the louderARTS Project

Kontrast

Sketch, Koba and DJ Boo comprise the Filipino-American, Brooklyn-transplanted, fearless, irreverent, and unrepentantly radical hip-hop group Kontrast. In an era typified by manufactured pop stars and preemptive wars, Kontrast has been out to push the boulder over the cliff and shatter the state of things since their founding in March 2001. Whether they’re traversing topics as poignant as Asian-American history, the "Nightmare" of Homeland Security, the unlikely heroism of Yao Ming or deconstructing hip-hop’s phallic obsession, Kontrast explores with heart, humor, ferocity and a relentless drive to unearth the complexity of truth, complemented by richly textured and bumping production.

Kontrast's work is inspired by an almost unimaginable range of influences; from Jay-Z to the Clash, from boom bap to bhangra, from Marvin Gaye to Masta Ace, from free verse to Freestyle Fellowship. They've performed at numerous venues in the city including SOB's, CBGB's, The Lion's Den, The Frying Pan, The Wetlands and at campuses across the country. Kontrast has been featured alongside such prominent artists as Slum Village, Medusa, Immortal Technique, C Rayz Walz, Bobbito, The X-Ecutioners, Suheir Hammad, Oktober, Ricanstruction, DJ Kuttin Kandi & The Anomalies and many more. Their debut album "Settle With Us" is due to be released in early 2005 and features Kevin So, Outernational and Soce the Elemental Wizard.

kontrast at nosheetsleft dot com
nosheetsleft.com






© Kontrast



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .