Francis "Makeshift Patriot"
Moka "Chek my Style"
Saian Supa Crew "Ils Etaient une Fois"
Upshot "$" AAP
3rd estate ft. Bliss n' Esoterik and Brass "Cycles" AAP
All You Mob - "The River" AAP
Dj Vadim ft Sarah Jones "Your Revolution"
Phoenix "Blessed (Soup Mix - AAP)
TOPOLOGY CREW "WE ROCK"
QWEL OF TYPICAL CATS "PROOF 101"
TASKFORCE "wALK WITH ME"
HEZEKIAH FT. MS SAIGON & RICH RAw "ULTRA SHIT"
MISSION "MISSION 2 REMIX"
Missin' Linx "What it is"
Estelle "hands up"
Jurassic 5 "Contact"
TZU LIVE SET AAP
JUST FOR A SECOND
ROOM TO BREATHE
Mark Clive de-Lowe ft King Kapisi "melodious funk"
Live Human "lagoonas bliss"
Saturday 1 December 2001
11:16pm Track One - REGURGITATOR Warner
Run DNA - The AVALANCHES - Live On Recovery Independent
Buffalo Girls - MALCOLM McLAREN Virgin
Sign O' The Times - PRINCE Warner
Paid In Full - ERIC B & RAKIM Universal (MCA)
Lovesick - GANGSTARR EMI
Apparently Nothin' - YOUNG DISCIPLES Polydor
Rebith Of Slick (Cool Like Dat) - DIGABLE PLANETS Warner
Hot Potato - FREESTYLE FELLOWSHIP Mercury
D.J. - DAVID BOWIE EMI
Freedom Of Choice - DEVO Warner
12:00am Hello - HAPPYLAND - Live on Recovery Polydor
Colossus - PANGAEA Shock
Witness (1 Hope) - ROOTS MANUVA Creative Vibes
All Good - DE LA SOUL Fest/Mush
Fallin' - DE LA SOUL & TEENAGE FANCLUB Sony
Pocket Calculator - KRAFTWERK EMI
Analog Worms Attack - MR. OIZO Independent
12:30am Revolution 909 - DAFT PUNK Virgin
Hard Left - TACKHEAD Independent
Wall Crawling Giant Insect Break - The HERBALISER Independent
Beats & Pieces - COLDCUT Independent
Powderworks - MIDNIGHT OIL Sony
Suggestion & Fugazi Interview - FUGAZI Independent
1:00am Satisfaction - OTIS REDDING Warner
So What - MILES DAVIS Sony
Trumpet Honey (Dave Dog remix) - SHIN KI ROW Independent
Resuscitate - FUGLEMEN Independent
Fender Bender - KID KOALA Creative Vibes
Hold On, I'm Comin' - SAM & DAVE Warner
They Reminisce Over You - PETE ROCK & C.L. SMOOTH Warner
1:30am Slow Down - BRAND NUBIAN Warner
The Doc & The Doctor - The D.O.C. Warner
Runnin' - The PHARCYDE EMI
Quality Control - JURASSIC 5 Universal
Cut Chemist Suite - OZOMATLI Festival
The Next Episode - DR. DRE Universal
Dr. Greenthumb - CYPRESS HILL Sony
2:00am 40 Below Trooper - JUNGLE BROTHERS Warner
A.U.S.T. - DEF WISH CAST Mushroom
Battery Cha Cha - TROUT FISHING IN QUEBEC BMG
Brrlak - ZAP MAMA Independent
Chan Chan - BUENA VISTA SOCIAL CLUB Independent
Kiss From A Rose - SEAL Warner
All Is Full Of Love - BJORK Universal (MCA)
2:30am Q-Kumbers - RESIN DOGS Independent
Say Yeah - RESIN DOGS Independent
Daily Trouble - RESIN DOGS Virgin
Gimme A Break - RESIN DOGS Virgin
Hardgroove 2001 - RESIN DOGS Virgin
Feed Called Scratch - RESIN DOGS Virgin
Say No Go - DE LA SOUL Mushroom
Eye Know - DE LA SOUL Mushroom
3:00am Ring Ring Ring (Ha Ha Hey) - DE LA SOUL Mushroom
A Rollerskating Jam Named Saturdays - DE LA SOUL Mushroom
Itzsoweezee - DE LA SOUL Mushroom
Oooh - DE LA SOUL Fest/Mush
Baby Phat - DE LA SOUL Fest/Mush
Lucky Pressure - RONI SIZE/REPRAZENT Universal
Dirty Beats - RONI SIZE/REPRAZENT Universal
3:30am Who Told You - RONI SIZE/REPRAZENT Universal
Watching Windows - RONI SIZE/REPRAZENT Mercury
Brown Paper Bag - RONI SIZE/REPRAZENT Mercury
Orange NM72 - RICHIE HAWTIN MDS
Intensify - WAY OUT WEST Virgin
The Gift - WAY OUT WEST BMG
Blue - WAY OUT WEST BMG
4:00am Sun Rain - LTJ BUKEM Inertia
Legacy - INFUSION Shock
The Bass Has Got Me Movin' - LOVE TATTOO EMI
My Lexicon - SANDER KLEINENBERG Warner
Afterwords (You're So Right) - ENDORPHIN featuring CINDY RYAN Sony
Sex & Violence - ENDORPHIN featuring LUKE HANIGAN Sony
Precious Heart - TALL PAUL vs. INXS Central Station
Work - MASTERS AT WORK Fest/Mush
ARIA Top 50
50. Turn Off The Light - NELLY FURTADO Universal
4:30am 49. Have You Ever - S CLUB 7 Universal
48. Take My Breath Away - EMMA BUNTON Virgin
47. That Day - NATALIE IMBRUGLIA BMG
46. Do You Love Me? - MADEMOISELLE BMG
45. Where The Party At - JAGGED EDGE Sony
44. In The End - LINKIN PARK Warner
43. Drops Of Jupiter - TRAIN Sony
42. Standing Still - JEWEL Warner
