Mantrakid

I’m pretty stoked about this Monday’s selection. Mantrakid is a Calgary ex-pat who now calls Vancouver Island home. In addition to being a graphic artist, web designer, producer and dad, Mantrakid has put out some very interesting and under the radar albums over the past 10 or so years. Last week, Mantrakid dropped his latest release, Dragon Lullabies on his own imprint, Nefariu Records.
I’m really, really digging this record. Dragon Lullabies is a slight departure from Mantrakid’s almost ADD like style into a more smooth, blissed out vibe. It recalls the sexier, less depressing side of Portishead and the cooler, less spacey side of Beck. Dragon Lullabies comes across like a hot muggy night on Vancouver Island: thick, a little mysterious and slightly complex. It’s the perfect soundtrack to quiet evening patio hangouts. Make Mantrakid’s Dragon Lullabies part of your summer soundtrack by hitting the site here (www.neferiu.com) - It recalls the sexier, less depressing side of Portishead and the cooler, less spacey side of Beck.

I’m pretty stoked about this Monday’s selection. Mantrakid is a Calgary ex-pat who now calls Vancouver Island home. In addition to being a graphic artist, web designer, producer and dad, Mantrakid has put out some very interesting and under the radar albums over the past 10 or so years. Last week, Mantrakid dropped his latest release, Dragon Lullabies on his own imprint, Nefariu Records.
I’m really, really digging this record. Dragon Lullabies is a slight departure from Mantrakid’s almost ADD like style into a more smooth, blissed out vibe. It recalls the sexier, less depressing side of Portishead and the cooler, less spacey side of Beck. Dragon Lullabies comes across like a hot muggy night on Vancouver Island: thick, a little mysterious and slightly complex. It’s the perfect soundtrack to quiet evening patio hangouts. Make Mantrakid’s Dragon Lullabies part of your summer soundtrack by hitting the site here (www.neferiu.com) - It recalls the sexier, less depressing side of Portishead and the cooler, less spacey side of Beck.

Mantrakid has been kicking ass as a rapper and producer for a very long time. Let’s not forget to mention he runs Neferiu, the most prolific rap label in Western Canada. This new offering from the kid, a 10 track ep of his custom remixes of Missy Elliot classics was a guaranteed banger before I pressed play. And I was not disappointed. His croaky bass tones and shuffling drum sculptures add a whole new dimension to the already funky as fuck Missy Elliot, eternal empress of the club banger. I personally find his beats have a wild urgency to them like a natural auditory exhortation to sweat immediately. He really couldn’t have picked a better artist to remix if he was planning on utilizing this particular production style. I would love to hear what he would do with Luda. This is ep is the bomb. So yeah, in Missy’s words: WHEN YOU HEAR THE SOUND HOOOODY HOOOO!!! RUN FOR COVER MOTHAFUCKA! - "His croaky bass tones and shuffling drum sculptures add a whole new dimension to the already funky

Mantrakid has been kicking ass as a rapper and producer for a very long time. Let’s not forget to mention he runs Neferiu, the most prolific rap label in Western Canada. This new offering from the kid, a 10 track ep of his custom remixes of Missy Elliot classics was a guaranteed banger before I pressed play. And I was not disappointed. His croaky bass tones and shuffling drum sculptures add a whole new dimension to the already funky as fuck Missy Elliot, eternal empress of the club banger. I personally find his beats have a wild urgency to them like a natural auditory exhortation to sweat immediately. He really couldn’t have picked a better artist to remix if he was planning on utilizing this particular production style. I would love to hear what he would do with Luda. This is ep is the bomb. So yeah, in Missy’s words: WHEN YOU HEAR THE SOUND HOOOODY HOOOO!!! RUN FOR COVER MOTHAFUCKA! - "His croaky bass tones and shuffling drum sculptures add a whole new dimension to the already funky

Spun: Mantrakid - Palmflowerblack
By Jordyn Marcellus

September 11, 2008
Credit: (Neferiu Records)

On the track "Ability to Rap," Calgary-based emcee Mantrakid asks an important question: how did he get his unusual talent to rap? If he went the usual route, the best bet is that he got smacked in the face by a radioactive microphone.

