Wednesday, 25 September 2013 14:57

Sprung Festival 2013: Live Review

As the sun’s rays shone down from above, Brisbane’s Aussie hip hop massive descended on Victoria Park for the third incarnation of Sprung.

Arriving just in time for Melbourne’s Brad Strut I notice a crowd of hundreds gathered early, lapping up his every word while he fought the direct sunlight in his eyes. Rumours of Trem being there to take the stage for a Lyrical Commission reunion were proven unfounded but that didn’t stop the man they call Strutter putting in a heavy performance.

Thundamentals took to the second stage just as Horrorshow were finishing up on the main stage and were lucky enough to get a strong crowd for the majority of their set.

The Sydneysiders have carved out a nice little place for themselves, and from their relaxed but entertaining set it’s easy to see why. Playing tracks from both their albums as well as new single ‘Smiles Don’t Lie’ MCs Tuka and Jewson had the crowd flowing.

By this point the the sun had well and truly set and temperatures were quickly dropping. The punters enthusiasm was not dampened, though, with the appearance of Urthboy.

Fighting to keep his crowd against the popular Seth Sentry on the main stage, Urthboy pulled out all the stops for a highly entertaining and energetic show featuring lots of banter with the crowd and special guest Jane Tyrell, who arrived on stage during the second song to loud cheers from all over. Midway through, the set took an unexpected but special turn when Urthboy invited a friend out of the crowd, who took the mic and got down on one knee to propose to her boyfriend (he accepted)!

A small but enthusiastic crowd remained on the second stage in anticipation of Crate Cartel and were not disappointed as Maundz & Co proceeded to tear it up. The crowd increased dramatically during their show which only pumped them up even more, delivering probably the most intense set of the day. If the confidence and skill on display were any indication these guys won’t be on the second stages for much longer.

Lazy Grey and Jake Biz are Brisbane legends and the 750 Rebels put in another classic show that will only add to their reputation. Backed by DJ Lopsided they ran through tracks from both their careers with Lazy’s ‘That’s What Rap Is About’ and Jake’s vicious ‘Commercial Hell’ being standouts. Midway through the set they were joined by a pumped up Kings Konekted to the delight of the crowd who raised the bar with a stellar guest spot and opened the way for Jake to announce a new album from him and Lazy Grey called ‘Cold Heat’.

Some of the crowd made their way around to catch the end of a triumphant 360 who was headlining the main stage to a packed-out crowd hanging on his every word. Hip hop in Australia is showing no sign of slowing down.

Visit Scenestr for all the photos from the day!

Published in Urban
Wednesday, 11 September 2013 15:38

Seth Sentry: Regional Flavours

Seth Sentry is having a crazy day.

When his interview time with Scene rolls around he’s still stuck on the Tullamarine tarmac, his plane going nowhere. Besides, he’s managed to leave his phone at home.

The call finally comes through an hour later, Seth having finally arrived in Sydney for a show that night. On top of the travel and communication dramas he’s busily prepping for a soundcheck, so you could forgive him for sounding a little manic.

“No, it hasn’t been too bad,” Seth says reassuringly. “That sort of stuff happens.”

Seth Sentry is in Sydney to play the Rolling Stone Live Lodge, a pop-up bar that for a month is taking over some inconspicuous digs on Oxford St. But as far as the Melbourne MC is concerned it’s little more than a digression from the ‘Vacation’ tour, his extensive run of dates throughout regional Australia. The shows have been a blast.

“It’s been awesome, man,” he says. “We’re doing close to 30 performances. So it’s a big fucking run and coming after the ‘Dear Science’ tour, which was all capital cities, we thought we’d keep it really regional. So we’ve just crammed a bunch of dudes into a tour van and we’re driving around.”

It’s the first time in four years Seth has had a concerted set of regional dates, and he’s now wishing he’d done it sooner. Get him talking about the shows and it’s hard to shut him up.

“People are hungry for it. You do a regional tour and people come out and say ‘thank you’ after the show,” he laughs. “It’s really cool, man.

