# data[].attributes.attachment_link.readable_text
So just who are the names leading the charge in 2021? In previous editorials, we've shouted out the established acts running things right now: Sampa the Great, Manu Crook$, Baker Boy, B Wise, Genesis Owusu, Tkay Maidza and more. But with so much bubbling up around the country, today we're turning our attention to the fast-risers who've just broken through -- or are about to.

Why they matter: You might know A.Girl as a vocalist but as Hau Latukefu will tell you, the girl can rap too. The artist born Hinenui-Terangi Tairua takes her cues from the likes of SZA, Jhené Aiko and Jorja Smith, gliding gracefully between R&B, pop and hip-hop. After announcing her talents with a pair of releases in 2019, last year she came back with her strongest track yet in the super slick 'Lola'. We have it on good authority that she has even bigger things coming for 2021, so watch this space.

Why they matter: We shouted out Tasman Keith in our 2020 round-up of rappers to watch, but the Bowraville talent has leveled up so much in the past twelve months we had to bring him in again for 2021. After sharing his incendiary 64 Bars and To Whom It May Concern EP last year, Tasman kicked off 2021 by supporting Midnight Oil on tour -- a very high-profile way to return to the stage. With a debut album rumoured to be on the way, things are only about to get even bigger.

Why they matter : Barkaa only began putting out music in 2020 but already, she's turning the right heads. Hip-hop tastemaker Hau Latukefu named the proud Malyangapa, Barkindji rapper one to watch and Jimblah dubbed her track 'For My Tittas' "Blak greatness" in our round-up of the most underrated Australian hip-hop tracks ever. Not bad for someone only a year into their career.

# data[].attributes.attachment_link.title
21 Australian rappers blowing up in 2021

# data[].attributes.attachment_link.description
So just who are the names leading the charge in 2021? In previous editorials, we've shouted out the established acts running things right now: Sampa the Great, Manu Crook$, Baker Boy, B Wise, Genesis Owusu, Tkay Maidza and more.

# data[].attributes.attachment_link.readable_text
A relatively young genre in Australia, hip-hop truly gained momentum in 1995 with the birth of the now defunct Obese Records, which arguably pioneered the early "Australian hip-hop" movement. Aussie accents and supporting home grown hip-hop was their gospel.

With this came authenticity, which is core to hip-hop values. Without an Aussie accent, it was deemed inauthentic and artists like FiggKidd - who maintained an American accent in their music - were heavily criticised and left as outsiders in the scene.

Even recently, Australian rapper Iggy Azalea, who gained a lot of success in the U.S., has received enormous criticism for rapping with a Southern American accent.

Check out Logic talking about Iggy Azalea's accent and the importance of authenticity:

The intentions of the early "Support Australian Hip-Hop" movement for authenticity were good and important for the growth of the genre. It was on the back of this movement Obese Records signed a stable of the first commercially successful artists in the genre like the Hilltop Hoods, Bliss n Eso, Drapht, and more.

Parallel to this, Elefant Traks were having their own break out success in Sydney with The Herd and Urthboy.

Support Australian Hip Hop logo
However, what started as a revolutionary-inspiring movement which shaped a genre and the imagination of young Australians everywhere, quickly perverted into fans subconsciously making "Australian hip-hop" synonymous with white "true blue Aussie" hip-hop.

This made it extremely difficult for Australian immigrants who looked and sounded different to the artists having commercial success in the early 2000's to really find a place and an audience.

This is perfectly articulated in Sampa The Great's track 'Any Day': " 8 straight years hip-hop / Didn't look like me." A sentiment which has also been echoed by Briggs - one half of AB Original.

"If you haven't noticed, all of Australia's dominated by white guys," Briggs laughs. "I grew up on Ice Cube and Public Enemy, Snoop Dogg and Wu-Tang, Big Pun, Biggie, whatever... I never caught Aussie hip-hop till much later. A lot of that felt weird to me.

"I didn't feel it so much from the artists as I did from the punters," he says. "To me, when they were saying stuff like, 'I like Aussie hip-hop, not American hip-hop', that was just a veiled way of saying, 'I like white people, I don't like black people.'"

Luckily, and because of this, the shift moved on from "Support Australian Hip-Hop". The mantra had served its purpose: it did its job by breaking the genre, but, quite frankly, hip-hop in Australia had outgrown it, and by the early 2010s artists were distancing themselves from what it had begun to represent.

Seth Marton, a Melbourne-based MC who performs under the name of Seth Sentry, also recalls the late-2000s stagnation in local hip-hop. "I think for a while there, people in Australian hip-hop were stuck just solely listening to one another," he said in an interview with The Brag. "It was that whole 'Support Australian Hip-Hop' movement, with the stickers and stuff... There was a period there where things were quite stagnant."

So, over the course of the 2010s, hip-hop in Australia went from being a carved-in niche to a national phenomenon, getting more diverse in sound and representation with every year that passed.

With this history as the backdrop, we've tapped hip-hop experts from all over the country to help sort out a definitive listing of 50 of the greatest Australian hip-hop songs of all time.

This list has been put together by Tone Deaf in consultation with artists, record labels, managers, and key figures in the Australian hip-hop scene spanning the last three decades.

50. 'So Bad' by Class A:

Produced by M-Phazes, 'So Bad' by Class A came as the first single from her first album Me, Me, Me & Him: The Secret Life of a Receptionist. Accompanied by a music video with many scenes shot at just the right angle in front of a bright red Chevrolet, this track drops you right back into the days of '80s and '90s hip-hop.

49. 'Head High' by Koolism:

Featured as part of the Australian Hip-Hop Supports Canteen compilation album, Koolism's track 'Head High' shouts as an anthem to the cancer-afflicted teens this album supports. With lyrics like " Breath In / Breathe Out / 540 ways to live / I choose one " the song infuses life into listener, encouraging them to take life as it comes, and make the most of it.

48. 'Crystal Balling' by Jackie Onassis:

Released in 2012, 'Crystal Balling' shines the way with hip-hop duo Jackie Onassis at the helm. Thought provoking lyrics enlightening the listener on how to dream big while not worrying about what's currently going on because " We'll work it out in the morning. "

47. 'destiny's' by Arno Faraji:

"This track is a masterclass in sounding effortlessly cool: sharp and swaggering lyrics over a simple repeating drum loop that Faraji manages to constantly re-contextualise with his seamless flow switches." -Sam Bowmer, Creative Manager for The Brag Media

46. 'Wish You Well Pt 2 (It's A Vibe)' by ChillinIt:

"ChillinIt is undoubtedly one of the most charismatic figures in the Australian rap scene. While he rose to prominence via a host of ruthless freestyles, it was this track which brought him to the mainstream.

