Adam (formerly Adeem) has always been caught in the flood. The onslaught of ideas, the rush of sounds, the chaos of creating. From project to project, rapper/singer Adam Arnone has always sought new ways make music. For much of his career, the New Hampshire native went by Adeem, pronounced A-D-M. He has 11 full length albums and 15 years of touring to his credit. Both as a solo artist and as the frontman for the pioneering indie hiphop group Glue, Adam has been pushing his way toward this new project. Now, he’s traded in samplers, records, and turntables for instruments. His sound is pure passion. Humble and aggressive, the music is strong and purposeful. Singing and rapping take turns pushing the point across—calm to beautiful to heavy to raw. His voice reaches through the static of the room as he screams his prayers to the ghost of Muddy Waters. Channeling the blues one moment, twisting words into new shapes at crazy speeds the next. The Flood—a four-piece band that includes guitars, drums, and bass, instruments that existed before the electric days—lends depth and texture to Adam’s expression. His music takes questions of loss, love, and life and turns them into a cathartic experience for all who listen, connecting in a personal way that turns strangers into fans. To hear Adam live brings the music to a new level. Live, the recorded material becomes a new animal, something unique that connects and energizes. Through this new musical expression, Adam is guiding himself and those around him toward passion, action, connection, peace, and justice. Adam is embracing the Flood and is moving toward life.
Los Angeles California born, Rapper and Illustrator, Tony "Awol One" Martin is rumored to be over one thousand years old and every single one of those years can be heard within the cracks of his voice and lyrics. One may call him a crude poet, a drunken rambler or a melodic voice for slackers but nobody can deny that he's maintained an uncompromising level of intelligence, honesty, melody, dark humor and originality.
Touring the planet as a solo act and a member of The Shape Shifters and The Cloaks, Awol has collaborated with Xzibit , B Real of Cypress Hill , Aesop Rock, KRS-One, Buck 65, Factor and Eyedea, as well as members of Dilated Peoples, Living Legends, Sublime and 3OH!3 to name a few. He has opened shows for the likes of Eminem, Common, Atmosphere and EL-P , and also has music featured in a Nike commercial and movies.
In the early 2000's when journalists didn't quite know what to make of his strange alternative indie hip hop, Spin magazine tried to pin him down as one of the premiere voices of emo-rap, while Vice Magazine, URB and LA Weekly were singing the praises of his anthems.
The Shape Shifters were also winners of the L.A Weekly Award for best hip hop.
His 2001 collaboration with Daddy Kev, "Souldoubt", quickly became seen as a L.A. underground hip hop world wide classic and since, Awolrus hasn't slowed down a bit, touring both national and international, also playing Sound Set, Rock The Bells, Warped Tour, Paid Dues, Smoke Out, Low End Theory, X Games and Rhymefest.
When Tony the Wolrus aka Awol 1, is not touring he is an artist at Brainheart Co. graphic design and illustration and is also the author of a kid's book and hip hop soundtrack titled The Mombie.
Somewhere between the tropical beaches, pockets of culture-starved boredom, retirement communities, and bath salt cannibals, lies a small community of DIY artists playing the hands they were dealt and trying to build something in the void. Bleubird is one of these people.
Born to an immigrant father and hippie mother in South Florida in 1982, Bleubird (Jacques Bruna) developed an early affinity for 2 Live Crew and Public Enemy and eventually gravitated towards skating, fighting, and punk rock. Bleubird has released several full-lengths and EPs both as a solo artist and with groups such asTriune Gods and Les Swashbuckling Napoleons, hosted open mics and warehouse parties in Florida bringing together creative folks from multiple disciplines, and traveled the country in a decked-out van for two years turning every day into an impromptu concert-cypher-party with his FREEEBIRD project. After stints living in Canada and Europe, Bleubird returned to the states to release his Fake Four debut Cannonball!!! and shortly thereafter began channeling his Floridian roots into a bass-heavy crew known as Death Jam Posse, writing his verses under the alias ofYoung Lauderdale and rapping hard as hell over beats from a local producer by the name of Mister Belvedere.