“They’re different in that they’re a little bit smaller than the shows you usually play. These are way more intimate and a lot of times people are a lot closer to the stage than other shows. It’s a different kind of vibe. It’s really personal. And I like that. I dunno: I just end up giving shit to people and making them a part of the show, which is fun for me. I’ve got a very short attention span and I don’t like to do the same show night after night – I like to keep it a little loose and a little improv’ed.”

But it wasn’t meant to be this way – or quite this way, at least. The ‘Vacation’ tour was a Plan B after Seth’s much touted support for LL Cool J on his Kings of the Mic tour in the US fell over at the last moment. Seth won the slot after taking out the Doritos Bold Stage Competition at this year’s South By Southwest Music Conference in Austin, Texas. But, he explains, he and his manager may not have read the fine print properly.

“Dude, we didn’t end up doing it,” Seth says evenly. “The shows that we got offered didn’t really make sense for us financially. Because we would’ve still had to pay our way to get there. It was such a massive line-up, so you’re playing when the doors open to 100 people.

“I’m an independent artist. It wasn’t viable at all. Maybe later down the track we can organise something and go back to the States. But that’s why it was really cool to jump straight into the ‘Dear Science’ tour and then this regional tour to make up for it. So we didn’t waste any time.”

Touring the United States – even as a support – is a dream for many artists. So it’s natural to wonder whether the whole experience has left a bad taste in the mouth.

“No, not at all, man,” Seth says. “I can see it from their point of view. I was a little bit gutted but at the same time it’s been great because we had the time to do a serious tour in this ‘Vacation’ tour and it’s been sick. And there are a lot of places that I haven’t hit before.”

As part of the itinerary, Seth is doing something very different to a regional show when he hits Sprung Festival in Brisbane later this month. And as usual, ask him to look forward to the future and he starts regaling you with stories from the past.

“They set the bar pretty high last time, man,” he says. “The first time I played Sprung, there was a comic book convention over the road. So we rocked up and they’d organised all these Stormtroopers and Darth Vader to be onstage with me.

“Where do I go from there? What else is there for me to do?”

Seth Sentry Plays Sprung Festival, Victoria Park, September 21. sprunghiphop.com.au

Published in Urban
Thursday, 11 July 2013 00:00

Sprung Festival Tickets

In 2013 Sprung Festival returns to Brisbane for a third straight year; and with it a line-up boasting some of the country’s hottest hip hop acts at the moment.

Topping the bill are 360, Drapht and Seth Sentry while other interstaters include: Funkoars, Urthboy, Horrowshow, Thundamentals, Brad Strut, All Day, Purpose and Dialectrix.

The local scene is fronted by Lazy Grey, Jake Biz and DJ Dcide plus Mr Hill & Rahjconkas and Chelsea Jane.

To win a double pass to the Saturday September 21 event at Victoria Park This competition has closed
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 12pm Thursday 18th July at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winner drawn]
2. Winners will be notified by e-mail.
3. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Wednesday, 29 May 2013 15:11

Live Review: Seth Sentry

Holy shit! I haven’t seen The Hi-Fi as animated as it was Saturday night (May 25) since, well... I can’t recall.

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And I’ve seen a fair number of shows at the West End venue. With both levels so crammed sardine juice was leaking from the walls, Seth Sentry had 1200-odd devout followers in the palm of his hand. And aside from a little shyness at the start (surely play-acting, Seth?), the Melbourne rapper — whose 2013 has included trips to South By Southwest, a live appearance on ‘Jimmy Kimmel Live’ and an endless run of charting singles — delivered a performance that offered more than a glimpse at what Seth can expect to be doing across the next couple of years.

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With a gorgeous crowd singalong of ‘The Waitress Song’ and near-chaotic scenes of rabid rans dancing during the hits ‘Dear Science’, ‘My Scene’ and ‘Float Away’ this was a performance that packed international punch, showmanship unlike any other Australian rapper I’ve witnessed for some time and a genuine warmth from Seth towards the fans, his face mirroring utter shock/ childlike wonder at the wall of faces showering him with love.