"With the iconic test match music video featuring a slew of rappers including Huskii, Wombat, and Triple One, this one caused waves everywhere and best represents the sonics and elements of fun and mateship that Aussie hip-hop was built on. But with a current fay flavour." -Matthew Craig, Editor / Managing Director AUD'$

45. 'WUTD' by Genesis Owusu:

"The word 'groovy' is thrown around a lot (perhaps too much) by daggy white people like me these days, but as I bounce to this track I can't think of a better description. This song is groovy in all the best ways, taking all the best elements from 20th century funk and R&B and blending it with modern Aussie hip-hop to create a song that's guaranteed to get you moving." -Sam Bowmer, Creative Manager for The Brag Media

44. 'Bad Habits' by Kerser:

Featured in Kerser's 2016 album Bad Habits, the title track stands as an anthem for anyone who's set foot into anything that is considered to be on the unsavoury side. From falling into crushing addictions with drugs, having to be escorted to hospital due to near overdoses, and getting fed up with other rappers spitting lyrics about drugs being "cool", 'Bad Habits' gives listeners a brief insight to what struggling with addiction is like.

43. 'Let Her Go' by The Kid LAROI:

"A teenage Koori kid from Redfern is the hottest property in US hip-hop right now. That's a fact. The Kid LAROI burst onto the local scene at only 14 years of age and quickly captured the attention of US label head and rap mogul Lil Bibby. A Lyrical Lemonade [directed] video later, some iconic Michael Jackson references, and this is a moment that will never be forgotten." -Matthew Craig, Editor / Managing Director AUD'$

42. 'Karma' by 1200 Techniques:

"While the Hilltop Hoods might have brought Aussie hip-hop to prominence with 'The Nosebleed Section', real OGs will remember when just one year earlier, 1200 Techniques were bringing it to the mainstream with the infectious hit that is 'Karma'.

"Its chart performance might have left something to be desired, but when you mix a classic hook with those inimitable rhymes and vibes, you've got the recipe for one killer track that still holds up." -Tyler Jenke, Editor of Rolling Stone Australia

41. 'For Good (feat. Sampa The Great)' by REMI:

Combining the brilliance of Melbourne hip-hop artist REMI and Zambian singer-songwriter Sampa The Great, 'For Good' emits pure beats that can't stop the listener from grooving. Bringing a unique mix of both solo verses for each artist, plus a combined chorus, the 2016 track has seen over four million spins on Spotify.

40. 'Real Life (feat. K.I.K.I)' by Mind Over Matter:

In an upbeat mix, Mind Over Matter's 'Real Life' drags us through the mundane cycle that a week offers: waking up to blaring alarms, working a drab desk job, and having a bleak outlook on life. The chorus says it all with, " I know what real life feels like / But I just wanna feel like hoooowoowoooo. "

39. 'Misunderstood' by Youngn Lipz:

"Not many locally have risen as quickly as Youngn Lipz. The Polynesian talent from Sydney's West dropped his playfully romantic debut 'Misunderstood' in October of 2019 and quickly catapulted to the upper echelon of Aus urban acts.

"In a sharp turn from the drill sounds which dominate the region, Lipz showed a whole new dynamic that stories from the street can be told using harmonies and acoustic guitars." -Matthew Craig, Editor / Managing Director AUD'$

38. 'The Lostralian' by Delta:

Born from the mid-2000s, Delta's 'The Lostralian' forces the listener to understand how to push past stagnation and not get stuck in the day-to-day drama that the world holds. From entering the song talking about the daily grind, to ending with pushing past the " chaos in the street, " the 2006 track stands as a song to get you motivated and take yourself out of the mundane cycles.

37. 'The Signal' by Urthboy:

Featured as the title track from Urthboy's 2007 album, 'The Signal' serves as a track the listener can't not get behind, as hip-hop artist Tim Levinson welcomes us with " Ladies and gentlemen" offering for us to " check it out. " To keep with the Aussie roots he sews, the song also weaves in references to the South Sydney Rabbitohs NRL.

36. 'Dun Proppa' by Def Wish Cast:

The 2011 hit 'Dun Proppa' shows Western Sydney veterans Def Wish Cast spitting lyrics faster than anyone can keep up. Interspersed with plenty of record scratches, and lyrics that almost serve as a seperate track of beats overlaid, singing along to this track is a daring feat.

35. 'Engineers' by HP Boyz:

"HP Boyz are a different breed. The trio of rappers of Polynesian background burst onto the scene in 2019 as Australia's answer to Migos and have continued from strength to strength. Engineers tells the story of life in Melbourne's South-East ends utilising a mix of rap and latin influences. It led to sold out international tours and a host of imitators in less than 12 months." -Matthew Craig, Editor / Managing Director AUD'$

34. 'What's Your Malfunction' by The Funkoars:

"Trailblazers of the South Aussie hip-hop scene, the Funkoars proved that local hip-hop doesn't need to be serious, especially when you can back it up with mad skills like this.

"Featuring brilliant beats and ferocious vocal delivery, there's no denying the status of the Funkoars as icons of the scene, with this track deserving to be in an Aussie hip-hop museum." -Tyler Jenke, Editor of Rolling Stone Australia

33. '17 Again' by Adrian Eagle:

Only out since 2019, Adrian Eagle's track '17 Again' is a breezy track that combines the best of a smooth back beat combined with vocals that are unparalleled. The song takes the listener through a journey of what the narrator's life was like at the tender age of 17, and all the trials and tribulations that come with it.

32. 'Spaceship' by Phrase:

"Spaceship had live drums and guitars, with chain-gang vocals, things that didn't really happen in hip-hop at the time. Phrase's rap has so much pent up energy and subdued common-man anger, it's the song that got Phrase into triple j and lifted him up to be a name in AU hip-hop." -Michael Taylor, Managing Director Universal Music Australia

31. 'Work' by Iggy Azalea:

"I think this was probably the first song I heard by Iggy a few years ago and I still love it. It's just a fun, bad bitch king of song. Let's also never forget that bizarre TikTok '" Walk a mile in these Louboutins" challenge' it later inspired that had people using everything from oven mitts, to dust bins, to cakes as shoes." - Jessie Lynch, Writer for The Brag Media

30. '77%' by The Herd:

"Hip-hop has always been a voice for the political, though it was arguably The Herd that showed just how the Aussie hip-hops scene is bringing important matters to the forefront via their rhymes.

"With a chorus such as this, it was never set to be a mainstream hit, but its vital lyrics referring to the 2001 Tampa affair helped turn heads as the group used statistics to boldly state that '77% of Aussies are racist'. It might have been a hard pill to swallow for some, but for others, it ignited a conversation we needed to have." -Tyler Jenke, Editor of Rolling Stone Australia

29. 'No Effect' by Hooligan Hefs:

Only released in 2019, 'No Effect' by Sydney's Hooligan Hefs is laid against a pumping beat that keeps knees bouncing, heads bobbing, and listeners grooving. With a repetitive chorus and beat, the track serves as the perfect song for having a bit of a dance to.