Mantrakid's album is on the cutting edge of hip hop. He doesn't hold a PhD in thuganomics, but his production is a self-styled version of the sexy southern blues, evocative of the Kills' latest album. On tracks like "So Hot I Can Taste It" and "Dissonance of Day," 'Kid whispers over the beat, cranking up the heat in a sultry manner. He also drops some groovy tracks with an electronic orientation, like the electro dewdrop beat on "You'll Never" pounding out the rhythm. On "Sinister States," Mantrakid raps urgently over a dark track right out of a post-apocalyptic war movie.

So where did he get his ability to rap? Probably from the Beastie Boys. Tracks like "Ability to Rap," sound like a B-side from the famed group. If all his tracks sounded like that, it wouldn't be a big deal, but when you've got an album of tunes that don't sound anything like current mainstream hip hop, sometimes a little bit of the retro influence isn't a bad thing. - "Mantrakid's album is on the cutting edge of hip hop. He doesn't hold a PhD in thuganomics, but his

"So what’s next? Well we have an artist who goes by the name of Mantrakid. Musically he mixes hip hop, electronica, funk and all the good stuff, while lyrically he comes across like a more soulful Sage Francis. His new album, “Palmflowerblack”, makes for a really good listen, it doesn’t bang you over the head like a Sage Francis album sometimes can, but still keeps your interest and makes you want to hear more! Check out Neferiu Records to buy all releases by Mantrakid, and many other artists. As for now check this track from “Palmflowerblack”." - "Musically he mixes hip hop, electronica, funk and all the good stuff, while lyrically he comes acro

Spun: Mantrakid - Palmflowerblack
By Jordyn Marcellus

September 11, 2008
Credit: (Neferiu Records)

On the track "Ability to Rap," Calgary-based emcee Mantrakid asks an important question: how did he get his unusual talent to rap? If he went the usual route, the best bet is that he got smacked in the face by a radioactive microphone.

Mantrakid's album is on the cutting edge of hip hop. He doesn't hold a PhD in thuganomics, but his production is a self-styled version of the sexy southern blues, evocative of the Kills' latest album. On tracks like "So Hot I Can Taste It" and "Dissonance of Day," 'Kid whispers over the beat, cranking up the heat in a sultry manner. He also drops some groovy tracks with an electronic orientation, like the electro dewdrop beat on "You'll Never" pounding out the rhythm. On "Sinister States," Mantrakid raps urgently over a dark track right out of a post-apocalyptic war movie.

So where did he get his ability to rap? Probably from the Beastie Boys. Tracks like "Ability to Rap," sound like a B-side from the famed group. If all his tracks sounded like that, it wouldn't be a big deal, but when you've got an album of tunes that don't sound anything like current mainstream hip hop, sometimes a little bit of the retro influence isn't a bad thing. - "Mantrakid's album is on the cutting edge of hip hop. He doesn't hold a PhD in thuganomics, but his

There’s no way around it — 2008 has been a banner year for Calgary’s music scene. Major events like Sled Island and Juno Fest attuned at least a few outside ears to local music, while Virgin Fest introduced acts like The Summerlad and The Firm Handshake to Calgarians more inclined to seek out Stone Temple Pilots. More than the attention, though, what makes 2008 stand out is the absurd amount of world-calibre music that came out this year.

The list that accompanies this article may represent the cream of the crop, but it still only represents a fraction of Calgary’s output this year. Some bands chose to confine themselves to the more concise format of EPs, the Neighbourhood Council (newly rechristened BRAIDS) and The Ex Boyfriends being two prime examples. Others simply haven’t gotten around to recording — see the newly formed Sharp Ends and singer-songwriter Kris Ellestad, whose melodically rich folk pop is one of Calgary’s best-kept secrets.

The variety of the music released this year is also impressive. This year’s most-buzzed bands includes Women, whose self-titled debut is an alternately jangling and droning slab of lo-fi indie pop; Azeda Booth, whose In Flesh Tones is a remarkable blend of the organic and the electronic; and Agnostic Mountain Gospel Choir, who stomp through Ten Thousand like the vintage bluesmen of tomorrow. Digital label Neferiu Records had the hip hop side of things covered, with a particularly strong release from Mantrakid in Palmflower Black. There were the psychedelic mindfucks from The Tetraktys, Tetrix and the Azymuth, Gunther’s punch-to-the-gut instrumental rock, the orchestral pop of Woodpigeon’s Treasury Library Canada and unclassifiable albums like Beija Flor’s The American.