It must seem like an eon ago that we chatted backstage at Sprung Festival last year, mate — enjoy the ride that awaits you.

Seth-Sentry-24

Photos: Stephen Sloggett

Published in Urban
Wednesday, 15 May 2013 13:50

Seth Sentry: Tomorrow Has Come

Seth Sentry may not have been looking for fame, but fame found him in 2013.

The Melbourne MC is coming off the end of a huge summer following the release of his debut album, ‘This Was Tomorrow’, and its clutch of high-rotation singles, ‘My Scene’, ‘Float Away’ and ‘Dear Science’. A trip to the United States for South by Southwest and a performance on Triple J’s One Night Stand have followed, squaring the ledger somewhat for time passed since the release of his ‘The Waiter Minute’ EP in late 2008.

But there were numerous points during that four year break when ‘This Was Tomorrow’ wasn’t going to happen, Sentry spooked by the raging success of his breakthrough single, ‘The Waitress Song’.

“The album did die a number of times,” he explains over the phone from his Melbourne home. “Because I was going to quit rap and I had all sorts of crazy thoughts. I just lost momentum after the EP and I didn’t know what to do and it scared me so much how well ‘The Waitress Song’ did. I made this little five track EP and that song did so well, and even ‘Simple Game’ off the same record started getting played on Nova and shit. That was bizarre. It just terrified me. I didn’t really know what to do after that.”

‘The Waitress Song’ hadn’t even been intended for release, which in Sentry’s mind drove home how much of a happy accident it had all been.

“We were going to scrap it,” he says. “So it was like, ‘Fuck, that was a fluke’. And then I thought, ‘I’m never doing music again because that was terrifying’. Eventually I just had to go back to writing songs that I wanted to hear about things that I wanted to write about and not over think it too much.”

But it perhaps didn’t feel like four years between Seth Sentry projects. As he somewhat harshly puts it, he “got lucky” with appearances on a 360 mixtape and a tour with Horrorshow, for which he penned a new cut – ‘Our Song’ – with the Sydney duo.

“That just happened to get picked up by Triple J and played a lot. So little things just kept me around enough for people to give a shit. But in 2012 I just ramped it up and went hard on the album. Because people set deadlines on me, and once I had the deadline there I thought, ‘Fuck, I’ve gotta do it now’. And it worked. I got really creative. I was working fast, but it felt like a lot of good stuff was coming out of it.”

The album was finally released in September and met with rapturous reviews by critics. If the subsequent summer has been Sentry getting used to the idea that he may be a legitimate artist, then it’s also been about adjusting to music as a fulltime job.

“It’s been a good transition, really,” he says. “It’s always been something I’ve done in my free time and a little bit of hobby, and since September it’s been fulltime … 100 percent, that’s surprised me. I never thought it was a viable option to become a career or something. It’s just something that I do because I enjoy it, and I still really enjoy it. I feel like I’m cheating.

“There have been little downtimes, but there’s always something coming up, or something in the not-to-distant future that I’m gearing up for. Which is good: I had four years of doing fuck all, so it’s about time,” he laughs.

Since our interview, Sentry has returned from a short tour in North America during which he visited both South by Southwest in Texas and Canadian Music Week in Toronto, as well as playing a clutch of smaller shows throughout the rest of the continent. The undoubted highlight, though, was his win in the SXSW Dorito Boldstage competition, which means Sentry will support LL Cool J on the LA-based rap legend’s June-July US tour. It’s a small sign of the potential for penetration Australian rap music has in an American market, although when we spoke to him Sentry wasn’t totally convinced the local genre is prepared to make the final leap.

“Maybe. I think the thing about Australian rap – and I know Chuck D said this – we’re still really focussed on the lyrics here and we have that skill set with our raps. That’s opposed to a lot of the more mainstream stuff in America: there’s still a massive underground scene there, but in the mainstream that’s been lost a little bit – it’s glossy and your swagger and all that stuff. Here, we don’t have the greatest voices and we haven’t got the best accent, but we focus hard on getting our flow right and the lyrics, the content.”