28. 'I Was Only 19' by The Herd:

Originally by Redgum and serving as an anti-Vietnam War song in 1975, The Herd transforms 'I Was Only 19' into a killer hip-hop track, giving the tune new, modern life. By keeping the tune of the chorus in line with the original track, the song brings listeners to reminisce on the classic song while diving into the new version.

27. 'No Time' by Kwame:

Formed in 2018, the track 'No Time' from Kwame's second EP sees the New Zealand born hip-hop artist sing about the ins and outs of a relationship when you're wanting one with an individual, but then so many incidents block the way. It also spins brilliant lines like, " Chappy lips I think you need some pawpaw. "

26. 'Marryuna (feat. Yirrmal)' by Baker Boy:

"'Marryuna' serves as being an absolute force of nature that demands you to dance. Not only does Baker Boy deliver exactly what he intends to with this track, he also serves as a completely humble artist who deserves every single play his songs receive." - Brittany Jenke, News Editor for The Brag Media

25. 'M.O.B' by Tkay Maidza:

Originally from Zimbabwe, but calling Adelaide home, Tkay Maidza slays on 'M.O.B.', spitting lyrics like nobody's business. The track featured at #66 in triple j's Hottest 100 countdown of 2015, with many arguing that it deserved a much higher ranking.

24. 'OG Luv Kush P.2' by Kaiit:

"This song put Aussie soul on the map in a worldwide way. Without a doubt the greatest voice and flow. Lyrics and storytelling, unique to her own. She is as smooth as she is powerful and as tender as she is strong. Gaining the notoriety from soul legends, this song will go down as an important one for truth and self love anthems." -Adrian Eagle

23. 'Young And Dumb (feat. Bertie Blackman)' by Chance Waters:

Beginning with twinkly, star-like sounds, Chance Waters' 'Young And Dumb' embarks on a journey of wanting true love, but still being a bit young and not experienced enough to go through it. From the opening line, it can only be imagined what his love life is like: " She bit my hand so hard that it drew blood / I think that was the moment I knew true love. "

22. 'No Rides Left' by Horrorshow:

Horrorshow's 2008 track 'No Rides Left' begins as a slow piano-laden tune, before transforming itself into a beat overlay laced with lyrics that induce a 'carry on' mentality. With the repetitive chorus of " We ride till there's no rides left, " the tune resounds as an anthem of working your way through the tough times.

21. 'You Always Know The DJ' by Allday:

"I remember hearing Allday's early song 'So Good' on triple j and being blown away, his melodic flow and accent morphing was a much needed breath of fresh air in a scene that was ripe for change. It showed he'd studied the greats but wasn't interested in maintaining the status quo.

"His Gold selling single, 'You Always Know The DJ', to me, was a clear sign that he'd really arrived and was only going up. With legends One Above and Cam Bluff providing a world class beat that I wish I made, Allday's clever, melodic hook and trademark "reserved yet totally in the pocket" flow it was always going to be a big song.

"He's my pick to be the first Aus hip hop artist to break into the overseas market in a big way." -Stephen Mowat (aka Matik)

20. 'Sally (feat. Mataya)' by Thundamentals:

"Thundas' 'Sally' has such an infectious beat, vibe, and melody - it's like if CHIC got too stoned and had to play slower but never lost their groove. The storytelling is brilliant; insightful while funny. It also has become one of the bigger songs and highest Hottest 100 songs for Thundas." -Michael Taylor, Managing Director Universal Music Australia

19. 'What Would Happen?' by Pegz:

Embodying that true hip-hop sound, 'What Would Happen?' by Melbourne-based artist Pegz begs the simple question of "what would happen" if you were to go through a series of different scenarios. If you're keen to make a bucket list, this song is a good place to source your life goals.

18. 'Hell Boy' by Seth Sentry:

"'Hell Boy' makes the list for me for multiple reasons. First off, the way Seth's performance and Styalz' production work together is brilliant - from the change ups in the beat to mimic Seth's flow, to the way the dark, tongue-in-cheek lyricism is mirrored by the instrumental choices.

"Secondly, it never gets boring; as someone who needs to be kept engaged, the song is constantly evolving, moving between boom bap and trap, effortlessly interweaving diverse sonic elements such as a dusty double bass with a staccato choir, all within 3 minutes and 24 seconds. What a tune." -Jon Reichardt

17. 'Energy (feat. Nadeem Din-Gabisi)' by Sampa The Great:

"Ahhh Sampa - I could write a thesis on how much I love her and everything she stands for and represents in music today. She is the epitome of strength, grace, honesty and fearlessness, everything as a fellow woman I want to feel and connect with when I listen to music.

"Her visuals are sublime, her lyrics are witty and smart, and her track 'Energy' runs the emotional gamut of femininity - intuition, family, strength, empathy, shame, love, and the quest to find balance. Sampa is an amazing representative of Australian music whose impact is being felt across the world." -Petrina Convey, Sony

16. 'January 26' by A.B. Original:

Serving as one of the boldest hip-hop tracks to date, A.B. Original's 'January 26' gives blatant evidence of why the modern holiday of Australian Day serves as a slap in the face for the Indigenous of Australia.

With lyrics like, " How you wanna raise a flag with a rifle / To make us want to celebrate anything but survival? / Nah, you watchin' telly for The Bachelor / But wouldn't read a book about a fuckload of massacres? " this tune will really make you think twice about gladly saying "Happy Australia Day."

15. 'Maybe Tomorrow' by Chance Waters:

"Chance was so unique - maybe the first of the laid-back AU rappers, he drew melody into his songs, and used smart lyrics to get his messages across, which were often important political and social commentary - but the whole time you felt good listening to his music.

"Luke G (of The Brag Media) was super early discovering and managing Chance, and I loved working with them both when Chance was on Island AU." -Michael Taylor, Managing Director Universal Music Australia

14. 'Heaps Good' by Muph N Plutonic:

"Muph N Plutonic emit pure Aussie confidence through their 'Heaps Good' track, proving that they're still 'heaps' relevant, as " they'll never fade like ya jeans would" - and, let me tell you, this tune has far outlasted any of the pairs of jeans I've ever owned." -Brittany Jenke, News Editor for The Brag Media

13. 'Fuego (feat. Anfa Rose)' by Manu Crooks:

Smooth talking, easy beats, with interspersed interludes, 'Fuego' by Manu Crooks talks about the fire that a certain girl brings to Ghanan-Australian rapper Emmanuel Adu's mind.

With lyrics like " But I'm already taken got a girl now / And she so, Fuego / I don't need to leave I'll stay home / And we gon' lay low," you can't help but roll around in your bed and wish that you had someone to also sing with such passion about.

