Curse Ov Dialect
| Curse Ov Dialect | |
|---|---|
| Origin | Melbourne, Australia |
| Genres | Alternative hip hop |
| Years active | 1994–present |
| Labels | Mush Records, Staubgold, Valve (Aus), Mistletone (Aus), Poetic Dissent, Curse Music |
| Associated acts | TZU, Diary Day 1, Beta Erko, Audego, Kaigen, Hemlock Ernst |
| Website | curseovdialect |
| Members | Raceless Volk Makedonski Atarungi Paso Bionic |
| Past members | August the 2nd Malice |
Curse Ov Dialect is an alternative hip hop group based in Melbourne, Australia. It consists of Raceless, Volk Makedonski, Atarungi, and Paso Bionic. They were the first Australian hip-hop group to be signed to an American record label. They have been described as having a “wild theatricality with an urgent street politic, raw cultural expression with collagist, first generation hip-hop aesthetics, surrealism with activism.”
The group formed in 1994 with the original line up consisting of MC Raceless, MC Malice and DJ Paso Bionic on turntables. It was with this line up that they recorded their demo tape Evil Klownz (1995) and Hex Ov Intellect (1998). Not long after the release of Hex Ov Intellect, they met Ollie Olsen (Max Q, No) who went on to produce their self-titled EP Curse Ov Dialect (2000). Malice left the group during the recording of Curse Ov Dialect and was replaced by Atarangi, August the 2nd and Volk Makedonski. With this line up they grew in popularity due to their wild live shows and strong anti-racist, anti-homophobic and internationalist message at a time of rising xenophobia in Australian politics and society.
After shows supporting Anticon (Doseone, Sole, and Jel) in 2001, they landed a record deal with Mush Records who released Lost in the Real Sky in 2003. The album was mixed by Paso Bionic and mastered by Simon Polinski. On release, it was awarded 'Album of the Week' on 3RRR and 3PBS. Sebastian Chan says that “whilst [the album] radiates a strong psychaedelic surrealism, at the core there are strong anti-racist, multiculturalist themes – which give the record a very specific Australian-ness. Likewise the beats are drawn from literally every- where – Arabic, mediaeval English, and of course traditional Macedonian. Anthony Carew in The Age wrote “from acknowledging racist states, to attacking such prejudice, to dreaming of some utopian global community in which ‘all cultures come together’, the album, unlike so many rap records, finds the lyricists talking about not just themselves, but the world at large.” Brian Ho at Dusted Magazine described it as “a wonderfully imagined album that successfully borrows and reinterprets sounds from all facets of music and culture, creatively but still with enough energy and bounce for frequent neck exercise.”
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