Indeed, while many remain concerned about the isolationism of local hip hop culture, Sentry doesn’t regard it as being a total negative, pointing out that it allowed the Australian genre to develop its own sound and differentiate itself from the music coming out of the US.

“It’s been kinda good doing that,” he says. “At the start, a lot of the acts who were big were really Americanised, and we adopted whatever the American trends were at the time. People were trying to put on American accents and stuff, and I think it’s been a nice little break away from that. We do our own thing and have our own sound happening now with a unique style. But I do think people get a little lost in that sometimes, and pick a particular era or sound from America and say, ‘That’s hip hop and we’re refusing to budge from that’. Which I think can be a little unhealthy as well.”

Much more practical concerns are now on Sentry’s agenda, with the ‘Dear Science’ tour set to check in at major centres around mainland Australia.

“Originally it was going to be the ‘Room For Rent’ tour,” he laughs, “but now it’s the ‘Dear Science’ tour. Because we didn’t pitch ‘Dear Science’ as a single – it’s just all been really organic, which has been awesome. Triple J started playing ‘Dear Science’ without ever announcing it as officially being on rotation. They just started playing it and the song did pretty well, so now it’s the ‘Dear Science’ tour.

“I’m taking my DJ, B2, who’s an Australian DMC champ. I think he came sixth in the world in terms of the championships. He’s very good, he’s overqualified! And supporting will be Tuka and Ellesquire. Once I’ve finished my tour, I’m going to take a little break. By then the new ‘Bioshock’ game should be well and truly out. I’ll play the shit out of that and then maybe another tour or two later this year.”

Published in Urban
Wednesday, 19 September 2012 14:33

Seth Sentry: Tomorrow Is Here

He’s one of Aussie hip-hop’s biggest new names, and with two hot singles and a national tour (almost) underway, Seth Sentry is going from strength to strength.

You probably know him from ‘The Waitress Song’, or perhaps his new singles ‘My Scene’ and ‘Float Away’, which have been copping a thrashing on radio of late. Now homegrown rap prodigy-slash-breakfast-aficionado Seth Sentry has dropped his debut album, ‘This Was Tomorrow’, and is about to launch a 15-date tour.

“I’m pumped. I get to do a big set. I've never done that before, it's just been like these 40 minute kind of sets because I've been touring this five-track EP which I don't advise to anyone, because you've gotta flesh it out, so I've had to flesh [the live show] out with a lot of shit talking and mixtape tracks, but now, it's a set, it's an hour plus. We had to clip songs, which is weird for me.”

His first, wildly popular EP, ‘A Waiter Minute’, dealt with more than just breakfast; it’s laden with dark themes and general disenchantment, and Sentry continues to flaunt this sensitive side on the album.

“Probably the saddest song I've ever written is on there, ‘Ten Paces’, which is a break-up song. I find it hard to even listen to that, to be honest. I've done the break-up songs before but they're always like, loosely based on stuff and this is a bit more accurate, so it kind of takes you back to that place.”

Despite the sore heartstrings, Seth says he was in a better place this time ‘round than he was when he penned ‘A Waiter Minute’.

“I was just like a confused kid, you know? I did a lot of drugs and was working hospitality, which I detest, so yeah, it was pretty easy for me to just be miserable and confused, you know. And I think this time I just had a bit more fun with it.”

Seth Sentry plays The Zoo Thursday September 20 before he returns to play Sprung Festival at the RNA Showgrounds Nov 10.