Singer-songwriters were in particularly fine form this year. The Cape May’s Clinton St. John and The Neckers’ Bill Hetherington both released fine solo albums this year, while Aaron Booth added to his collection of folk pop gems with Back Stories. The always impressive Chad VanGaalen finally sat down to produce an album of all-new material rather than an assemblage of bedroom demos, and the result is Soft Airplane, his most consistent and straight-up album to date. Meanwhile, Ghostkeeper and Jay Crocker used several of the same musicians (Crocker and bass player Scott Munro are on both albums) to craft two vastly disparate albums. The former’s Children of the Great Northern Muskeg ignores the boundaries between back-porch boogies and artful indie-rock, while the latter’s Below the Ocean Over sprawls across rock, funk and jazz landscapes to create something entirely unique.

For all the talk in these pages of the world’s eyes turning to Calgary, all that really matters is that the city keeps supporting its musicians, and the musicians keep doing what they do best. By all indications, that’s exactly what’s happening. - "Digital label Neferiu Records had the hip hop side of things covered, with a particularly strong re

Re: 12 Steps to a Deffer You
On Mantrakid's Production: "The kid's really hit his stride on this release. (the beats) catch you off-guard and leave you grinnin' with their imaginative change-ups and subtle trickery."

On the album: "Let us dispense with the tired "pretty good for Calgary" or "pretty good for Canada" or even "pretty good for underground" bullshit. 12 Steps to a Deffer You is plain ol' pretty good." - "The kid's really hit his stride on this release. (the beats) catch you off-guard and leave you grin

There’s no way around it — 2008 has been a banner year for Calgary’s music scene. Major events like Sled Island and Juno Fest attuned at least a few outside ears to local music, while Virgin Fest introduced acts like The Summerlad and The Firm Handshake to Calgarians more inclined to seek out Stone Temple Pilots. More than the attention, though, what makes 2008 stand out is the absurd amount of world-calibre music that came out this year.

The list that accompanies this article may represent the cream of the crop, but it still only represents a fraction of Calgary’s output this year. Some bands chose to confine themselves to the more concise format of EPs, the Neighbourhood Council (newly rechristened BRAIDS) and The Ex Boyfriends being two prime examples. Others simply haven’t gotten around to recording — see the newly formed Sharp Ends and singer-songwriter Kris Ellestad, whose melodically rich folk pop is one of Calgary’s best-kept secrets.

The variety of the music released this year is also impressive. This year’s most-buzzed bands includes Women, whose self-titled debut is an alternately jangling and droning slab of lo-fi indie pop; Azeda Booth, whose In Flesh Tones is a remarkable blend of the organic and the electronic; and Agnostic Mountain Gospel Choir, who stomp through Ten Thousand like the vintage bluesmen of tomorrow. Digital label Neferiu Records had the hip hop side of things covered, with a particularly strong release from Mantrakid in Palmflower Black. There were the psychedelic mindfucks from The Tetraktys, Tetrix and the Azymuth, Gunther’s punch-to-the-gut instrumental rock, the orchestral pop of Woodpigeon’s Treasury Library Canada and unclassifiable albums like Beija Flor’s The American.

Singer-songwriters were in particularly fine form this year. The Cape May’s Clinton St. John and The Neckers’ Bill Hetherington both released fine solo albums this year, while Aaron Booth added to his collection of folk pop gems with Back Stories. The always impressive Chad VanGaalen finally sat down to produce an album of all-new material rather than an assemblage of bedroom demos, and the result is Soft Airplane, his most consistent and straight-up album to date. Meanwhile, Ghostkeeper and Jay Crocker used several of the same musicians (Crocker and bass player Scott Munro are on both albums) to craft two vastly disparate albums. The former’s Children of the Great Northern Muskeg ignores the boundaries between back-porch boogies and artful indie-rock, while the latter’s Below the Ocean Over sprawls across rock, funk and jazz landscapes to create something entirely unique.