2015 saw the release of his stoned side project FTLiENS alongside producer Numonics, properly paving the way for the ever-evolving Bleubird’s new full-length Lauderdale. Recorded at Audio Architeks studio after the city kicked Bleubird and Belvedere out of the Broward County warehouse where they had been living and mapping out the record, Lauderdale splits the difference between the escapist party rap ofYoung Lauderdale and the introspective, nuanced narratives that Bleubird has been churning out since the turn of the century. Produced entirely by Mister Belvedere, the album features guest shots from fellow Florida natives Astronautalis (“FL AS FUH”) and Pompano Slim (“LAUDERDALE SQUAD”) as well as NYC rap duo Swag Toof (“$ALT LIFE $HAWTY”).
Over 12 relentlessly upbeat Belvedere bangers, Bleubird goes back and forth between laidback, simplifed patterns and a ferocious, rapid-fire delivery to suplex his critics and muse on his place in hip hop, love for his hometown and uhhh… NPR. His passion, humor, and technical rap skills have coalesced into the most accessible album of his 15-year career. Bleubird has traveled the globe many times over, rocked shows and collaborated with indie rap’s finest (Grand Buffet, Sole, Ceschi), washed dishes and worked odd jobs to live illegally in places like Montreal and Berlin, but was always bound for Fort Lauderdale to build new dreams in the place of any that may have died along the way.
Born in Los Angeles, Regan Farquhar was introduced to hip hop at an early age, his father Ralph Farquhar being the screenwriter for the 1985 film Krush Groove. He began rapping at age 9. By 13, he was part of the group 4/29, which was inspired by the 1992 Los Angeles riots.
By the late 90s, Busdriver had solidified his position as an LA progressive rap hero & a key member of the influential Project Blowed collective.
In 2001, the album Temporary Forever catapulted his career into new territory meshing hyper technical rap sounds with the unbridled energy of free jazz improv.
After being signed to Epitaph records for 3 albums, Busdriver's sound shifted into even more experimental melodic territory.
Genre bursting records on the Fake Four & Ninja Tune labels followed.
Today he maintains his position as a wildly unique voice in Hip Hop & has worked with artists as diverse as Anderson Paak, Danny Brown, Aesop Rock, Deerhoof, Clipping, Del the Funkee Homosapien & beyond.
What follows below is a detailed life-long history of Chris Palko, aka Cage. While there is a whole lot of information here, none of it is filler; everything detailed below was instrumental in making Cage who he is at this point, and the story below is one of the most insane, crazy, tortured and triumphant stories you could imagine. Cage’s life has gone from watching his father shoot heroin, to addiction and violence and mental institutions to cutting an album for Columbia Records and being a rising star in the heyday of the NYC independent rap scene, to the final culmination and personal triumph that this album has become. It’s a brand new record from someone who has been through more extreme circumstances than most people could ever imagine, and has come out triumphant and a better person because of it, and whose artistic vision now reflects this.
Born in Wurzberg, Germany to American parents. His father, Bill Murray, was an MP in the US army stationed on West German military base where Cage and his parents lived until Bill was dishonorably discharged for selling and using heroin. When he was 4, Cage and his family were sent back to the US where they took up residence in Middletown, NY.
When they got to Middletown, his father continued to abuse heroin, often making Cage assist by pulling homemade tourniquets around his arm. His father left them suddenly with another woman. The last time Cage saw his father, he had a standoff with the Middletown state troopers after threatening his family with a shot gun. He was arrested and Cage has not seen him since. He was 8 years old at the time.
By the time his mother was on her third marriage, Cage was getting kicked out of Middletown Highschool during his freshman year. His stepfather would beat him up, punch him in the head, even leaving a scar over his eye. Around this time, Cage started using drugs (LSD, mescaline, weed, alcohol)
His mother sent him to live with his uncle (a Vietnam vet who never retired from the army) on a German military base for a year. That uncle hated him, beat him up and sent him home to America after a year.
Chris started getting into all sorts of trouble, including getting arrested (for drug possession, fighting in the streets, etc). He was 16 years old at this point. He was put on probation for charges, but after several violations found himself facing real jail time. His mother convinced the judge that Chris was mentally unstable and instead of prison he was sent to the Stony Lodge Psychiatric hospital for a 2 week evaluation which turned into an 18 month stay.
During his stay at "The Lodge", Chris was part of a small group of medical guinea pigs who were chosen to be the test subjects for a new and untested drug called Prozac, which hadn’t hit the market yet. Misdiagnosed and placed on Prozac, Cage became suicidal and made several attempts to try and kill himself (first by hanging himself by his own shoe laces, then by saving up his mandatory lithium doses for a month and ingesting all at once). He was subsequently put on suicide watch.