View the ful Line Up for Sprung Hip Hop Festival

Published in Urban
Friday, 14 September 2012 16:00

BIGSOUND 2012: Night Two

Scene reviewers Nash Johnston, Lady Lex and Tara Capel throw themselves into the second night of BIGSOUND Live.
the-gooch-palms-bigsound
I was NOT ready for the Gooch Palms when I stepped into Ric's at eight o'clock. I'd previously seen a few youtube clips and such, gathered the Newcastle duo were not shy of getting wild, but what followed in the next half-hour was bordering the disorderly and uncomfortable side of wild. The fact that the frontman was dressed solely in a pair of short, gold tights wasn't even an issue—they're garage punk, or 'shit pop' (thanks facebook), it's all cool—but what did it for me was when he started violently bashing the microphone into his own forehead. I couldn't help but feel slightly ill at ease watching the blood trickle down his face from the self inflicted wound, and I'm sure I wasn't the only one...

The Gooch Palms ended their set with a shout out to The Straight Arrows, and within a matter of minutes everyone was at a packed Electric Playground for another round of garage rock. The Straight Arrows were incredibly loud and despite it still only being early in the night, the ecstatic punters were already up and crowd surfing — evidently nobody was holding back on this final night of BigSound. The Arrows' sound was a shot of psych-garage with a chaser of feedback. Á-la Thee Oh Sees, they thrashed around the stage like men (and lady) possessed, and their faster numbers proved best.

Next, it was back to Ric's for New Zealand's Transistors. The trio put on a high energy set for the smaller venue, and instead of being disappointed when a mosh didn't start on its own accord, the guitarist took it into his own hands and jumped down to start one himself. The drummer played so vigorously I suspected he may tip over at any second from dehydration—and beer only makes you more dehydrated, man.

transistors
Finally it was over to the Press Club for The Belligerents and Drunk Mums where the former played an extremely tight and focused set, their Foals-esque sound providing a modern flavour that was refreshing after such a high-volume of retrospective garage-revival. The crowd remained placid despite the first group's indie-dance frivolity, but when The Drunk Mums hit the stage a single (crazed) security guard really had his hands full. The Drunk Mums put on, by far, the wildest set of the two nights. For example, their members included a young man who's only job was to spit fake blood on everyone. In a nutshell, the whole thing was hectic.

BIGSOUND was great.
Nash Johnston

The mission, should you decide to accept it: To catch 60 bands across 12 venues over 4 hours in the 1km stretch of Fortitude Valley’s entertainment precinct.



The execution: Emerging Australian singer/songwriters, producers, bands and acts from every imaginable genre banging out their best in 30 minute sets.

The revelation: That the landscape of the Australian music industry has changed significantly over the last five years to behold a richly diverse sophistication previously unobserved in such a capacity. While Australia has always been dripping in rock, the inclusion – and tolerance, nay, even acceptance - of electronic and hiphop music indicates a flourishing and refined musical palate. Australian soil may be gritty and daunting but the fruits are sweet fascinating and plentiful. Hail the new age of independent Australian original music!

The disclosure: Watching BIGSOUND delegates high-fiving each other walking down Ann Street; an abundance of viewers from all walks of life with an apparent, almost grim, focus on the live music program and streaming in and out of venues and crowding around stages; masses of musicians garbed in the universal uniform of black, black and more black, lugging around instrument cases on a night usually reserved for drunken student escapades; The Valley - notorious for its penchant of banging electro dance music – pulsated from the resonance of amplified drums, guitars and vocals from the corner of Marshall Street down to Winn and winding eagerly through laneways; observing that EPs seem to have replaced albums; the abundance of amplification, stage and electronic and stage gear required for such a massive event and most of all: a united local music industry of venue managers to sound engineers and stage managers intent on showcasing the best of Brisbane as a location.

The acts: Catching all 60 acts was going to be an impossible quest. Discovering new surprises hidden within the recesses of Australian music, however, was always on the cards. The Hello Morning at Black Bear Lodge proved a refreshing tonic; the suited-up predominantly-guitar indie rock band boosted by Steven Clifford’s staggering vocals with dense harmonies care of rhythm guitarists Matt Smith and Dave Manton. The entire band was superbly augmented by Joe Cope’s Nord keyboard with Matt Vance and David Oxley solid on drums and bass respectively; their songs a testament to resolute writing skills and artistic delivery.