For all the talk in these pages of the world’s eyes turning to Calgary, all that really matters is that the city keeps supporting its musicians, and the musicians keep doing what they do best. By all indications, that’s exactly what’s happening. - "Digital label Neferiu Records had the hip hop side of things covered, with a particularly strong re

Mantrakid - Palmflowerblack - Neferiu
Published August 7, 2008 in FFWD by Frank Litorco in CD Reviews

As the debut effort from Mantrakid (a.k.a. Nate Schmold), Palmflowerblack shines with firecracker energy and brilliance. Much of the recording focuses on Schmold himself, but that's OK — this is nowhere near the chest-thumping, alpha-dog bravado that passes as mainstream hip hop. Rather, the lyrical deconstruction of his own flawed traits and limitations is as real and compelling as it gets. With rapid-fire flows that would make the Quannum and Solesides crews nod in approval, Mantrakid shows off his mad skills on the mic. Add in the sinister beats and a healthy dose of humour, and Palmflowerblack becomes a brooding thing of beauty. - “With rapid-fire flows that would make the Quannum and Solesides crews nod in approval, Mantrakid sh

Mantrakid - Palmflowerblack - Neferiu
Published August 7, 2008 in FFWD by Frank Litorco in CD Reviews

As the debut effort from Mantrakid (a.k.a. Nate Schmold), Palmflowerblack shines with firecracker energy and brilliance. Much of the recording focuses on Schmold himself, but that's OK — this is nowhere near the chest-thumping, alpha-dog bravado that passes as mainstream hip hop. Rather, the lyrical deconstruction of his own flawed traits and limitations is as real and compelling as it gets. With rapid-fire flows that would make the Quannum and Solesides crews nod in approval, Mantrakid shows off his mad skills on the mic. Add in the sinister beats and a healthy dose of humour, and Palmflowerblack becomes a brooding thing of beauty. - “With rapid-fire flows that would make the Quannum and Solesides crews nod in approval, Mantrakid sh

Mantrakid – Palmflower Black (Neferiu)
By: Thomas Quinlan

Substituting the clear jewel case concept for a snazzy little tin case, Mantrakid already receives bonus points for his packaging of Palmflower Black, a hip hop album strongly informed by electro-pop, funk and rock. Entirely self-produced, Mantrakid orchestrates a dark, synth-heavy soundtrack of deep bass along with squealing guitars and horns that straddles styles diverse enough to accompany both his singing and rapping, as well as all stops in between. Mantrakid jumps from the Quannum-style funky hip hop of “Next Shit” into the soulful indie-rock meets hip hop of “I'm My Own Opponent,” or from the epic space rock hip hoppera of “Genesis” into Ween-like stoner rock “Life Wins.” And that's not even mentioning the spine-crushing, hard-as-hell hip hop hits, like “Ability to Rap,” a funny concept track anchored by a wicked elastic bassline, or “Felt Tipped Dignity,” which sounds like freaky rapper THlostOT rapping abstractly over some early Soul Assassins production. When all is said and done, Mantrakid has created an album that offers plenty of variety yet remains a cohesive album despite that. Fans of dark, boundary-bending hip hop are sure to love the diversity of Mantrakid's Palmflower Black, an album that is more than just good; it further fortifies the status of Calgary label Neferiu as a hidden gem within the Canadian music scene. - “...more than just good; it further fortifies the status of Calgary label Neferiu as a hidden gem wi

Mantrakid – Palmflower Black (Neferiu)
By: Thomas Quinlan

Substituting the clear jewel case concept for a snazzy little tin case, Mantrakid already receives bonus points for his packaging of Palmflower Black, a hip hop album strongly informed by electro-pop, funk and rock. Entirely self-produced, Mantrakid orchestrates a dark, synth-heavy soundtrack of deep bass along with squealing guitars and horns that straddles styles diverse enough to accompany both his singing and rapping, as well as all stops in between. Mantrakid jumps from the Quannum-style funky hip hop of “Next Shit” into the soulful indie-rock meets hip hop of “I'm My Own Opponent,” or from the epic space rock hip hoppera of “Genesis” into Ween-like stoner rock “Life Wins.” And that's not even mentioning the spine-crushing, hard-as-hell hip hop hits, like “Ability to Rap,” a funny concept track anchored by a wicked elastic bassline, or “Felt Tipped Dignity,” which sounds like freaky rapper THlostOT rapping abstractly over some early Soul Assassins production. When all is said and done, Mantrakid has created an album that offers plenty of variety yet remains a cohesive album despite that. Fans of dark, boundary-bending hip hop are sure to love the diversity of Mantrakid's Palmflower Black, an album that is more than just good; it further fortifies the status of Calgary label Neferiu as a hidden gem within the Canadian music scene. - “...more than just good; it further fortifies the status of Calgary label Neferiu as a hidden gem wi

Hello friends. I sense that you once again had a jones in the bones for some Alberta hip hop coverage here on the hill. This is a malady I can fix in one simple post. With some assistance from Calgary (I think he might've moved to Vancouver, but that doesn't really fit for puposes of this semi-humourous intro) rapper/singer/producer Mantrakid and his new album Palmflowerblack.