He was restrained over twenty times for periods of up to 13 hours at a time (illegally), sometimes by straightjacket, sometimes by 10 point bed restraints. Cage would later refer to this period in his life as his "rap college". He would spend his time doing the only thing he could, which was go deep into his mind and hone his imagination into the visceral and dramatic writing style he has to this day.
After being subjected to Lithium, Prozac, and a host of other drugs (and then even more drugs to counter the side effects produced by all the initial medication), Chris went from being a troubled teenager into a legitimately bi-polar young man.
He was eventually released on outpatient program and christened himself Alex, after the protagonist from A Clockwork Orange.
18 years old, fresh out of the lodge, Cage decided to pursue his the talent he honed while in hell and try to become a professional rapper. He made a demo, got a manager and was introduced to Pete Nice of 3rd Bass fame. Pete featured Cage on his solo effort "Dust to Dust" on the song "Rich Bring ‘Em Back" in 1993. This was his first appearance on a rap record.
Through Pete Nice Cage met fledgling radio personality Bobbito Garcia who had just started his soon to be legendary late night mix show with DJ Stretch Armstrong. He was invited up to the show several time, earning a rep in the emerging underground NY scene as a savage and raw new MC with an original style based on his tortured life and demented imagery.
Through his connection with that show, he met and formed a strong friendship with the KMD (whose front man Zev Love X would eventually be known as MF DOOM) and formed a very strong friendship with the late great Subroc. Cage was the last person to see Subroc alive before he was killed. He also became associated with and close to: Kurious Jorge, K-Solo, Godfather Don, Artifacts, Pharoah Monch, El-P (who actually worked with cage briefly in 1994 on a 3 song demo now lost to the world), the Juggaknots and many more.
Bobbito and Pete Nice started a label through Columbia Records called Hoppoh and was on the verge of singing cage as one of their first releases. At this time cage was heavily abusing drugs and every time he got into the studio he was too high to record anything that Columbia thought was worthy of a major label release.
Frustrated and dejected, Cage put his rap dreams on hold and moved back to Middletown where he got deeper and deeper in drug abuse and found out he was having a child.
In 1997, Cage’s friend and mentor Bobbito Garcia started his own independent label Fondle 'Em Records, and offered cage a twelve inch deal. Refocused and determined to get it right this time, Cage penned the single Agent Orange b/w Radiohead. The single would go on to be one of the landmark records of the golden era of NYC underground/independent rap music and propelled Cage into cult star status.
After a few more singles with Fondle ‘Em, Cage met and became friends with Philly to New York transplant rap group The High And the Mighty. He formed a group with them called the Smut Peddlers, and Rawkus (who were riding high on albums by Company Flow and Mos Def, to name a few) offered them a full length album deal through Eastern Conference’s imprint, Eastern Conference. The record sold over 50 thousand copies and solidified Cage’s status as a rising rap star in the independent scene.
Cage went on to do more records with Eastern Conference including his first solo record Movies for the Blind. The record was the realization of the very character he became through his tortured early years, relying on raw, savage, often cruel, misogynistic, gritty and rebellious attitudes he had formed through his earlier years. The record struck a chord, selling 15 thousand copies in just 2 weeks, and his legion of dedicated fans grew ever bigger, attracted to his visceral and dangerous persona and music. He traveled the world several times over in support of the record and became a major draw in the independent show circuit.
Soon after he started the supergroup Weathermen, comprised of good friends Camu Tao, El-P, Aesop Rock, Yak Ballz, Tame 1, and Breeze of the Juggaknots.
Restless with his artistic direction and feeling trapped by a persona created out of his troubled youth, he found himself at a crossroads. He felt as though he was squandering his writing abilities and catering to music with content that only scratched the surface of what he was about. He no longer wanted to project crazy for the sake of crazy and grew tired of showing the results of his past and how they reflected on his personality. Instead, he wanted to explain why he was the way he was and wanted to make a record that he could play for his daughter someday; a record that reflected the man he was now while at the same time finally shedding light on the source of his rage, pain and rebellion. It was at this point that he and El-p started to seriously talk about making an album that would truly realize his desire to take his art to another level. They cautiously talked and imagined this transformation for over a year, culminating with his signing with Definitive Jux records. El-p and Cage worked together to bring these ideas to fruition, and the result is a cathartic and radical statement of a tortured boy turned man. A detailed, imaginative and often disturbing look into the dark territory that Cage had so closely guarded from the fans that loved him.