Dallas Frasca headed the biggest little rock band in town. Her drummer’s chops were unadulterated, the snap of the snare and bass drum resounding joyously throughout Mustang Bar, while her guitarist formidably brandished his star guitar amidst ringing chords of appropriate anguish and impudence. Dallas, resplendent with big red hair and feathers, soared, her remarkable vocal range cutting cleanly through the explosion of accompanying hard rock beats and rhythms. This rock queen was a welcoming smack to the face, her creative juices heating up the songs and the stage.

Nine-piece outfit Saskwatch confirmed another juicy discovery, though ‘Leave It All Behind’ is the current darling of Triple J radio. The neo-soul band featured a strong rhythm section, bulked up by a great horn section of bari sax, tenor sax and trumpet. This group remained a distinguishing feature across the night, no doubt, largely owing to the mesmerising sassy lead vocalist Nkechi Anele. With such a huge, full sound emitted from such a tiny frame, this chanteuse held the entire crowd within the palms of her tiny little hands. Her incredible vocals and the musicians’ great talents were further enhanced by the smart songwriting and extraordinary arrangements.

But the biggest eye-opener came from most unexpected quarters: Hip hop artist Seth Sentry at Tempo Hotel. Teamed with charismatic DJ Benny, Seth Sentry’s entertainment skills were off the richter scale. While the presence of many musicians on a stage easily generates currents of energy to a crowd, as a solo artist backed chiefly by tracks, the art of entertaining can be a daunting task.

For Seth Sentry, beguiling a crowd from the stage seems natural. Kids were rapping and singing along with Seth, his rich vocal timbre lending his Australian accent an engaging tone; the words blithely commenting on the single Aussie lifestyle of living with housemates, chasing waitresses and solitary breakfasts at cafes. He concentrated all his energy into connecting with each person in the crowd; bonding through the power of his words. Bands gain attention easily enough, but Seth Sentry was an attention earner.

Other notable acts: Kimbra-influenced electronic baroque pop artist Elizabeth Rose captured the crowd at Press Club with her spatial sounds and keyboard skills; from the Triple J Stage at Oh Hello, live sampling of keys, drum machines and audio boxes propelled Hayden Calnin onto the audience, lyrical reflections upon our contemporary times undulating across the crisp sound system; Canberran powerhouse dance act Aston Shuffle from Bakery Lane stunned and awed as much with their electronic sounds as their collection of advanced drum machines, CDJs, mixers, drum pads and micro keyboards. Rock outfits Young Men Dead and Royston Vasie likewise dazzled with their rock angst and amplified sounds from the Magic City and Electric Playground platforms.

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The verdict: Australia is a vast land of diversity with its expansive variety in landscapes. And this mixture is greatly reflected in the music currently pumping across the country. Amongst the many different genres performed on Night 2 of BigSound Live, the one thing that stood out is how culturally diverse Australian original and independent music – particularly Melbourne - has become.

And most important of all: how suited Brisbane is to host BIGSound, with its lush balmy September weather, and convenience thanks to the kilometre stretch of Fortitude Valley’s entertainment precinct. The Australian music industry has certainly exploded within the last five years to now house a wide range of genres. From rockabilly, country, neo-soul, heavy rock, folk roots, hiphop, electronica, indie rock and pop, we have become a nation of musical allsorts. And Brisbane is the perfect setting to accommodate such a jewel.
Lady Lex

If the first night of BIGSOUND was big (and it was), then the second night was bigger, as punters once again took over the Valley for another night of great live music.

The night kicked off with Brisbane band The Cairos playing in a car park off Winn St that had been transformed into the QMusic stage. Maybe everyone was still recovering from last night or hadn’t warmed up enough yet, but these guys didn’t get the response they deserved, despite drawing a sizeable crowd. It wasn’t until everyone heard the guitar riff into their final number ‘We All Buy Stars’ that they gave a little cheer before head bopping and toe tapping along.