Nate Schmold is the man otherwise known as Mantrakid, and he's also the man behind hip hop/electronic label Neferiu, which I mentioned earlier this year while discussing their free download of Metawon's Electric Dyslexic. Running a label is a time-consuming business, so it's not a surprise that it's taken some time (10 plus years) for the (Mantra)kid to release what he calls his "proper" debut. And an interesting, energetic debut it is, with Mantrakid's kinetic presence featured throughout on production and vocals.

Even though there are some fairly straight-ahead hip hop songs on here (Felt Tipped Dignity, Ability To Rap, Sinister States), the production on Palmflowerblack definitely leans towards the electronic end of the hip hop spectrum. When you pair that with the numerous styles Mantrakid tries out on the album (rappin', sing-song rappin', singin', and no vocal instrumental tracks - and that isn't counting the contributions from guests, who I'm glossing over because I can't find a tracklist that id's them), this album would likely be placed pretty squarely in the experimental hip hop category. Certainly no shame in that though, as hip hop needs nothing if not people trying to innovate and take it to new and interesting places.

The production on Palmflowerblack does it part towards keeping things interesting, with such varying styles across the 18 songs that you never come close to hearing the same thing twice. This is true even on the instrumental tracks: the title track features atmospheric, floaty sounds laid over a solid drum track, while Thursday's Ginger is a much more minimal electronic affair with blips and skittering drums, and The Secret Song builds on that formula with some menacing drums and chopped vocals added to the mix. But there's plenty of hip hop flavour to be had also, like Next Shit, which mixes 80's fast-rap with Lyrics Born-esque flows, and a decent guest appearance from Calgary MC Ricca Razor Sharp. Genesis opens like it samples Genesis, before soaring eastern-influenced guitar licks take over and (correction: King Lou's) lyrics kick in at the two minute mark. This is a solid jam, this style is the one I think I enjoy most from him.

Felt Tipped Dignity very catchy beat, it has a Bomb Squad feel to it. His MC-ing on this track (and on the conceptual Ability To Rap) is a little over the top, a little Organized Rhymey for my taste, but still enjoyable none the less. Things get a little darker at the album's mid-point, with the 80's keys & drums of You'll Never and the electro, El-P-ish production on Sinister States. The dub-laced So Hot I Can Taste It is likely the closest thing to a club track you'll find on Palmflowerblack, but it certainly isn't a club track in the conventional sense. The generational pondering of My Peers has a pretty solid beat and is likely my favorite of the songs on the album which mix sung vocals and rappin'.

The one thing that comes through to me after listening to Palmflowerblack is that Mantrakid is a talented guy. He tries so many things on here and manages to keep things interesting and very listenable throughout, that you can't help but be impressed. The only thing I feel the need to suggest is that next time around trimming things down from 18 songs might be wise. With the schizophrenic attention spans of today's music listeners, you want an album to put forth a precise package of your best work, and while this album certainly delivers bang for the buck, I could see some losing interest in the latter half. Anyway, I don't want to be too harsh on the (Mantra)kid for offering listeners more for their money, and I certainly think this album is worth checking out if you like the your hip hop with its boundaries stretched a bit. I'm interested in seeing where Mantrakid and Neferiu go from here. - “...you can't help but be impressed.”

Hello friends. I sense that you once again had a jones in the bones for some Alberta hip hop coverage here on the hill. This is a malady I can fix in one simple post. With some assistance from Calgary (I think he might've moved to Vancouver, but that doesn't really fit for puposes of this semi-humourous intro) rapper/singer/producer Mantrakid and his new album Palmflowerblack.

Nate Schmold is the man otherwise known as Mantrakid, and he's also the man behind hip hop/electronic label Neferiu, which I mentioned earlier this year while discussing their free download of Metawon's Electric Dyslexic. Running a label is a time-consuming business, so it's not a surprise that it's taken some time (10 plus years) for the (Mantra)kid to release what he calls his "proper" debut. And an interesting, energetic debut it is, with Mantrakid's kinetic presence featured throughout on production and vocals.