Terrell Woods A.K.A. Carnage “The Executioner” is a Hip-Hop artist widely recognized for his mindnumbing lyrical dexterity and uncanny ability to compose musical symphonies with his mouth through human beat boxing. His unwavering work ethic, warm personality and kind heart have earned him the respect of many of Independent and commercial music’s most reputable artists. Carnage’s mouth has been called “The best drummer in town”, in reference to his beat boxing skills. When it is time to perform live shows, Carnage sometimes exercises the choice of carrying on Oldschool Hip-Hop tradition by performing with a DJ on two turntables. By himself, Carnage brings the heavy artillery: he comes armed with two microphones, a Boss RC-20 Loop Station, a Digitech Vocal Effects Processor, a small case of percussion instruments, boundless energy and a commanding stage presence. He then does exactly what his name implies and not only “Kills it” (a familiar term in Hip-Hop for putting on a great performance), but he “Executes it”! Moreover, he takes no prisoners! Beat boxing, as people know it, is transformed into an amazing, interactive experience as Carnage constructs complex multilayered sounds capes from the ground up with breath-taking accuracy. However, he does not stop there – he proceeds to rap, harmonize and vocal-scratch over his backdrops with intensity and showmanship that is difficult to put into words…So it must be witnessed first-hand! Carnage’s original material speaks for itself. Nevertheless, his ability to cover songs, as only bands with multiple vocalists are able to do makes Carnage a one-man-band and total entertainment package! Upon request, Carnage also performs with a live band. He teaches both private and group beat boxing lessons to youth in community and school settings, extensively covering the fundamentals of beat boxing while adding in components of basic rhyme/rap-writing structure. Carnage is a catalyst in the development of creative and positive modes of self-expression that strengthen strong leadership skills. Carnage recalls his first experience with the Hip-Hop culture occurring around 1982 with Run DMC and The Sugar Hill Gang. Run DMC moved him most. He started human beat boxing after hearing The Fat Boys around age 9 and taught himself how break dance after witnessing the moves of his older male neighbors. Carnage decided he wanted to be a DJ after watching the movie “Breaking 2″ and hearing Herbie Hancock’s “Rock It”. Due to his living in group homes and shelters for many years after age 12, he had no turntable experience, so he began writing lyrics after studying the works of rappers he idolized, mainly L.L. Cool J, Public Enemy, Kool G. Rap, Eric. B. & Rakim, KRS-ONE and Superlover Cee. Carnage wrote his first rhyme in 1987 under the name “T-Swift”, which began his quest to become an emcee. Following his first time recording in a studio in 1991 with counterpart DJ X-Caliber and performing a few local shows, he made his first appearance on a release in 1996. This was Minnesota’s first full-length compilation called “The Collective”. Carnage, along with his former group, The S.W.E.E.P.S. released, “Bootleg Tracks From Junkion” EP in 2001 and “Foreign Genetics” fulllength in 2003. The greater Hip-Hop world heard Carnage on Eyedea’s “The Many Faces Of Oliver Hart Or How I One The Write To Think” album (Rhymesayers Entertainment) on the track, “Coaches” in 2002. Carnage independently funded and versaw the release of his first solo, unofficial album called, “The Carnology Vol. 0.5 EP” on his own label, Hecatomb Industries, which he started in 2004. This also marked the birth of Carnage’s Hecatomb crew comprised of up-and-coming local Hip Hop & Rock artists. Eyedea & DJ Abilities invited Carnage to join them on their opus, “E&A” where Carnage appeared the track, “Star Destroyer” in 2004. Carnage (accompanied by Booka B) released his first full-length solo debut titled, “Sense Of Sound” independently on Hecatomb Industries on July 17 2007. Carnage, with the help of another independent Hip-Hop label called Fill In The Breaks, released Worth The Wait” on January 11, 2011. Receiving vast amounts of local praise for its darker, raw sound, the album was listed as one of ‘The Best Albums Of 2011’ in the Star Tribune. This article said that Carnage is “…busy proving why he should be called the most skillful M.C. in MN”. Without missing a beat, Carnage released “Respect The Name” on September 11, 2012. This release lives up to what Carnage is known for, as well as highlighting some of his most personal work to date. Carnage speaks of his life struggles ranging from living in poverty and having very little positive parental influence to his insecurities with making music he think people will not support. His artistic