12. 'The Waitress Song' by Seth Sentry:

"'The Waitress Song' was the first time I made a beat without sampling. I didn't really know anything about music theory. I was just messing around on piano and stumbled on some chords that sounded really nice and I think when I did the drums I was kinda ripping off early 2000s Kanye production with a really busy kick pattern, I was stoked on it.

"The way the song is written really shows how ridiculously clever Seth is. To be able to be so technical with his rhyming whilst simultaneously giving the listener such a melodic flow along with a storyline that Larry David and Jerry Seinfeld would be proud of, is a huge reason why there is no way this song could be overlooked." -Stephen Mowat (aka Matik)

11. 'Papercuts (feat. Vera Blue)' by Illy:

Bringing together the brilliance of both Melbourne's Illy with singer-songwriter Vera Blue, 'Papercuts' brings complete magic to the table with a groovy song that inflicts no pain like its title depicts. Instead, the listener is met with a song filled with soaring vocals, kicking beats, and an attitude that's unparalleled.

10. 'Final Form' by Sampa The Great:

"The title track off an ARIA Award-winning album and cultural phenomenon. Sampa took Australia and the world by storm with this release in 2019 in a powerful statement empowering black women which scored the endorsements of everyone from Ebro to Earthgang." -Matthew Craig, Editor / Managing Director AUD'$

9. 'I Love It (feat. Sia)' by Hilltop Hoods:

"Simply put, this song changed my life. In 2011, the Hoods approached me to work on their next project. I was a bedroom producer working a part time job, so it's an understatement to say this offer was a dream come true.

"What started as a simple beat idea, led to an incredible collaboration with the Hoods, Sia, and the Bacchanalia String Quartet. Even better, it led to me quitting my job and heading out on tour with them. As an inexperienced, self-taught writer/producer this was an unbelievable turn of events.

"Looking back, I count this as the moment I gained confidence in my abilities and started believing in my music, which is something I'll forever be grateful to them for." - Andrew Burford

8. 'Jimmy Recard' by Drapht:

"Unquestionably, 'Jimmy Recard' is Drapht's biggest moment with the single going gold, paving the way for his countless festival appearances, and placing #10 in the triple j Hottest 100 in 2008. 'I was thinking of successful names so I jumped on the net and actually googled successful names and came up with James and Recard,' Drapht explained to triple j on how he created the song.

"'So I changed James to Jimmy and used Recard as the last name. I think a name does a lot for a character and where you go in life. And it was a positive track on the record because a lot of my stuff kind of feeds from negative ideas.'

"In fact, the popularity of the song even resulted in a highly-publicised 'killing off' of Jimmy Recard, with the release of 2011's The Life Of Riley featuring a track titled 'R.I.P J.R', and even saw the hip-hop icon selling shirts that proclaimed 'Jimmy Recard Is Dead'.

"Think about it, how many artists can make you mourn a fictional creation popularised through a song? Drapht, that's who." - Luke Girgis, CEO of The Brag Media

7. 'House Of Dreams' by Bliss N Eso:

"If there is one song that defines Bliss N Eso it's 'House Of Dreams'. It perfectly sums up their lyrical style, hit writing, and absolute uplifting instrumentals." - Luke Girgis, CEO of The Brag Media

6. 'The Festival Song (feat. 360 and Hailey Cramer)' by PEZ:

"In theory, 'The Festival Song' was the perfect formula for success: Spit relatable rhymes about the blissful times spent at a summer festival, add 360 and Hailey Cramer, and back it up with a Gladys Knight sample, and you've got a hit on your hands.

"Never has there been a more perfect song about the Aussie festival season (except maybe for The Incredible Strand's 'You Broke My Heart At The Big Day Out'), and never have local listeners revelled in the nostalgic relatability of a cut like this." -Tyler Jenke, Editor of Rolling Stone Australia

5. 'Spot The Difference' by ONEFOUR:

"Australian rap has not seen a force as dominant as the current drill wave. And a lot of that is owed to the collective of rappers from Mt Druitt. ONEFOUR's vicious raps, relentless drums, and intimidating presence has inspired rappers all across the country and scored them acclaim in all corners of the globe." -Matthew Craig, Editor / Managing Director AUD'$

4. 'Fifty In Five' by Hilltop Hoods:

"We were setting up the State Of The Art album for release - and we knew it was a special album that was going to take the Hoods up another big level; it just had those big songs like 'Chase That Feeling' and 'Still Standing'. But the song that really blew people away from that album was the closer 'Fifty In Five'.

"One time, I got to see Suffa do the rap start to finish, fully a cappella - no backing music or beat; only his rap, and with no lyric sheets around - for small group in the studio.

"When he was done, no one could say anything for like five minutes, jaws were on the floor, it was just so freaking impactful and important and you knew you just witnessed something so special that probably wouldn't ever be performed like that again. The Hoods are the top of the game for a reason...and to me, this song is a part of it!" -Michael Taylor, Managing Director Universal Music Australia

3. 'Boys Like You (feat. Gossling) by 360:

"360 was already a force to be reckoned with on the Aussie hip-hop scene prior to this track, but with the release of 2011's Falling & Flying, he saw his biggest success to date.

"Pairing up with Gossling for this now-iconic tune, he proved that Aussie hip-hop still had the mainstream appeal it long chased on the charts. Sure, some people might have found that this one wore out its welcome somewhat quickly, but there's no denying its importance on the charts almost a decade ago." -Tyler Jenke, Editor of Rolling Stone Australia

2. 'Addicted' by Bliss N Eso:

"'Addicted' served as my intro to the Aussie hip-hop scene. As an American, the genre was widely unknown to me, but as soon as I heard this track by Bliss N Eso, I essentially became addicted to 'Addicted'. The reason this song is a bit special to me is that it combines the brilliance of both an Aussie hip-hop artist and an American at the helm.

"With my husband being Australian, and I calling America my home, and this song being the first Aussie hip-hop song I've ever heard, this track almost wraps up our relationship into a concise bundle, and holds a special place in my heart.

"Besides the sentiment, this track emits a fiery string of lyrics that get you motivated, and make you want to fight the people who are there to bring you down. It makes you question the things you are taught, whether they're right or not, and gives you the power "to say 'I do give a fuck'." -Brittany Jenke, Editor of The Brag Media

1. 'The Nosebleed Section' by Hilltop Hoods:

"It's kind of amazing to think that one of the most defining songs of an entire genre was never actually released as a single. In fact, maybe that's why 'The Nosebleed Section' managed to slowly grow in popularity, eventually becoming an anthem for an entire generation.

Built around a sample of a Melanie Safka cut, 'The Nosebleed Section' showcases the Hilltop Hoods at their very best; mixing killer production, smart lyrics, and a world class delivery to create this masterpiece of Aussie hip-hop.

