South Australia, Australia
South Australia, Australia
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AUSTRALIAN RAPPER NELSON DIALECT AWARDED FELLOWSHIP TO NYC
THE LESSON W/ DJ SANCHEZ
JANUARY 8, 2018
Australian based rapper, Nelson Dialect has recently been awarded a prestigious Carclew Fellowship to spend six months in New York later this year for a residency and internship with Bronx-based record label Red Apples 45.
The label was previously home to the late Party Arty of Ghetto Dwellas (with D-Flow), as well as numerous releases from AG and OC of DITC, Kool Keith of Ultramagnetic MC’s, Ray West, John Robinson of Scienz Of Life amongst many others.
As part of his fellowship, Nelson Dialect will also work with esteemed Harvard-educated literary critic Professor Adam Bradley of Colorado University, who directs the Laboratory for Race ; Popular Culture (RAP Lab) and has previously worked with Common. Listing influences from Slick Rick, Gang Starr, the late Sean P, Rakim, Nas, EPMD, Kool G Rap, the late J Dilla and DITC, being awarded a prestigious fellowship such as this one is a career-defining moment for the heavily NYC-influenced emcee.
Nelson Dialect burst onto the local scene as a battle rapper in the early 2000’s with his now infamous nursery rhyme, topic-driven off-the-top freestyle when he was only 13 as well as winning many freestyle battles. He went on to release his debut EP The Sound Of Change Sampler before releasing his debut solo album in late 2008 Rugged Uncut Project on Butterthief.
Dialect then teamed up with DJ / Producer partner Despair and released their debut Dialect ; Despair album, the now classic 15-track The Vortex in 2010 featuring a string of memorable local appearances from Delta, Motion, Social Change and Funkwig. They followed this up with the excellent more internationally geared Self Evident album that featured DJ Total Eclipse, Beneficence, Melanin 9 (UK), S.I.T.H, D-Flow and Majestic Gage.
He has additionally worked with the late, great UK producer Mark B, extensively with Melbourne-based producer Must Volkoff of Pang Productions, Doc Felix, John Robinson, Chasm, C-Rayz Walz and award-winning turntablist / previous early Hilltop Hoods collaborator DJ Sum-1. Nelson Dialect has most recently released the limited edition Never Finish Anything poetry book and 2 Train With The 7’ 7- inch produced by Ray West of Red Apples 45, who has produced for AG, Roc Marciano, Blu, Kool Keith, OC of DITC, Cormega plus many more.
Dialect has toured nationally, supported the likes of Masta Ace, RZA of Wu-Tang Clan, Pharoahe Monch, Lazy Grey, MOP, Jeru The Damaja, The Beatnuts and has recently announced a new album with one of Australia’s best hip-hop producers in Must Volkoff of Pang Productions as well as signing on with agency Joint Adventure. This year is shaping up to be an exciting one for the Adelaide emcee; with both sides of the Pacific anticipating what 2018 will deliver.
I think (my early attraction to Hip Hop music) was as much adoration for my eldest brother as it was the music. He was everything cool to me, and you want to be hanging around your brother as much as possible. So to just be a little kid in his room, while he was listening to his albums looking at the art work, posters on the wall or if it was at a party in the family home, as there was always something going on at my house growing up with 3 older bros and my folks loved to have parties and family around. It would be Hendrix, Led Zeppelin, Creedence in their dining room then my brothers in the backyard with Hip Hop. I just saw the albums as a direct link to this world of everything I associated with family, fun and the emotional mood of the household. Music was it. And then directly just the spirit and sound of the music was something I loved. I knew it was black music and culture largely that I was listening to, and it was that groove, the Funk/soul/r&b/jazz, that I instantly loved. It felt like the reason why I came to the planet. It was always the draw in to me. I didn’t feel other sounds as much yet like I did Hip Hop.
I’m still striving for my art to write that next song which helps people ultimately. I want to improve. I certainly want to be in the room creating with people I admire & respect creatively. But the main path and goal is to be present and to create in a loving and sincere way. I just want to share music and experiences with other people. That’s what is important to me about making music
(If I could, I would advise a younger version of myself to) loosen up and don’t be so hard on yourself. Learn more instruments. Don’t be so sensitive or take on others opinions/energy. But also keep doing what you are doing because its all part of your destiny.