growth is notable and only shows his progression into a potent storyteller. Carnage’s work on Respect The Name earned him the revered cover of the well-respected City Pages and a ranking as one of the top 10 M.C.’s in Minnesota. Ill Chemistry released their highly-anticipated, self-titled debut album in January 2012 on French Jazz music label, Nato/Hopestreet Records. The album features both Carnage and Desdamona sharing vocalist duties and Carnage constructing almost all music for the songs by beat boxing. With Ill Chemistry as well as solo, Carnage has been playing festivals and touring Europe on a steady basis since December 2011. Persistence in staying relevant and reinventing his formula lead to Carnage being invited to join Atmosphere for their fall 2012 tour. For two weeks straight, Carnage won the hearts of nearly 20,000 fans with raw talent, emotion and honesty. His adeptness in figuring out how to give crowds what they want and holding their attention lead to Carnage becoming a crowdfavorite. Carnage’s connection with Atmosphere’s fan base lead to his being invited to join them for their 3rd annual Welcome To Minnesota tour in March 2013. While working full-time as a social worker and youth counselor in 2004, Carnage still found the time to tour with Eyedea & Abilities – twice! He guest-appeared on the Leave Of Absence Tour in October & November of 2004 and in April of 2004 on the Plague On Wheels Tour. In July and August of 2005, Carnage toured the Midwest with Eyedea and emcees Mazta I & Kristoff Krane, along with J.T. Bates playing drums and Casey O’Brien playing bass for the Eyedea & Friends Tour. He and the crew performed improvised Jazz/Hip Hop sets for an unbelievable 2 hours a night! This tour resulted in Carnage being featured on Eyedea’s all-improvised 2006 release, Face Candy, “This Is Where We Were” (Rhymesayers). This album features Carnage freestyling and human beat boxing, displaying him at equal levels of skill performing both duties. Carnage is also the only feature on the last Face Candy project to be release in early 2011 called “Waist Age Teen Land”. Carnage has shared stages with such heavyweights as KRS-ONE, The RZA, Method Man, Yelawolf, Mobb Deep, Guru of Gangstarr, Too $hort, Sage Francis, Aesop Rock, Brother Ali and more.
Ceschi Ramos is a rapper and singer from New Haven, Connecticut who has been hopping genres and spilling guts for the better part of two decades.He has been seen outside venues at 3am in Germany playing an acoustic guitar and singing to people that didn’t want the show to end. He has written poems to fans from behind bars whilst locked up on bogus marijuana charges. He has suffered a spiral fracture of the humerus while arm wrestling a marine in Hawaii. He has recorded with and toured alongside some of independent rap music’s most influential figures, including Sage Francis, Busdriver and Astronautalis. He has been in bands described as hardcore, crunk rap, lo-fi synth pop, Latin progressive and psych-jazz-rap. He has crafted abstracted and personal narratives mining the depths of depression and heights of hope. He has slept on countless floors when hotels weren’t in the touring budget and lost girlfriends and jobs all for the love of creating and performing.
Ceschi was born with four fingers on his right hand, which served as partial inspiration for the name of his DIY record label, Fake Four, Inc. Those who have worked with him describe Ceschi as one of the most artist-friendly labelheads out there, a rare breed who values art over profit almost to a fault. Since 2008, he has curated a roster of wildly original and critically praised talent and put out albums from the likes of Open Mike Eagle, Buck 65, Sister Crayon and Dark Time Sunshine in addition to his solo records The One Man Band Broke Up and Broken Bone Ballads.
An engaging, theatrical live performer, CeschiRamos has treated entire venues like a stage, viewing the middle of the audience or an empty barstool as good a place as any to perform a soul-baring folk song or tongue-twisting rap track. Ceschi once described himself in song as “a martyr at most… a failure at least” and said that, “In the eyes of history I’ll be no more than a leaf on a tree.” He knows what it is to suffer for his art and is aware that music exploring the ugliness and sorrow of the human condition will always exist on the fringes of a game dominated by disposable escapism and expensive publicists. Yet he still pours everything he has into his craft, and on any given night you can find him tracking vocals at his cousin’s New Haven studio, warmly greeting fans and friends at a dive bar merch booth or rapping double-time in Japan or Europe for audiences that often don’t speak his language, but are able to see the giant heart at the core of it all.
