Curse Ov Dialect could mean “cursive dialect” or “curse of dialect”. If it’s the former, one can say that their ways of speaking has a lot more character and flow than whatever a “standard dialect” may be. If it’s the latter, maybe it suggests that if you are a fan of hip-hop but do not sound like what hip-hop is meant to sound like, which is that of an African-American, it may be difficult to impossible to break through. Fortunately, Curse Ov Dialect have been doing this for awhile and rather than try to conquer, they deliberately go out of their way to go their own way.
Crisis Tales (Staubgold) is the follow up to their great album, and as before, the production and sample manipulation is part of their appeal, because they’re twisting things up that I wish others would make their own. Lyrically and vocally, they are proud to be Australian and show this by rapping with a specific accent in mind. To my ears, some of the tracks sound like old Hollywood, old cartoon, or old vaudevillian voices where it’s bigger, bolder, and louder than life, as if they are used car salesman, latex loving farmers, or puppy professors. That in itself may cause people to want to turn this off, because it’s not in a “standard hip-hop dialect”. It’s also not an Australian hip-hop dialect either, or at least not a specific one, because throughout Australia (and New Zealand) you have rappers who have one voice and keep it that way. Curse Ov Dialect will rap under four voices or more. But give this a chance and a serious listen, because tracks like “Honesty In Monasteries”, “85 Percent”, and “Media Moguls” are some of the more interesting hip-hop songs you will have heard in some time, of any style, of any territory or country.
You hear voices that are rushing into the mix, and to have that backed by equally manic instrumentals? It is a hyperactive listen that you’ll either find incredible or blasphemy, but hip-hop at its best is about being blasphemous. Put down your rosaries.