5:00am 41. Wish You Were Here (Director's cut) - INCUBUS Sony
40. Paid My Dues - ANASTACIA Sony
39. Izzo (H.O.V.A.) - JAY-Z Universal
38. Emotion - DESTINY'S CHILD Sony
37. You Rock My World - MICHAEL JACKSON Sony
36. The Sound Of Breaking Up - PAULMAC featuring PETA MORRIS Virgin
35. One Night Stand - MIS-TEEQ Shock
34. Buggin' Me - SELWYN Sony
5:30am 33. Say What - 28 DAYS & APOLLO 440 Fest/Mush
32. All Rise - BLUE Virgin
31. Fight Music - D-12 Universal
30. Hit 'Em Up Style (Oops!) - BLU CANTRELL BMG
29. Always Be With You - HUMAN NATURE Sony
28. Hide U - KOSHEEN BMG
27. Can't Get You Out Of My Head - KYLIE MINOGUE Fest/Mush
26. Ride Wit Me - NELLY Universal
6:00am 25. Out Of Reach - GABRIELLE Universal
24. Bad Boy For Life - P. DIDDY featuring BLACK ROB & MARK CURRY
23. The Music's No Good Without You - CHER Warner
22. Where's Your Head At? - BASEMENT JAXX Shock
21. I'm A Slave 4 U - BRITNEY SPEARS Jive/Zomba
20. Family Affair - MARY J. BLIGE Universal
19. Better Man - ROBBIE WILLIAMS EMI
18. Rapture - IIO EMI
6:30am 17. Can We Fix It? - BOB THE BUILDER Universal
16. Let Me Blow Ya Mind - EVE featuring GWEN STEFANI Universal
15. It's Over - KURUPT featuring NATINA & SNOOP DOGG Sony
14. Amazing - ALEX LLOYD EMI
13. Luv Me, Luv Me - SHAGGY Universal
12. Hero - ENRIQUE IGLESIAS Universal
11. I'm Real - JENNIFER LOPEZ Sony
9. I'm A Believer - SMASH MOUTH Universal
7:00am 8. Too Close - BLUE Virgin
7. Fallin' - ALICIA KEYS BMG
6. Miss California - DANTE THOMAS featuring PRAS Warner
5. I Need Somebody - BARDOT Warner
4. Mambo No.5 - BOB THE BUILDER Universal
2. How You Remind Me - NICKELBACK Roadrunner
1. Smooth Criminal - ALIEN ANT FARM Universal
Disclaimer: Some clips may be missing from the rage Top 50 for various reasons including being unavailable or not suitable for the G rated timeslot of the Top 50. For a complete list of the ARIA Top 50 please use the link to their web site at the start of the rage Top 50 above.
Global Noise: Rap and Hip-Hop Outside the USA (Music Culture)
by Tony Mitchell
List Price: $19.95
Our Price: $13.97
You Save: $5.98 (30%)
From Publishers Weekly
With this groundbreaking collection of 13 essays on current hip-hop music and culture outside the U.S., Mitchell, who teaches writing and cultural studies at Sydney's University of Technology, offers an intelligent, engaging contribution to pop cultural studies. Upholding the widely held criticism that U.S. hip-hop's "rhetorical conventions and tropes have become increasingly atrophied, cliched, and repetitive," Mitchell and the other contributors, including Jacqueline Urla, Andre J.M. Prevos and Claire Levy, exhibit exemplary research skills in their far-ranging explorations of "the expression of local identities globally through the vernaculars of rap and hip-hop in foreign contexts." Their subjects include Islamic rap in the U.K. and France; German-language rappers' expressions of second-generation immigrant experience; the Sydney group Def Wish Cast's attempt to forge a white, Australian-accented, nationalistic hip-hop culture; the revolutionary rhetoric of Italian "combat" rappers like Onda Rossa Posse and Assalti Frontali; mainland China's Cui Jian, who questioned the 1997 handover of Hong Kong; th
* Re: DEF WISH CAST
Kamikaze -- Saturday, 11th October 2003 6:28 PM
o Re: DEF WISH CAST
AndyT -- Monday, 13th October 2003 12:46 PM
+ Re: DEF WISH CAST
crackaman -- Tuesday, 14th October 2003 11:59 AM
* Re: DEF WISH CAST
Michael_MD -- Friday, 2nd January 2004 7:18 PM
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Re: DEF WISH CAST
Posted by Michael_MD on Friday, 2nd January 2004 7:18 PM
I remember them from a couple of hip hop parties back in 1987
(which 2RRR and 2RSR put on at Paddington Town Hall and Bondi Pavilion)
I might still have some tapes of some of the acts recorded at those events.
I'm also curious if there is a connection between Def Wish Cast and a club night at club Kakadu (where NV is now) back in 1987 on Wednesday nights called "Def Wish".