Minneapolis rapper/producer Ecid has been operating on the fringes of rap music for close to a decade, with no co-sign, no angel investor, just an undeniable passion for contributing to the ever changing hip-hop landscape. It feels like just yesterday he was wearing 2xl t-shirts, recording his first songs using a dual tape deck and a stack of gangster rap instrumentals. Now he single handedly orchestrates every detail of his songs from start to finish at an effortless pace, all while wearing his eccentricities like a Super Bowl ring. 2012’s dark- yet triumphantly hopeful Werewolf Hologram showcased Ecid’s ability for abstract narratives and social commentary. A year later the two part EP series Post Euphoria found Ecid at his most rebellious and playful, allowing art to imitate life with a an open invitation into his world, a project that laid the creative groundwork for Pheromone Heavy.
While studying to become a yoga instructor Ecid had a creative breakthrough and for the first time as an artist he figured
out how to say exactly what he wanted to without forcing the listener to crack the code. The beats are ambitious, soaked in a monstrous, bombastic glory with moments of blissful minimalism that prepare you for the next smile-inducing surprise. This sound was achieved with expertly plucked samples, analog synths, household percussion, and a team of adventurous musicians that understood the sonic vision. On “Watch It Burn” Ecid empathizes with the father that abandoned him, dreaming up a justifiable scenario for his absence while critiquing societies romanticization of money and consumption, a theme that carries throughout the record.
Jonwayne came onto the Los Angeles music scene by way of the east Los Angeles club Low End Theory circa 2008-09, then emerging as the epicenter of a new generation of hip-hop beat makers: Flying Lotus, Gaslamp Killer, Nosaj Thing, Kutmah, Daedelus. Fresh out of high school, Jonwayne jumped in with homemade rap mixtapes and immersed himself in the scene. "It felt like a golden age," he says, "it was very inspiring."
He first became known as a producer, releasing the instrumental albumBowser (2011) – but it was his over-sized skill on the mic that caught the attention of Stones Throw's Peanut Butter Wolf, who signed him to record an album as an MC.
As Jon set to work on his debut rap project, he let his presence be known with a series of tapes: Cassette, Cassette 2 and Cassette 3. Each was unplanned, the releases prompted by Jon’s prolific output. And by this time even lawyers for the tobacco conglomerate Phillip Morris took notice of Jonwayne, serving him with a cease & desist notice for a cassette that looked like a pack of Marlboros.
Jon Wayne is the MC/producer's birth name. The Hollywood cowboy, John Wayne (real name Marion Morrison) took his famous screen name from Jonwayne's great-great-great-great-great uncle, General "Mad Anthony" Wayne, a player in the American Revolutionary War. True story. Now Jonwayne's taking back the name - what goes around comes around.
Kristoff Krane is best known for his work as an emcee/frontman alongside Eyedea in Rhymesayer's free-rap-jazz collective, Face Candy (est. 2005). After establishing his roots as a freestyler, Krane branched off to release several solo albums supported via US tours with acts such as Eyedea & Abilities, Buck 65, Sage Francis and a European tour with rapper, Sadistik. Krane has made several appearances at RSE's 'Soundset' (2009, 2010, 2011) and in December 2015, rocked a sold-out crowd at the legendary venue First Avenue during Doomtree's Last Blowout EVER. After ten-years-plus on the independent grind, he has successfully garnered a loyal international cult following that continues to grow. His catalog includes collaborations with luminaries such as Slug of Atmosphere, P.O.S, Illogic & Blockhead, Jean Grae, JT Bates (TGNP) and Michael Lewis (Bon Iver, Happy Apple), to name a few.
Milo (aka Scallops Hotel) first began rapping as part of the Kenosha, Wisconsin hip-hop trio Nom de Rap, which additionally consisted of rappers Nicholas J and AD the Architect. The group released their first joint mixtape, Greatest Hits Vol. 1, in 2010.