Even though there are some fairly straight-ahead hip hop songs on here (Felt Tipped Dignity, Ability To Rap, Sinister States), the production on Palmflowerblack definitely leans towards the electronic end of the hip hop spectrum. When you pair that with the numerous styles Mantrakid tries out on the album (rappin', sing-song rappin', singin', and no vocal instrumental tracks - and that isn't counting the contributions from guests, who I'm glossing over because I can't find a tracklist that id's them), this album would likely be placed pretty squarely in the experimental hip hop category. Certainly no shame in that though, as hip hop needs nothing if not people trying to innovate and take it to new and interesting places.

The production on Palmflowerblack does it part towards keeping things interesting, with such varying styles across the 18 songs that you never come close to hearing the same thing twice. This is true even on the instrumental tracks: the title track features atmospheric, floaty sounds laid over a solid drum track, while Thursday's Ginger is a much more minimal electronic affair with blips and skittering drums, and The Secret Song builds on that formula with some menacing drums and chopped vocals added to the mix. But there's plenty of hip hop flavour to be had also, like Next Shit, which mixes 80's fast-rap with Lyrics Born-esque flows, and a decent guest appearance from Calgary MC Ricca Razor Sharp. Genesis opens like it samples Genesis, before soaring eastern-influenced guitar licks take over and (correction: King Lou's) lyrics kick in at the two minute mark. This is a solid jam, this style is the one I think I enjoy most from him.

Felt Tipped Dignity very catchy beat, it has a Bomb Squad feel to it. His MC-ing on this track (and on the conceptual Ability To Rap) is a little over the top, a little Organized Rhymey for my taste, but still enjoyable none the less. Things get a little darker at the album's mid-point, with the 80's keys & drums of You'll Never and the electro, El-P-ish production on Sinister States. The dub-laced So Hot I Can Taste It is likely the closest thing to a club track you'll find on Palmflowerblack, but it certainly isn't a club track in the conventional sense. The generational pondering of My Peers has a pretty solid beat and is likely my favorite of the songs on the album which mix sung vocals and rappin'.

The one thing that comes through to me after listening to Palmflowerblack is that Mantrakid is a talented guy. He tries so many things on here and manages to keep things interesting and very listenable throughout, that you can't help but be impressed. The only thing I feel the need to suggest is that next time around trimming things down from 18 songs might be wise. With the schizophrenic attention spans of today's music listeners, you want an album to put forth a precise package of your best work, and while this album certainly delivers bang for the buck, I could see some losing interest in the latter half. Anyway, I don't want to be too harsh on the (Mantra)kid for offering listeners more for their money, and I certainly think this album is worth checking out if you like the your hip hop with its boundaries stretched a bit. I'm interested in seeing where Mantrakid and Neferiu go from here. - “...you can't help but be impressed.”

Trapped between two Canadian cultural hubs, Toront...
Trapped between two Canadian cultural hubs, Toronto and Vancouver, Alberta stands alone in the face of an industry that refuses to recognize the talent that exists here. From the veterans of the scene to the up and comers, hip hop in Alberta has always had a unique and creative flavour true to the environment, and reflective of the issues that affect us.

Two long term local artists, Mantrakid and Ricca Razor Sharp of the locally owned and operated Neferiu camp, have taken it upon themselves to unite the prominent hip hop artists in this province under one roof. It is these two men’s hope that they will provide fans of hip hop music with a better understanding of the level of talent that exists right here at home in Alberta. The ‘I Love Alberta Hip Hop’ festival takes place in September, showcasing the many different styles from Edmonton to Lethbridge in a series of shows in one city, for one weekend.

“Not only am I organizing and performing, but I’m genuinely excited to see all the performers on the bill, especially all in the same place. That’s never been done before,” says the Calgary MC Battle champ and promoter Ricca Razor Sharp.

Alberta might be the underdog, but it is undeniably a force to be reckoned with. Hip hop lives here, it’s just hard to find sometimes, and it’s festivals like this that help make it more accessible to a wider audience. Guests will also receive a limited edition compilation album with the purchase of their ticket, featuring tracks from all the different artists performing.

Although the scene often feels segregated between cities, there are many people dedicated to the music and the culture here, who consistently make sacrifices in the name of a shared passion; hip hop. The scene here is one big family where the need to stick together and unify is greater than anywhere else in this country.

