new zealand rap

I'm travelling again!

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Greetings. In case you didn't know/care I'm currently in Mexico dodging organ harvesters before heading to America, Iceland and London. I'm falling asleep on the beach and forgetting what day it is, but give me until late March and this website will be updated as per normal. If you want to pay me big dollars to write about music for you, I'll be checking my emails with a naive sense of hope. Peace and congratulations for surviving 2012.

MWill - As Above So Below review

new zealand music blog

By Jimmy Ness and originally published at Passionweiss

After seeing the above cover art, my third eye was opened and all of the sacred chakras were energized. Either that or I wanted to hear what a beat tape from Marley Marl’s 19 year old son MWill sounded like. I love esoteric stuff, but ever since people claimed Jay-Z was in the illumaniti, artists everywhere have been pandering to basement conspiracists with half-hearted masonry references and stupid owl t-shirts. If mystical cults are using all of their elite power to get people to listen to Drake, they’re doing something wrong.

With my scorn for hipster Hermeticism in mind, I approached this project from a critical distance. Had all of the work gone into making obscure references in the track listing or would it be legitimately interesting? Luckily, it was the latter. As Above So Below is an instrumental EP dedicated to and featuring samples from progressive rockers The Alan Parson’s Project. 

Usually beat tapes can’t hold my attention, but there’s a lot going on. In just over 30 minutes, it packs spoken word, rap samples, classic prog and futuristic loops. “Elohim” features a catchy guitar sample, Homer Simpson introduces “Atlantis” and “Zohar” is a lo-fi dreamscape for drug trips on rainy days.

If you’re expecting MWill to carry his father’s legacy with authentic boom-bap beats for the “real” hip-hoppers, you’ll be disappointed with these astral sounds. MWill instead pays subtle tribute to Marley Marl by mixing lines such as “rap annihilist flowing like Pegasus” with chilled electronics. Plus, a Lords of the Underground guest spot. 

After all, it’s important to respect the past, but there’s nothing better than innovation. Talent can come from good genetics. The reptilian humanoids that control modern society will be pleased with this record. Even if they don’t have ears.

The PotW Staff Remembers Their First Favorite Album


Music listeners are essentially dopamine addicts. The chemicals are secreted every time we hear a song we love.  We all remember the CD that changed us from casual listeners into audio fiends. Maybe we enjoyed the smooth grooves of a boyband or decided Sisqo had some street cred, but there’s nothing quite like discovering that life-changing album. Even if it was Creed’s greatest hits. Allow us to wax nostalgic for a second.



My introduction to music had an uncertain beginning. As an eight year old, I went through the painful process of being forced to return several albums by god-fearing parents. Targets included: Coolio for explicit language/bad hair, The Bloodhound Gang for poo jokes and boy band All-4-One, of “I Swear” fame, for sweetly harmonizing sex metaphors.

Months after letting Bryan Adams and a Christian rap tape gather dust, I sat watching Space Jam in a small theater. During the scene when a young Michael Jordan dunks, my eyes watered as I pictured myself also soaring through the air. I was blissfully unaware of a future in which I would a) still be white and b) only grow to the height of Big Sean. However, as soon as I could convince my family I wasn’t about to turn into Satan, the Space Jam soundtrack was in my uncoordinated little hands.

It was a crash course in rap and R&B, featuring everyone from Jay-Z to D’Angelo, to disappearing acts like Changing Faces and my former musical brethren All-4-One. Before his underage rendezvous gained interest, R Kelly sung his anthem “I Believe I Can Fly,” Coolio gave inspirational life advice which he clearly didn’t follow on “The Winner,” and Biz Markie met the Spin Doctors on “That’s The Way I Like It.” There was also a mysterious artist called “feat”or “ft,” who seemed incredibly prolific and appeared on almost every song. I distinctly remember telling people they were my favorite artist, until I discovered months later that “ft” was actually short for featuring.

“Hit Em High” was the album’s posse cut and undoubtedly my personal favorite. Somehow it managed to sound hardcore despite featuring no swear words, a feat even that the mighty Lil Romeo was unable to achieve. I listened to the soundtrack almost every day and could rap the lyrics word for word. My perception of music was forever altered and although my basketball career tanked, my obsession with everything audio had begun. It wasn’t until years later that my musical taste regressed to Limp Bizkit and Kid Rock. Oh the follies of youth.