For many folks out there, their notion of Australian hip-hop can be defined by pre and post 'Nosebleed Section'. After all, this was arguably the song that helped break the genre into the mainstream, albeit months after it was first released on The Calling.

A lot of Aussies out there will label classic tracks by Peter Allen, Slim Dusty, or even Midnight Oil as the song that makes them proud to call this country home. But for countless hip-hop fans (and South Australians, such as yours truly), this is the song that hits them the hardest; with a classic anthem designed to be sung loud and proud in amongst all my people in the front, in the nosebleed section." -Tyler Jenke, Editor of Rolling Stone Australia

# data[].attributes.attachment_link.title
Our countdown of the 50 all time greatest Aussie hip-hop tracks

# data[].attributes.attachment_link.description
A relatively young genre in Australia, hip-hop truly gained momentum in 1995 with the birth of the now defunct Obese Records, which arguably pioneered the early "Australian hip-hop" movement. Aussie accents and supporting home grown hip-hop was their gospel. With this came authenticity, which is core to hip-hop values.

# data[].attributes.attachment_link.readable_text
Hip-hop is a source of solace for voices that often go unheard and a celebration of resilience - made for and by black people. Australia's hip-hop scene however remains at odds with that. A quick look at mainstream radio plays and music charts is revealing of an intrinsically white and exclusionary hip-hop scene. White rappers have always been a point of contention - is it right, is it wrong, is it culturally appropriative?

Australia's fascination with American black culture isn't lost on me. Recently at Chance the Rapper's Melbourne show, rather than any local support acts we were treated to a haphazard playlist of rap tracks. When iTunes shuffle ticked over to Kendrick Lamar's 'Alright', the crowd transformed from a room of iPhone scrolling 20-somethings into an elated, sweaty mosh pit of white people screaming "we gon' be alright". I turned to my friend and said, "I'm going to take a guess and say they're already 'alright'". I watched as Kendrick's message fell on pale deaf ears. That same passion that they show for black culture doesn't translate into the investment and elevation of black hip-hop artists in Australia.

Once you delve beyond our mainstream charts there is a rich and deeply interconnected community of artists creating hip-hop that isn't serving lyrics about popping pills at Pyramid Rock. It's political; it dives into race issues, queer issues, trans issues, stories of anger and of joy. But why aren't they achieving the mainstream success they deserve?

The opinions I'm most interested in are of those who are overlooked, spoken over, and ignored - black women and black non-binary folk. I decided to speak with six of the country's finest hip-hop artists and get their thoughts on Australia's white hip-hop problem.
In Part 1, we hear from Miss Blanks and Kandere's Wahe Kavara and Lakyn Tarai. Kish Lal is a contributor for ACCLAIM. She's a lady on the streets and lacks impulse control in the tweets. Don't @ her - @kish_lal

# data[].attributes.attachment_link.title
It's time to listen to more diverse voices in Australian hip-hop - Acclaim Magazine

# data[].attributes.attachment_link.description
Hip-hop is a source of solace for voices that often go unheard and a celebration of resilience - made for and by black people. Australia's hip-hop scene however remains at odds with that. A quick look at mainstream radio plays and music charts is revealing of an intrinsically white and exclusionary hip-hop scene.

# data[].attributes.attachment_link.readable_text
If you turned on the radio in the early aughts, it was likely you were listening to Australian hip-hop, namely what was affectionately referred to as Larrikin rap. Bliss 'N' Eso, Hilltop Hoods, 360 and Pez dominated these years with their shrill Aussie lilt that cut through resplendent melodies like a hot knife. It was the mark of what made Australian hip-hop decidedly local but despite its success, it failed to paint an all-encompassing picture of the multifaceted genre. Radio programming was dominated by these mainstream heavyweights, often drowning out the bubbling undercurrent of what would become the next generation of Indigenous, immigrant and POC hip-hop stars.

2009

In 2009, as Hilltop Hoods were collecting ARIA Awards and releasing their fifth studio album, State Of The Art, there was a young rapper finding his feet and becoming inspired to take on the future of Australian hip-hop.

At just 19, Briggs had performed alongside Reason, who was inspired by his effervescence. "I was pretty taken aback by this big fella with so much energy and so much passion standing up there, proud of his world of Shepp," Reason said, calling back to Brigg's hometown of Shepparton, Victoria. "[He was] rapping in a way that, you know, is so comparable to some of the greats, some of the more powerful MCs, you know, that I've followed over the years," he adds.

After becoming Reason's hype man, Briggs worked with Hilltop Hoods' MC Suffa who loaned the Indigenous rapper "a couple of grand" to release his first EP, Homemade Bombs in 2009. This would eventually lead to him joining the State Of The Art tour.

2010

Despite hip-hop beginning in New York, the genre is powerful enough to create tight-knit communities all over the world. Australia was no different. And in 2010, 360 started a Rapper Tag on YouTube, an online cypher where each rapper dropped a freestyle and tagged who they wanted to join in next. Its popularity was undeniable, with the likes of Urthboy, Briggs and MC Eso joining in, rapping passionately to the camera. Rapper Tag continued well into 2013.

"I think Rapper Tag is one of the most positive things to happen to the Australian hip-hop scene, period," 360 told Australian Hip Hop Directory. "It sounds kind of corny to describe it like this, but its sort of unified the scene and brought everyone together."

2011

In 2011, Kerser whose cited as one of the leading voices in gutter rap came to prominence. The release of his first album, The Nebulizer, coincided with his publicised rap battle with 360, where no winner was decided. This sparked a long running rivalry between the two rappers who would go on to release diss tracks, back and forth over the years. But Kerser's music was a far cry from the kind of hip-hop that enjoyed mainstream success in Australia. A tangle of synths, it epitomised pop, party hip-hop climbing the US charts, with a decidedly Aussie twist.

2012

As Briggs became a widely known name in hip-hop, he began to garner recognition, receiving two Deadly Awards nominations. The Yorta Yorta MC continued this momentum, releasing his single Rather Be Dead which was added to triple j and announced his second album, Sheplife, to be released in 2013.

2013

However, it was in 2013 that a shift in the genre began to occur. Urthboy penned an essay, Level Surface Or Surface Level, where he pinpointed the local genre's failings. "As a white rapper and label manager it's been easy to fool myself into thinking that white privilege doesn't exist," he wrote. "I consider myself uncompromisingly anti-racist but as a white male, I benefit from racism. Like some fucked up Steven Bradbury scenario where I stand to gain if sections of our society have their opportunities obstructed. Stop. Think about that." The thoughtful prose tackles racism, both inherent and overt, while questioning the lack of diversity in the scene. "Let's cut to the chase - the majority of successful Australian hip hop artists share two features. We're male and white," he concedes.

