SO.Crates

SO.Crates

so.crates

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so.crates 〰️

Since they were established officially in 2013, SO.Crates have committed themselves to the task of crushing live shows and recording classic records, their sound capturing the essence of ‘90s boom bap hip-hop, jazz, soul and hot summer nights.

Made up of beatmaker extraordinaire Skomes and microphone manipulator Cazeaux O.S.L.O. (Skomes + O.S.L.O. + Crates = SO. Crates) operate between Melbourne and Adelaide. Their energy-driven and soul infused live show has lead them to perform at FLOW festival 2019, WOMAD 2020, Strawberry Fields in 2016, 2017, 2018, and has seen them support the likes of Stones Throw Records, Bradley Zero, Black Milk, Rapper Big Pooh, AFTA-1, 30/70, Mndsgn, Ivan Ave and more.

In May 2016, the pair self-released the modern classic cassette tape ‘Static Methods EP’ then followed by a vinyl edition in 2018 featuring remixes from the likes of 30/70, Billy Davis, Amadu Suso, ESESE and more while solidifying their place as one of Australia’s premier and most promising live hip hop acts.

In 2018, the duo paired up with New York based, Adelaide raised MC Nelson Dialect and beat maker Alnitak Kid on a new collaborative project ‘Sunset Cities’, which became the first hip-hop release on Melbourne label Bedroom Suck.

In 2022 the group released their debut album, the instant classic Malcolm After Mecca. Released again on Bedroom Suck, This project would reveal new sonic heights for Skomes on the boards and sharpen OSLO’s pen game. The record has since been nominated for the Music Victoria Awards “Best Hip Hop Work” as well as The Soundmerch Australian Music Award.

Over this period our heroes have played stages the likes of Strawberry Fields, WOMADelaide, The Duke Street Block Party, Colour Open Air, RCC, Wide Open Spaces, FLOW, The House of Blues New Orleans, Emo’s in Austin, Marathon Music Works in Nashville and more.

With a legacy built on releasing a steady flow of cold-crush records and delivering uplifting live performances to the party people, SO.Crates prove that hip-hop’s golden era is not a lost date in time, but a foundational state of mind.