Edmonton’s very own Politic Live, who has received national airtime on MuchMusic and critical acclaim for their debut and sophomore albums, will be performing at this event. Groups like this are taking positive steps in the name of this province, and helping to gain the respect and credit they deserve on a national basis. Other performing artists include Dragon Fli Empire, Lexington & Whatevksi, Touch And Nato, Intricate Minds, King Dylan, Boom Bap Baboons, Impirical, Mantrakid, Ricca Razor Sharp, King Jamez & Tarren, Emcee E, Lyric One, and Deezuz.

“Instead of just another show, let’s make it mega, and call it a festival!” says Mantrakid, owner of Neferiu.

It’s mega alright, and for a few nights only everyone can forget about all the things they think hip hop should be, and just enjoy it for what is. Positive, powerful, and a good fucking reason to get your party on. - It’s mega alright, and for a few nights only everyone can forget about all the things they think hip

Trapped between two Canadian cultural hubs, Toront...
Trapped between two Canadian cultural hubs, Toronto and Vancouver, Alberta stands alone in the face of an industry that refuses to recognize the talent that exists here. From the veterans of the scene to the up and comers, hip hop in Alberta has always had a unique and creative flavour true to the environment, and reflective of the issues that affect us.

Two long term local artists, Mantrakid and Ricca Razor Sharp of the locally owned and operated Neferiu camp, have taken it upon themselves to unite the prominent hip hop artists in this province under one roof. It is these two men’s hope that they will provide fans of hip hop music with a better understanding of the level of talent that exists right here at home in Alberta. The ‘I Love Alberta Hip Hop’ festival takes place in September, showcasing the many different styles from Edmonton to Lethbridge in a series of shows in one city, for one weekend.

“Not only am I organizing and performing, but I’m genuinely excited to see all the performers on the bill, especially all in the same place. That’s never been done before,” says the Calgary MC Battle champ and promoter Ricca Razor Sharp.

Alberta might be the underdog, but it is undeniably a force to be reckoned with. Hip hop lives here, it’s just hard to find sometimes, and it’s festivals like this that help make it more accessible to a wider audience. Guests will also receive a limited edition compilation album with the purchase of their ticket, featuring tracks from all the different artists performing.

Although the scene often feels segregated between cities, there are many people dedicated to the music and the culture here, who consistently make sacrifices in the name of a shared passion; hip hop. The scene here is one big family where the need to stick together and unify is greater than anywhere else in this country.

Edmonton’s very own Politic Live, who has received national airtime on MuchMusic and critical acclaim for their debut and sophomore albums, will be performing at this event. Groups like this are taking positive steps in the name of this province, and helping to gain the respect and credit they deserve on a national basis. Other performing artists include Dragon Fli Empire, Lexington & Whatevksi, Touch And Nato, Intricate Minds, King Dylan, Boom Bap Baboons, Impirical, Mantrakid, Ricca Razor Sharp, King Jamez & Tarren, Emcee E, Lyric One, and Deezuz.

“Instead of just another show, let’s make it mega, and call it a festival!” says Mantrakid, owner of Neferiu.

It’s mega alright, and for a few nights only everyone can forget about all the things they think hip hop should be, and just enjoy it for what is. Positive, powerful, and a good fucking reason to get your party on. - It’s mega alright, and for a few nights only everyone can forget about all the things they think hip

From the 2008 Sled Island Festival program guide:

"While it's straight outta Calgary, the sounds of Mantrakid seem beamed in from somewhere out in space. As much electro collage as hiphop futurism, this one man production/emcee unit is a wrecking machine of mind bending beats and abstract rhymes." - DME - ...the sounds of Mantrakid seem beamed in from somewhere out in space.

From the 2008 Sled Island Festival program guide:

"While it's straight outta Calgary, the sounds of Mantrakid seem beamed in from somewhere out in space. As much electro collage as hiphop futurism, this one man production/emcee unit is a wrecking machine of mind bending beats and abstract rhymes." - DME - ...the sounds of Mantrakid seem beamed in from somewhere out in space.

Mantrakid seems to occupy a unique place that intersects Lo Fidelity Allstars, backpacker hip-hop and Limp Bizkit all in a way that isn't entirely offensive. - Mantrakid seems to occupy a unique place that intersects Lo Fidelity Allstars, backpacker hip-hop an

Mantrakid seems to occupy a unique place that intersects Lo Fidelity Allstars, backpacker hip-hop and Limp Bizkit all in a way that isn't entirely offensive. - Mantrakid seems to occupy a unique place that intersects Lo Fidelity Allstars, backpacker hip-hop an