But it wasn't just the scene sanitising mainstream hip-hop of any diversity. Australian media has had issue with taking hip-hop seriously as a genre. It's often been parodied, mocked, and diminished into a thuggish lesser-than art form by comedians, radio stations and television show hosts. In 2011, Chris Lilley even donned blackface for his character S Mouse, who was supposed to be a Black rapper from California. He littered racial slurs, stereotypes, and Jim Crow-like imagery haphazardly in a feeble attempt at comedy. Without a doubt, this held many Black, POC, immigrant and low income rappers back from mainstream success.

However as the internet grew into a prominent place for rappers to discuss, release, and share each other's music, Soundcloud became a common meeting ground. Free from the red tape of music executives or the country's preconceived notions, the platform gave artists a new way to release music - minus the costs Briggs came up against with his first EP. The entry to barrier was simplified and this birthed a new era in Australian rap, including the likes of Tkay Maidza, Remi, Allday, L-FRESH The LION and M-Phazes building on that feeling of community 360 was so proud back in 2010 to ignite.

By the end of the year, The Guardian had released an article, proclaiming Melbourne rapper Illy to be "Australia's answer to Jay Z." His ARIA win that year, for Urban Album Of The Year signalled dominance in the hip-hop scene, as a burgeoning digital underground scene began to gain momentum.

2014

As a new guard of Australian hip-hop artists began to emerge the difference between old and new was clear. But then a blonde rapper from Mullumbimby, New South Wales broke through on the world stage. Iggy Azalea, who rapped with a unexplainable US Southern lilt, snagged a slew of #1s with the release of her pop-meet-hip-hop album, The New Classic. Her song Fancy featuring Charli XCX sat at the top of the Billboard Hot 100, while her collaboration with Ariana Grande, Problems, secured the #2 spot. She was the first person to take the top two spots since The Beatles in 1964.

The Guardian posed that while Azalea's success was undeniable, "her pop-raps [bore] zero resemblance to the type of music being made by Australian rappers in 2014. The local hip-hop scene is more exciting, exuberant and imaginative than it has ever been." It's true, the scene here was as exciting, experiencing a burst unlike anything else in the past 20 or so years. And it was on the precipice of changing.

2015

In pursuit of something more, Sampa Tembo better known as Sampa The Great moved to Australia on a whim, after her sister suggested it to her. The Zambian artist had dabbled in poetry slams during her time in the US but it wasn't until she settled in Sydney that she delivered her debut release, The Great Mixtape. "An instant classic reminiscent of Blu & Exile, Digable Planets, Lauryn Hill," one reviewer wrote, "but also with the influence of fellow Aussies Hiatus Kaiyote." It was difficult for many to describe what made Sampa The Great so indelibly magnetic: perhaps it was her sharp wordplay, or inimitable flow, but whatever it was, it got peoples' attention.

"I know that representation-wise, I've definitely added my stamp to the spectrum," Sampa told the BBC. But she wants more for the hip-hop artists in her adopted home. "We don't want to just be seen or heard [but] we want to create avenues [to ensure] that this is not a trend for us."

As Sampa's popularity grew, it opened the doors for other immigrant rappers, namely of African descent.

2016

The release of Tkay Maidza's eponymous debut album, Tkay, came off the back of a successful couple of years. Her single Switch Lanes was voted into triple j's Hottest 100 in 2014, while her single MOB secured a spot in the countdown again in 2015, making it her first song to be played on Australian commercial radio. Maidza's rise to success was swift, as the Adelaide star boasted collaborations with Bok Bok, SBTRKT, and features in Australian Vogue and lauded French publication, Konbini.

At the same time, Australian hip-hop veteran, M-Phazes received a Grammy award for his work on Eminem's Bad Guy, while Sikh rapper L-FRESH The LION, released his third album Become on Elefant Traks. But Australia's hip-hop scene was about to be obliterated by one its biggest voices, as Briggs joined forces with rapper Trials to form the duo, A.B. Original. Their record Reclaim Australia featured the likes of Thelma Plum, G. Yunupingu and Archie Roach. The duo's first single January 26 was a sharp, subversive commentary on the concept of Australia Day plunged the hip-hop stars right in the middle of a historical debate. Bubbling with magnificent, acerbic and unbridled fury, A.B. Original displayed the thesis of Australia's new guard of hip-hop artists: those who had been unseen by the mainstream were finally getting the chance to have their say.
2017
Once this momentum started, it was hard to stop. Lauded as the key players redefining the antipodean hip hop scene, artists like Manu Crooks, Jesswar, SophieGrophy, Triple One, B Wise, UV Boi, Dallas Woods, and P-Unique flooded the genre creating music that spanned stories of displacement, meditations on home as well as irreverent party trap.

There was also one new name making waves for his contagious joy, exuberant dancing, and refreshing embrace of language. Baker Boy performed in both English and Yol?u Matha and his single Cloud 9 and follow-up Marryuna caused a dizzying amount of excitement. "No one was rapping in language so I thought I'd try [to] make history to be the first," he told SBS, "and it happened, which is crazy."

2018

In 2018, Australian hip hop artists began to once again break into the global scene. Manu Crooks was handpicked to support A$AP Ferg on the Europe and Canadian legs of the rapper's tour, while Tkay Maidza's new singles featured Killer Mike and Duckwrth, as well as featuring on house producer, Martin Solveig's single, Do It Right. Kwame released his single WOW and covered Kendrick Lamar's Alright for triple j's Like a Version.

And as Australian rappers enjoyed their just deserts, other new names emerged like Miss Blanks, Kaiit and Carmouflage Rose.

Kaiit's debut record, Live From Her Room invited listeners to step in to her world. While the autobiographical album is predominantly R&B, it shifts and twists the genre with a deviously wry wink. Self-aware, subversive and alchemical, Kaiit is a bright star in the evolving Australian scene.

2019

Today, Australian hip-hop looks a lot different to what it did 10 years ago. Its evolution has been incredible, with trailblazing artists like Briggs, Sampa The Great, and newcomer Baker Boy leading the genre's future into greener pastures, while a new Australian drill genre has emerged, spearheaded by identities like OneFour, Hooligan Hefs and Triple One, even picking up overseas streaming success. An exciting decade of Australian hip-hop is coming.

# data[].attributes.attachment_link.title
The Evolution of Australian Hip-Hop Over The Last Decade

# data[].attributes.attachment_link.description
If you turned on the radio in the early aughts, it was likely you were listening to Australian hip-hop, namely what was affectionately referred to as Larrikin rap. Bliss 'N' Eso, Hilltop Hoods, 360 and Pez dominated these years with their shrill Aussie lilt that cut through resplendent melodies like a hot knife.