A short walk around the corner and I climbed the stairs of The Zoo, ready to catch Hungry Kids of Hungary and The Jungle Giants. I arrived in time to see Hey Geronimo hit the stage and I’m glad I did. These guys were having an awesome time up there, and the audience was also having an awesome time getting into their catchy pop rock tunes. Towards the end of their set a bald guy leapt up from the audience and joined the band to rap a song, which just added to the fun [Ed's Note: That 'bald guy' would be Scene contributor Dylan Evans, aka Danaj The Unstoppable].

It was the first time Hungry Kids Of Hungary had played in their hometown Brisbane for a year and it was good to have them back. They stuck to new songs from their upcoming second album, with a few hits from their debut LP ‘Escapades’ scattered in between (unfortunately signature hit ‘Scattered Diamonds’ was nowhere to be seen). These guys have such a comfortable laidback presence on stage, it’s like they’re at home up there — but they could really do with some more crowd interaction and energy on stage. They just played their set and left without leaving any real lasting impression.

Without a doubt the highlight of my night were young up-and-coming Brisbane band The Jungle Giants. They took to the stage to a deafening response from everyone packed into The Zoo and launched into hits including ‘Mr. Polite’ and ‘No One Needs To Know’. I wasn’t expecting to see crowd surfing but bassist Andrew Dooris took a dive, and vocalist Sam Hales nearly did too. Lead guitarist Cesira Aitken proved she isn’t just a pretty face and can seriously play that guitar. There was no awkward stage presence with these guys; they just let loose, and their indie pop rock songs, while nothing new, are insane live. They finished with their latest single ‘She’s A Riot’ leaving the entire room buzzing with energy.

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And so concludes another BIGSOUND. If one thing can be said about the last two nights it’s that it’s a very good time to be a band in Brisbane. We are producing some talented young acts and I can’t wait to do it all again next year.
Tara Capel
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Published in Events Music
Wednesday, 27 June 2012 11:19

Seth Sentry: Down To Earth

While his debut album has been a longtime coming, a release date isn’t too far away for Melbourne rapper Seth Sentry.

With a slew of guests for the likes of 360, Horrorshow and Pez in the three years since he dropped debut EP, ‘The Waiter Minute’, Seth is now primed for an extra busy second half to 2012.

You dropped ‘My Scene’ earlier this year... the first single from your much anticipated debut album. Where are you at with it, and is there a release date on the horizon?

Close enough to be able to listen to the songs on my iTunes. Such a good feeling. No release date as of yet.

Musically, how is the record shaping up?

I guess it's kind of an extension of ‘The Waiter Minute’ EP. There's obviously been some natural progression considering it's been four years, but I'd say it's still in the same vein.

Wikipedia says you were working with producer Matik in 2010... are you still collaborating with him? And do you have anyone else handling production duties?

Yep, still with old mate Matik. But this time I have a couple with Styalz Fuego and a few with Trials. 

Who else have you collaborated with, if you can drop names?

For the album? So far it's just me. I always hate when dudes force features and I figured if it was gonna happen it would be a real natural thing. It just didn't happen this time so it's all about me, ha!

Personally, has it been frustrating for you with the long gestation period for this album?

Sometimes frustrating. I guess once I decided it was go time and things didn't happen at the pace I wanted it was annoying. But I understand. I'm the one that spent two years playing video games and smoking weed.

‘The Waiter Minute’ EP... how much have you drawn from that project with the new material, if any?

I guess it was a learning curve. I'd never completed a project before that and I learnt a lot from it. I also did everything on that from the ground up in terms of marketing and release. So yeah, learned a lot.

‘The Waitress Song’ lifted your profile immensely... has that added any extra pressure to your own game, knowing that there are expectations particularly given the long wait for the album?

Yeah I guess so, but I try not to think about that sort of shit. That sort of stuff can make a bloke not wanna rap again.

