Distant Sense of Random Menace is an introspective, yet accessible album, that travels in and out of boom bap Hip Hop, with self-assured musicality and intelligence. Urthboy has developed a reputation for his stylish deliveries and complex rhyme schemes, all of which can be heard on this distinct Australian Hip Hop release. Distant Sense of Random Menace is available on a slick digi-pack CD with illustrations by Urthboy. For vinyl heads, an extended 12” vinyl will be released featuring an exclusive remix courtesy of Hermitude. The album has been mastered in Los Angeles by Dave Cooley (Madvillian, Madlib, Dangermouse – The Grey Album).

Urthboy’s live show features Ozi Batla (The Herd) and Elgusto (Hermitude). He will tour in late October to promote the new release. ITM’s Bec Paton caught up with Urthboy to chat about solo soliloquies, doodling and death!

BP: The Herd has had enormous success over the last couple of years. ‘Distant Sense of Random Menace’ is your first solo album but I know you have done solo stuff before—like for The Culture of Kings Vol. 2. What made you decide to produce tunes independently from you crew?

U: I originally started this project back in Explanetary (my first group—with Hermitude on drums and keys) days because the other MCs weren’t keen on going where I wanted to lyrically. I also wanted to flex on some programmed beats rather than the live band and muck around with that, rather than co-ordinate the others. Essentially this was produced with members of my crew, (whether they be Herd fellas or TZU or Hermitude), we just extend the posse to suit.

BP: You are an incredibly creative MC lyrically and you are really charismatic on stage too. Do you think it gets easier with time? What’s the journey thus far been like for you as an artist—bumps/jumps?

U: Thanks! Sometimes I can be relaxed and yeah, that’s simply experience and spending heaps of time on stage. I actually think I’m often fairly awkward and I feel like an alien in the headlights of a passing space station. It does get easier—I don’t get as nervous as much as I used to, but it’s not like riding a bike: sometimes I still feel as lost for words on stage as the first gig I ever played. That’s a worry huh…

BP: You collaborated with Elgusto from Hermitude, Count Bounce from TZU and some of the fellas from The Herd to make the music for this album. Did you find different modes of production evolved when working with different people?

U: Yeah, completely. And there’s a uniqueness that each producer contributed to the recording process that guided the overall vibe of the album. There were times where I knew the album needed to diversify, or it needed to be pulled back into focus—and I had the freedom to choose music or work with people on the beats to make that happen.

BP: Okay, hypothetical bit, (I bear you no ill will!)... Bomp! You’re dead, (R.I.P.)! What do you hope people will say about you and remember you for as an artist?

U: He dressed impeccably and he always had a smile. Hmm…This is a very difficult one as it hasn’t had time for the music to be absorbed and have an effect, if it does at all. I would hope to be remembered as being positive despite our sometimes-politically heavy Herd material. And jeezus christ, I’d hope that people remembered me for being light-hearted and fun. Fuck all this ‘end-of-the-world’ shit—it’s only the end of the news: now Neighbours is on…

BP: Your lyrics for The Herd albums are usually quite political. What sorts of stories and concepts do you explore on ‘Distant Sense of Random Menace’?

U: Ladies and gentlemen we even did a love song…! There’s not so much political stuff on there as I’d prefer that The Herd was a distinctive project to this – similarly when we collaborate with Hermitude we don’t hit the politics as there’s a time and a place. I’m really interested in story-telling and creating characters and interactions and situations. There is also some more battle-oriented and wordplay stuff on there as well, as that’s a great passion for me even though it’s not always my first concern when writing. We didn’t intentionally write an album full of hooks although there a fair few choruses—some of the tracks that didn’t make the final cut were long tracks without breaks, hooks and bridges.

BP: You etched and sketched the cover art for your new album—very cute and odd like you! Do you draw much or is the paper mainly reserved for rhymes?

U: Yeah I’ll keep to rhymes… haha… I’ve never been an artist and my characters are not supposed to be a serious attempt at cartooning. I’m just into the idea of doing something that you’re not “supposed” to do. I think there is a not-often spoken-about theory that dictates that if you haven’t been doing a particular craft since you were five years old means you should never entertain the idea of taking it up. I prefer to look at it from the angle of ‘fake-it-til-ya-make-it’. I’m not a fan of people NOT putting a lot of work into their art either—just saying you’re kidding yourself if you follow your school teachers or your parents ideas on what you should do with your life. But by the same token I don’t take my drawings seriously.

BP: The Australian hip-hop scene has gone from strength to strength over the past few years and the evolving culture is really unique and special. Where do you think Aussie hip-hop is headed and what do you hope will evolve?

U: I think it’s headed everywhere and I don’t care how it will evolve because that’ll occur naturally. Not to downplay the question because it’s a great reflection on the state of affairs if people are commenting on the increasing successes of hip hop here. I guess after years of answering this question my response has probably changed as well—given that previous responses might have been: “I hope one day we can tour and be viable,” (that’s happened), or “I hope commercial radio playlist Oz hip hop,” (and although it’s only been one or two songs that’s also happened), or “I hope hip hop becomes widely available in Australia,” (that’s happened). With burgeoning success comes negative aspects too but that’s part and parcel of building a viable genre in this fickle music industry. The new Bliss’n’Eso is off the hook from what I’ve heard.

BP: ‘Distant Sense of Random Menace’ was mastered in Los Angeles by Dave Cooley (Madvillian, Madlib, Dangermouse – ‘The Grey Album’). How did you manage to hook that up?

U: We simply asked him! We were into previous jobs he’d done and funnily enough he talked about the tremendous “preservation” work he has to do for Madlib’s productions which was humorous. He was talking about Madlib being a space cadet rocking into the studio with bags of weed, losing files and mixes—at the same time, Dave clearly thought Madlib was a genius. As far as the process of international mastering, it’s a gamble because obviously we couldn’t fly to LA to sit in on the mastering which is very important, but in weighing up costs etc, we rolled with it and I’m happy.

BP: You will be touring in October with El Gusto (Hermitude), and Ozi Batla (The Herd). What can people expect from the Urthboy live show experience?

U: Our Sydney Launch is Saturday 11th September at the Marquee and we’ve got a few pretty cool things planned for it. Were bringing up Muphin from Melbourne for it and we’ve got local lads the Trackmarkers too. But more of that later. As far as the Urthboy live show, it’s pretty fun. We run through a stack of my songs from the album, as well as some unreleased Ozi Batla songs. We do a fair few collaborations together and we’ve also got a few routines down with Elgusto where you get to see the extent of his cutting skills, combined with our freestyling ability. It can either sink or swim depending on the night—but it’s guaranteed to be fast-paced, light-hearted and entertaining. The real deal will be when we hit the road with Hermitude in October. That tour is going to be hilarious and stupidly good—we’re getting to most states so check your local guides.

Urthboy’s album ‘Distant Sense of Random Menace’ is out now through Elefant Traks/Inertia. Stay tuned to local guides for details on tour dates to launch the album in your city.