# data[].attributes.headline
Probably the most famous Aussie Artist- Iggy Azalea

# data[].attributes.subject
Probably the most famous Aussie Artist- Iggy Azalea

# data[].attributes.body
Australian hip hop traces its origins to the early 1980s and is largely inspired by hip hop and other urban musical genres from the United States. As the form matured, Australian hip hop has become a commercially viable style of music that is no longer restricted to the creative underground, with artists such as The Kid LAROI, Manu Crooks, ONEFOUR, Iggy Azalea, Hilltop Hoods, Bliss n Eso and Youngn Lipz,

# data[].attributes.attachment_link.readable_text
When it comes to hip hop in Australia, Australia's long been plagued by conformism, and a market that's resistant to divergence of sound. The dominance of 'Aussie hip hop' - in the Hilltop Hoods / Bliss N Eso 'skip hop' sense - over hip hop music output in Australia has required hip hop artists in Australia to conform to a set of expectations - any artist that looks/sounds different from 'the Aussie hip hop sound' has always had to work harder for mainstream recognition. To understand why this is, you have to look at hip hop in the context of the wider Australian music landscape. Aussie hip hop has not had it easy, as 360 pointed out a few years back. 'Aussie hip hop' has not even been a 'thing' for much longer than ten years - until Hilltop Hoods broke through in 2003 and achieved mainstream success with The Calling, prior to this the only 'hip hop' Australians heard was US rap on mainstream channels. Back in the 2000s, artists making hip hop in Australia not only had to break hip hop itself through to an Australian listening public enthralled in a decades-long affair with pub rock - but they then had to achieve the secondary feat of altering the genre, of making concessions to its roots - disenfranchised African Americans in NY in the 70s - to make it authentic and to gain recogntion. Australian rappers did this by spitting in their own accents, and turning the lyrical focus to their own lifestyles, to social issues in their own backyard. Even the ARIA Awards has remained ignorant when it comes to hip hop; offering the 'Urban Category' as a blanket cover-all for r'n'b, hip-hop, soul, funk, reggae and dancehall - all specific genres in themselves. Likewise, as Sydney MC/Best Urban artist 2013 nominee Urthboy pointed out, artists outside of that "quite tunnel-visioned mainstream area of our music industry" aren't nominated - with no hip hop artists being nominated that year in other categories i.e. Best Male / Best Female / Best Group.

Likewise, the long-running argument of 'authentic hip hop' that motivated / preserves the idea of 'Aussie hip hop', is unproductive. For everyone who says authenticity is important, there's a Rick Ross fan who scoffs at the idea. Seriously though - we can't deny artists the right to a musical genre based on the fact the music did not originate with their bloodline, or their environment - it's culturally destructive. To paraphrase Macklemore, hip hop started in a block that most of us have never been to, to counteract a struggle that most of us have never been through. Drake's made a whole career rapping about relationships instead of the gangsta lifestyle, Frank Ocean came out as gay, Kanye West is designing fashion, Odd Future and Yung Lean - the furthest thing from street hustlers - have cultivated entire audiences for their sound through the Internet/self-promotion, Action Bronson is more at home behind a skillet than behind a gun.

So, one might deduce that because artists had to fight so hard to get Australians listening to Australian-made hip hop - that progression in hip hop in a wider sense in Australia, to get to the point where we are now - where artists such as Remi, All Day and Tkay Maidza are being recognised as 'Australian hip hop' artists - has been slow. In 2015 however, we're confronted by a very different music landscape: whilst acoustic rock, pub rock and indie pop/folk are in no danger of suffering a recession, in the last couple of years electronic music has stepped up in a big way to sit in equal place with those dominating genres in terms of record sales, awards nights and radio play. Australia's always had a dance music scene, but more often of late the stuff that pushes the envelope has been getting a go, as opposed to the unimaginative, mainstream EDM - a bunch of innovative house styles received a lot of shine (and have remained consistent), bass-led electronic music has become large enough to spur underground dance crazes, and indie artists are choosing producers over guitars (with Chet Faker's electronic-infused soul being a case in point). The success of electronic music in Australia lately has had a run-on effect to the type of production being embraced in Australian hip hop output: with more Australian singers and rappers feeling confident to explore ther wider array of hip hop styles that have proliferated in the US / Europe: cloud rap, trap rap, queer rap, gangsta rap, lean rap, instrumental rap, ratchet rap, soul trap, regional rap (Atlanta, Chicago) ...the list goes on. In 2015 there's a whole host of rappers, lyricists, and singers from Australia that are watching the throne. We'll introduce you to some of them below - if you think we've missed anyone, we'd welcome your finds for future editorial coverage - hit us up via Pilerats Facebook or Twitter.

CHOCOLATE & KID KAIRO

Dese kids are bawse! Chocolate and Kid Kairo are two Sydney MCs coming out of Lion Mountain Studio. Lion Mountain's a community project run by members of Sydney's Sierra Leon community, enabling young, musically-interested Africans in Sydney to learn about music making, recording and production. They featured recently on Australian producer Dro Carey's belter of a track, Monomolies, bringing huge British grime vibes to the left-field club track, and reminding us of LV. They've recently upped their first solo track to their Soundcloud, Big Ballers - hopefully the first of plenty more fuego to come! Listen to Big Ballers and their Dro Carey collaboration below.

BRIGGS

An Indigenous-Australian rapper and lyricist, Briggs is northern Melbourne's answer to Action Bronson - he's got charisma, a bit of goof (social media game on point) and dynamite bars by the bucketload. Briggs has the lyric content to back up the hardness, and he often imbues his lyric writing with deeper political fire - via a clever wordplay in track he links the gold chain around his neck to the chains that were placed on Aboriginal people by the settlers. He's worked on a collaborative track with world-famous Yolngu musician Gurrumul (check out the Like a Version here), which is pretty special, and already has two albums already under his belt, as well as support slots for Ghostface Killah, Dilated People and he recently guested with Sage Francis, as well as headed out on the One Day crew's Australian tour. He's also got Ghostface's personal tick of approval 'I like dat, he's like Ice Cube' Ghostface told triple j when they played him the track. Check out his latest track with Ill Bill here, and listen to Bad Apples below.

GILL BATES

Our Pilerats Twitter account absolutely went nuts with retweets and faves when we premiered new Brisbane rapper Gill Bates' track She Knows. Bates' star is on the rise - bringing in the popular people's poet, AllDay, to guest on your official debut is a not-too-shabby move (he's about to tour the nation with Allday, too) and he's just signed to New World Artists. With a murky Atlanta-style beat courtesy of Wavy Milo (great producer right there), and an effected, pained R & B vocal, the style he's presented to us is more Thugga than Thundamentals, and while he's still gotta prove himself beyond one track, we're welcoming his vibe. Listen to his debut below.

