Battle veteran Sensa has been one of Don’t Flop’s most consistent performers since its inception as a battle league 3 years ago. The East Anglian emcee has been there from the beginning, battling in some of the first ever Don’t Flop battles filmed using rudimentary camera equipment in a dingy Norwich underpass.

A lot has happened since he made his debut against Cruger in 2008. He’s battled at flagship London events against a slew of dope opponents, and he’s has even taken him as far as Canada to battle at King of the Dot.

His success can be attributed to one thing – his professionalism; he rare falters and delivers consistently hard-hitting lines. But he’s no stranger to controversy either; his mentioning of two famous tragedies drew indignation and outrage from many DF viewers. Regardless of where you stand, there’s no denying Sensa’s pedigree, and his latest title match battle with fellow Don’t Flop veteran Oshea proves why he is regarded top-tier.

Ahead of what promises to be a busy summer for Sensa, I caught up with him to reevaluate his career after his title match and check in to see what surprises he has in store for 2012.

TC: In your song ‘Not A Rapper’ you mention you weren’t heavily into hip-hop growing up. What got you into battling?

Sensa: The thing is I was into hip-hop, just not in the way that a lot of people in the battling scene are. To me, hip-hop was 2Pac, Dr. Dre, Eminem, the usual suspects, and in 2Pac especially I had everything I needed. I listened to his music all the time and became obsessed with everything about his life; the conspiracies, the shootings and the message in his music. I also used to listen to NWA, Ludacris, Talib Kweli, but if you asked me about Common, GZA, Jadakiss, I probably couldn’t answer the most basic of questions. But like I said, in 2Pac I had everything I needed really, with Eminem and the others supplying the other side to rap.

My battling career started in Norwich about 6 years ago, with live on-beat freestyle battles. It was actually the same club in which Arkaic first started to battle, and it was good fun and the only battling I was really aware of at the time. When Arkaic and Eurgh did WRC for Jumpoff I was gutted I never applied, but by the time Don’t Flop started I felt I was ready to be part of it all. I was actually present when Eurgh had the idea for the name Don’t Flop, so it felt only right that I got involved.

TC: What process do you go through when preparing for a battle?

Sensa: To begin with, I brainstorm all of the potential angles I can see for my opponent; short, tall, glasses, Northern etc. Once that list is compiled, I tend to see which basic ideas can stem from the brainstormed bullet points. Gradually the bars start flowing, and I find new angles which I can expand upon. It’s quite an organic process really. Once I feel I have all the bars I need for the battle, the mission really begins, namely, organizing my bars into structured verses that are clear and coherent. I find that the most strenuous part of the process. The memorising I find relatively easy; I managed to remember my 12 minute round for the Prince Kong battle during a shift at work. But to be honest, prepping for a battle takes up so much time that the audience isn’t aware of, I wish sometime they could see how many hours are actually put into it.

TC: Your latest battle with Oshea has so far garnered over 60,000 views. What do you make of the response so far?

Sensa: I think the response has been great, plus the battle seems to have pleased the viewers and lived up to expectations. It seems that an overwhelming number of people feel the wrong person was given the win, which is an opinion I agree with, but I’m not mad at all. Oshea is a great performer, the fans love him, and I myself am one of those fans. I think the reason I lost was the angle I took which was to make Oshea out to be the bad guy and not me, and I don’t think I managed to pull it off.

TC: Your references in past battles to the Hillsborough and Rhys Jones tragedies provoked outrage from some Don’t Flop viewers (namely those from Liverpool). In retrospect, would you have broached such sensitive subjects as these?
Sensa: To be honest with you, I was sure that Oshea was going to mention them first, and make me look the bad guy. I thought early on in my writing process that I needed to mention them as well as a way to counteract them. As my angle was to make Oshea look the bad guy, I found a way to tie them into my verses. A lot of people object to me saying those things, which I understand, but in this battle I wasn’t dissing the tragedies themselves. Look at it this way, I have 3 kids, so of course I’m not happy with the fact that Rhys Jones was killed. It was a terrible tragedy and my heart goes out to his family and to those close to him. It was just an angle that I used in a battle, not a personal opinion or something that I even remotely condone.