He released his first solo mixtape, I Wish My Brother Rob Was Here in 2011 & Milo Takes Baths was released in 2012. The song "Kenosha, WI" was published by Johns Hopkins University Press in a 2012 issue of the journal Postmodern Culture.
Milo released two EPs, Things That Happen at Day and Things That Happen at Night, in January 2013. The Cavalcade mixtape followed in July 2013 and in November 2013, he appeared on Hellfyre Club's compilation Dorner vs. Tookie.
He released Poplar Grove (or How to Rap with a Hammer) under the moniker Scallops Hotel in November 2013 and his first official album, A Toothpaste Suburb was released on Hellfyre Club on September 23, 2014.
Since departing from Hellfyre Club, Milo has started his own imprint/collective Ruby Yacht and toured with Old Gray in the summer of 2015.
Labeled “the Dark Sith Lord” of Seattle, Nacho Picasso is an American Rapper born Jesse Robinson in San Francisco CA ultimately raised in Seattle WA from age 3. He has notably released several sole and collaborative albums most recognized with BlueSkyBlackDeath. His career starred in
2011 with the underground success and the critical praise of his first EP “For the Glory.” He is known for his clever yet sometimes vulgar punchlines taboo subject matter and pop culture references. He helped shape and pave the way for the most recent wave of Seattle hip-hop scene which is now reminiscent of the early 90s grunge scene where Nacho stands in the forefront with his rebellious take no prisoners attitude and image.
Onry Ozzborn was hatched in the Land Of Enchantment March 25th 2003 to a family of archers. After mastering the craft of bow, arrow, & crossbow he then set his sites on mothers harp growing an endearing fondness of rap music. The rest is history (& or his story). Mr. Ozzborn makes music as himself, with GRAYSKUL (Rhymesayers Ent), OLDOMINION, & DARK TIME SUNSHINE. He has toured with the likes of Atmosphere, Alabama, Aesop Rock, Anne Murray, Abstract Rude, Adam Ant, Astronautilus, ABA, & many many more groups that start with "A". The sound of his music has reached & ranges anywhere from Organized Konfusion to Micky Gilly. If you're into an acquired taste that has been dipped in the GOLDEN AGE of Hip Hop only to be baked in the oven of electroid gloss, & simmered thus tamed within the likes of alternative, dark, pop, murmur, bluegrass then you will fully enjoy what Onry Ozzborn has to offer you at any given time.
Sadistik is not just another rapper, he is an artist in the deepest sense of the word. Hailing all the way from the scenic gloom of Seattle, Washington, Sadistik has quickly gained the hearts and ears of listeners by opting for a more personal and heartfelt brand of music. By combining caustic honesty, lyrical wit and technical innovation, Sadistik has crafted a sound that he can truly call his own while circumventing the limiting cliches of rap music. His lyrical endeavors are not without the help of some of the most talented producers in the underground scene, however, as he has worked with the likes of Emancipator, Kno of CunninLynguists and Blue Sky Black Death. Not to mention a number of underground rapʼs most revered wordsmiths such as Tech N9ne, Eyedea, CunninLynguists and Sage Francis round off an impressive list of artists who have joined Sadistik on a track. With a rigorous touring schedule that includes the entire United States and most of Europe, and opening for acts such as Lupe Fiasco and Slaughterhouse in his hometown, Sadistik shows true dedication to his music both in and out of the studio.
“Sole is an Indie hip hop legend.” - HuffPost
"Sole is a true revolutionary." - Pitchfork
"Cult indie-rap icon" -Spin
In 1998 he founded Anticon Records, the first collectively owned indie Hip-Hop label in the United States. Since then, Sole has played over a thousand shows throughout the U.S., Canada, Europe, the Middle East, and Japan. His music has been featured in major media outlets such as Rolling Stone, Pitchfork, MTV, Huffington Post, Spin, Alternet, and many more. Sole has released eight full length studio albums and over a dozen mixtapes. In 2009, together with award winning visual artist, Ravi Zupa, he published The Pyre, an illustrated epic poem exploring empire, radical philosophy, anti-capitalism, and collapse. Throughout his career sole has been known as one to push the limits in terms of genre and content and is widely heralded as a pioneer of avant garde & experimental rap music. His latest albums present a thorough examination and celebration of resistance happening around the world. Sole’s activism reaches beyond the studio and stage into his everyday life where he is deeply involved material and logistical support to many projects that engage directly in the class struggle.