NATUREBOY X GMC

Natureboy & GMC are a producer/rapper duo working out of the western suburbs of Melbourne, although Natureboy's originally a Kiwi. They rap and create chill trap-style beats, counting amongst their inspirations ASAP Rocky and Wiz Khalifa. Back in 2013 they kicked off a free online smoker/dreamer/chill series called The Compression Sessions; where they put out 32 songs in 32 weeks - out of these our fave was the track Daydream: watch it below. Since they've, they've been lying low, but just a couple of months ago they dropped an incredible track, Animals, that calls to mind the spacious, woozy sound of The Stand4rd.

BARO

He's not even 18 yet, but Melbourne's Baro is already on the books of respected Aussie agency New World Artists (Jackie Onassis, Allday) on their books, has released a full length album Howgoodisgood (download it free here), and earned himself radioplay on triple j, after being a finalist in 2014's Unearthed High. He's got a likeable DIY aesthetic - he filmed one of his clips in Big W and his tongue rolls easily over soft jazzy, futuristic beats and drowsy electric guitar instrumentation; his vocal style has the earnestness and warmth of Chance the Rapper, or a young Mos Def. Currently touring the nation supporting Thundamentals, Baro's journey is going to be a huge one, and it's only just begun, so get on board now. Watch / listen to Cigarettes below - Baro's track that's currently sexing up the airwaves on triple j.

THANDI PHOENIX

Thandi is a promising R & B / soul singer from Sydney, that a mate dubbed "a Young Erykah Badu". Thandi came to our attention when she was awarded the support for R & B goddess Tinashe on her recent Australian tour; others may have already experienced Thandie's sultry tones at Soulfest, or heard her on Ta-Ku's Songs To Break Up To, or Coin Banks' Heads & Tails EP. Thandi's voice is primed for more sensual hip hop and soul beats, but we'd be excited to see what she could do with an electronic beat, or heading up a power R & B ballad. Either way, her raw, individualistic quality is sure to shine through. Keep on this lady - she's got a solo EP on the way this year and we're sure plenty of her tracks will make it onto the airwaves. Thandi recently teamed up Australian rapper B-Wise for recent track Judgement, and together they've made a really dynamic track that melts like butter in your ears - listen to it below.

S.O.X.

Zimbabwean / West Australian rapper S.O.X., real name Tinashe Soko, has been inspired by Biggie, Tupac and NAS since he was an eleven year old kid, when he used to listen to his older brothers' cassette tapes and press pause to write down the lyrics. He's taken that determination and turned it into some underground mixtapes of his own, bringing in production from Perth's Roughsoul and Rubbaband Beat Makers, before linking with US producer Statik Selektah, 6ix and Illmind for his debut EP, The K.I.L.L (Knowledge in Living Life) that you can download here. S.O.X. has been working on a follow-up to that EP, K.I.L.L. 2.0, and recently dropped the track Salute Royale, that serves as the intro to the tape, and it's hot as. Proof below. A track produced by Swiff D (who produces for Lil Wayne and Schoolboy Q) is on the way, too.

MADBOOTS

These fly ladies from Brisbane - sisters Dewi and Angelica - have been tearing up the 4000s, amassing a heap of gigs of late. Their track Du-Rag, off rumoured forthcoming Minang Galore mixtape, is a winner - gentle, wavy choruses and sassy verses over traditional cloud rap beats. Tumbler-y and sweet, there is definitely Kitty Pryde or Princess Nokia feels here - watch Madboots' new video below.

NGAIIRE

When Alicia Keys chooses you to support her stadium arena show, it's a pretty good vote of confidence in your future as a musician. Sydney-based, Papua New Guinea singer and multi-instrumentalist Ngaiire (pronouned Ny-Ree) is classically trained in jazz, and creates music that brings together soul, jazz, future-folk and electronica styles. She's already made some serious inroads into the industry, having put out an album (Lamentations) in 2013, and Triple J putting their faith in her, labelling her a Next Crop artist a couple of years prior. Last year Ngaiire did a tonne of live festival shows and gigs, having earnt a reputation for a captivating onstage presence: her colourful, eclectic performance at Sydney's VIVID Live Festival, where she performed her rework of disco club classic Ain't Nothing Goin' On But The Rent, won't be forgotten in a hurry. Listen to her vocal contribution to producer Kilter's track, Coward, below, along with an incredible, orchestral cover of Beyonce's HALO that Ngaiire recently uploaded to her Soundcloud. We hope more tracks are on the way!

DELIRIOUS

Perth-based artist Rob Delirious is a triple threat - writing music, rapping and often singing his own hooks. He's been in the game since he was 18, rapping and playing alongside producer friend Oli Thv Gxd. In 2011 he dropped his debut full length, 22 years, with the majority of production handled by none other than prolific beatmaker Ta-Ku. After dropping his 2013 mixtape Throwbacks, Delirious spent some time rolling through Europe, now he's back and in the studio, and ready to drop some serious fuego in 2015 - keep an eye on Pilerats in the next couple of weeks for that. Revisit his track Shame, from Throwbacks, below.

B WISE

Starting out as an MC at friends' house parties in suburban Sydney, B Wise, aka James Iheakanwa, is an African-Australian singer and rapper on the up, with supports for GZA, The Cool Kids, G-Eazy and Kid Cudi already in the bag. He's currently working on a debut album that we think is going to be one of the highlights of 2015. He's got experienced producers Pro/Gram (Bliss N Eso), Jord Levus (Allday), Colourd Noyz and more on board; all contributing to what is B Wise's always diverse choice of productions, that can range from raps over Fly Lo style spacey-jazz beats, or more fast-paced, energetic stuff. Whatever he raps over; his flow is always relaxed but tight. He's given us an array of impressive tracks recently; with highlights in the bouncy R & B of (below) and the soulfuland some dope freestyles he's been uploading to his Soundcloud, tiding us over 'til the album.

MILWAUKEE BANKS

Halfway through last year Melbourne duo Milwaukee Banks - made up of rapper Dylan Thomas ( Polo Club) and producer Edo Rafter ( Flight Tonight) put out their debut EP Rose Water. Thomas' smooth, deep verses and pitched-down hooks slink easily over Rafter's glitchy, skittering beats; they've nailed their dynamic of late and they're all the tighter for it - recently scoring the support for Raury's Laneway sideshows in Australia. American rapper Deniro Farrar lent his producer KIRA, to the cause for title track Rose Water, which sees Thomas rap in a vivid and beautiful, neo R & B kinda way over a low-slung, dreamy trap beat.The track's at a whole other level that proves the kinda A$AP Mob-levels of cool that Milkwaukee are capable off. Listen to it below, Patty Mills is also a highlight off the EP. The boys are currently in the studio working on an album - catch them playing with Perth's own Flower Drums this April.

# data[].attributes.attachment_link.title
The Changing Face Of Hip Hop In Australia

# data[].attributes.attachment_link.description
When it comes to hip hop in Australia, Australia's long been plagued by conformism, and a market that's resistant to divergence of sound.