TC: You went to King of the Dot last year. What was the experience like? Did it open your eyes to the Canadian hip-hop scene?

Sensa: The King of the Dot trip was great. I have nothing but respect for Organik and the whole KOTD staff for the way they handled getting me there and how they treated me when I was there. The event itself was amazing; I enjoyed every battle and mingling with the legends that I’d only previously seen online.

TC: What are your plans for battling? Are there any future opponents in your crosshairs? International ones perhaps?
Sensa: At the moment I’m taking a break; I’m busy at home and I’m really trying to push on with making music right now. To be honest, there aren’t any battles that I’m really keen to take anyway. However, if a big-name international opponent does come up, I’ll be on it, but not for a good few months.

Photo by Franc Botha, Rhythm Circus.

TC: What do you think of the idea that battle rappers can’t make good songs? Does it still hold true?

Sensa: I think that old adage is bullshit; just look at all the battle rappers around that make music and you will see that. In the last year, I’ve copped Illmac’s Green Tape, OG Hindu Kush’s in 3D, and 24/7’s Room Full of Empty Bottles. In the UK, Cruger, Psychosis Holochaust, Jefferson Price and Blizzard are just some of the few that make great music, so I don’t think that it’s at all fair to say battlers can’t make tracks.

TC: You recorded a mixtape in seven days after your Soul Khan battle titled ‘Do You Know Me’ about a year ago. How did the project come about and who helped you put it together?

Sensa: Ah, that shit was wack! In all seriousness though, I rushed it so much that the quality of the tracks was poor. I just felt that as the Soul Khan and Dizaster battles were being released, I needed something to promote, but I feel it backfired. The beats were provided by various people; Bigg Ceaser, John P, Dirty Stanz, which were all great, but I just wish I’d taken more time on the project as a whole. Chronicle, Arkaic, Wordplay jumped on tracks with me, and they all got their verses to me quickly and efficiently, so nothing but respect to them for their work. Besides, me and my engineer Break Fluid had a real good time making it, so fuck it.

TC: I’ve noticed you’re a huge fan of Baltimore rapper Los. What is it you like about him so much?
Sensa: Los is, in my opinion, the best technical rapper I’ve ever heard. His lyrics, flow and presence are truly unmatched. I advise everybody to go cop his latest album Los – The Crown Ain’t Safe. It’s fucking amazing.

TC:  And finally, what would you say inspires you most in life?

Sensa: Everybody around me who’s close to me, especially my fiance and the kids. Battle rapping is such a small part of my life, and while I do enjoy it, it means very little in the grand scheme of things. Music inspires me and gets me through the day most day; in fact I cannot imagine a day not listening to music. I also love making music, and hopefully the next interview I do I will be talking about the new album I’m working on!

Twitter @sensauk


Manchester-based grime/rap artist Blizzard is tipped for big things. Creating a major buzz after an impressive string of freestyle videos, (most notably his two recent SB.TV Warm-Up Session and F64 videos which have so far garnered well over 100,000 combined views), the prodigiously gifted 17-year-old emcee and producer practically has “the next big thing” stamped to his forehead. Already making waves in the scene, it’s impossible for fans of both hip-hop and grime to ignore  the young Mancunian, who combines devastating grime flows with punchlines, lyricism and a maturity beyond his years.

TC: For those who don’t know you, sum yourself up in sentence.
Blizzard: I’m a 17 year old MC and producer from Manchester, UK and I’m just trying my hardest to push my music to the depths of the earth and be up there with the best.

TC: What sort of artists initially inspired you to get into making music?
Blizzard: The music I listened to as a kid was mainly what was playing around the house; rap and grime music didn’t come to me till I was exploring myself, but rappers like The Game, Eminem and LL Cool J along with groups like Wu-Tang Clan, Outkast and A Tribe Called Quest. My production is inspired by stuff like Brian Eno, Philip Glass, Aphex Twin, Massive Attack and Autechre, so a wide range of stuff really.

TC: You’re primarily known for grime, but you also affiliate closely with the UK hip-hop scene. When did you cultivate a passion for rap?
Blizzard: When I started secondary school really. Before that it was whatever was on display, or whatever I heard, but that was the point where I understood it.