While the debut Seth Sentry album is still to arrive, you’ve been mega busy over the years dropping verses for a range of emcees etc. How have your relationships, particularly with Pez, strengthened your own creative pursuits?

I love doing feature verses with mates. It has definitely helped me maintain some momentum as well.

You’re on the bill for Sprung Festival, the country’s only hip hop festival; it must be galvanising for the local scene to have such an event on the calendar?

Yeah it's crazy. I reckon this sort of thing would not have been possible a few years back. Plus being mates with a lot of the dudes on the bill, it's gonna be a big catch up!

Not to start territorial wars, but Brisbane getting the jump on the southern states for a hip hop only event... would you have expected Melbourne to have already put on an event of this scale?

Brisbane 1 Melbourne 0.

Seth Sentry the MC... how would you describe your style to an alien?

Down to earth.

Seth Sentry will be joined by Hilltop Hoods, Illy, Pez, TZU and many more at Sprung Festival, at the RNA Showgrounds, November 10. sprunghiphop.com.au
Published in Urban
Monday, 18 June 2012 11:11

Sprung Hip Hop: 2012 Line-up

After an amazing event in 2011, the Sprung Hip Hop festival is returning to Brisbane with the country’s biggest hip hop act, Hilltop Hoods, as headliners.

The Hoods will be joined by Illy, Pez, TZU, Vents, Kerser, Mantra, Spit Syndicate, Seth Sentry, Thundamentals, Bias B, Briggs, The Tongue, Evil Eddie, Mase N Mattic, Bam Bam, Seven, Deathstarrs, Dwizofoz and Kudos.

Scene Magazine is once again stoked to be a presenting media partner (alongside Triple J) for Sprung Hip Hop, which moves to its new home at the RNA Showgrounds on Saturday November 10.

The line-up for the all-ages event was leaked earlier today when Street Press Australia broke the media embargo prior to the bill being announced on Triple J.

There is a limited pre sale for subscribers of the Sprung Hip Hop mailing list from Friday June 29. General tickets on sale from Friday July 6 through OZTIX.
Published in Events Music
Wednesday, 10 February 2010 12:49

Seth Sentry Interview

The Storyteller

Melbourne MC Seth Sentry is set to hit Queensland early next month to take part in Chalkfest.

In late 2008, the Seth Sentry name became known following the release of 'The Waiter Minute’ EP. The 25 year-old rose to acclaim with the five tracks featured on 'Waiter Minute’, culminating in a number 31 placing in the 2009 Triple J Hottest 100 for the hit single 'The Waitress Song’. A full-length release was originally planned for a release towards the end of last year, but Sentry is currently deep in the guts of the recording process.

There will be a certain degree of anticipation surrounding the debut album following the success of 'The Waitress Song'; it broke a Triple J Unearthed record, reaching over 43,000 downloads in total. So what's the deal vis-à-vis the new release?

"Yeah the recording is going well, I've got a lot of demo songs by now, I'm probably around halfway through. I've just been working on songs with producer Matik. It's really starting to take shape, it's starting to feel like a real, cohesive album which is a great feeling."

Sentry has taken much in terms of experience from recording and then touring. He describes the dynamic of recording for the EP and that which is currently taking place.

"With the EP, I guess the way that we did it the first time was one song at a time and we would just work on that song for ages, chip away at it, fine tune it and then move on to another. So as we were writing it we were recording it, that was really lengthy. Both me and Matik were working full-time as well which made it really hard. But this time we want to go in there and smash it out in a week which I think will make the album glue together a bit better."

It isn't hard to envisage an album of bold lyrical concepts from Sentry. His debut EP demonstrated a wonderful capability for narrative tracks. Sentry explains how this mode fits into his writing. "Yeah I actually have to try and not do that sometimes because I don't know if everyone wants to hear a story in every track I write. But generally that's what I do, my first thought when I hear a beat from Matik is to write a story on it. I'm not sure if that's a good thing or a bad thing but it's just what I do."

Seth Sentry plays Chalkfest at the Chalk Hotel, March 7.

Published in Urban
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