TC: You’re working alongside independent grime label Launchpad Records. Tell us a bit about the label’s ethos and what you want to achieve with it.
Blizzard: Launchpad is a great label. They do their work and as a result of that they’re steadily becoming a prolific name in the grime scene. It’s deserved as well; it’s not like they’ve had the formula given to them with colour-coded instructions. They (George Quann-Barnett and Louis Serrano, the founders of Launchpad) worked it out. In the future I’ll most likely be releasing something with them.

TC: Which artists (not necessarily limited to grime or hip-hop) are you feeling most at the moment?
Blizzard: I’ve got a few. I go through phases but at the moment I’m feeling The Weeknd, Frank Ocean, Jhene Aiko, Lana Del Rey and Jhene Aiko, as well as many others. For hip-hop, it’s Jehst. ‘Dragon Of An Ordinary Family’ is all I’ve been bumping lately.

TC: If you could collaborate with anyone, who would it be?
Blizzard: I’d love to collaborate with The Weeknd. The guy has a hauntingly good voice, and hypothetically it would be interesting to see how he’d adapt on a song with a UK artist.

TC: Since the age of 11 you along with Shifty and Slayer have formed part of Manchester grime crew Mayhem. Is this still an active operation, and do you still maintain close ties with both crew members?
Blizzard: Yeah, Mayhem are still active, but we’re more like a firm of MCs that work together but away from the crew do solo stuff, if that makes sense. We’ve been talking about a future CD but we’ll always be screaming the name, regardless if we have a new project out or not.

TC: You’re strongly associated with the Manchester grime scene. How do you feel about the scene in general? Is it getting the praise and recognition it deserves?
Blizzard: It’s an issue of interpretation really. To some people it’s a breath of fresh air, yet to others it’s like a page out of a dystopian novel. It’s down to how you, as an individual, choose to work. In the next few years I think Manchester artists going nationwide will be much more commonplace.

TC: The grime scene is often accused of being too London-centric. Do you think it’s harder for grime artists from other cities to gain recognition?
Blizzard: I think so, mainly due to the fact that the general consensus of grime fans only pay attention to London artists most of the time. Just getting acknowledged is a big enough feat, but there’s nothing to say that it isn’t possible.

TC: The Manchester rap scene is a burgeoning one. Which artists should we be looking out for?
Blizzard: Sin-Seer from Manchester is ill. He’s bringing back the old-school, laid back lethargic 90s style that I miss. Also Red IQ, which is a rap trio that is made up of D’Lyfa Reilly, C Aye Monk and Bo’Nidle. They’re ill.

TC: You’ve battled a few times on Don’t Flop, most recently defeating H-Bomb. What do you like about battling, and how do you feel about the current state of the UK battle scene?
Blizzard: Don’t Flop is the only thing that is really worth paying attention, but they’re doing their work and it’s paying off. I was at an event on the 19th November (Blood In The Water 5) which was insane. Rappers from the US, Canada, Holland, Sweden and even Malaysia flew out to take part in that event.

TC: Many of us will have no doubt seen your SB.TV Warm-Up Session and F64 videos. How important do you feel your online exposure has been in getting your name out there?
Blizzard: I think online exposure is important because it’s available for everybody. When I started out the only way artists used the internet was Myspace, and now it’s became bigger, and it’s a way for artists to become established.

TC: In addition to emceeing, you’ve produced various beats, including the infamous ‘Soundboy Killer’ for Wiley over which he sends for Dot Rotten. As your career as an emcee progresses, do you see yourself continuing to produce for other artists?
Blizzard: Yeah Soundboy Killer was the start of it; I was always making beats for myself and my close circle of friends but it never really took off, and I never saw a big demand for my beats, so I was quite reluctant to bring stuff out. But for sure, I’d love to take production to the next level and produce for big artists.

TC: Are there any new projects of yours in the pipeline?
Blizzard: Just the mixtape that I’m in the process of making at the moment, called ‘The Social Network’. I don’t have a release date but it’ll be a free download project and I will keep you all updated.

TC: And finally, where can people best find you online?
Blizzard: My Twitter (@iamblizzard), my Facebook fan page (www.facebook/blizzarddubs) and my Soundcloud (

It’s fair to say that indie label founder, film maker, Don’t Flop battler and Sheffield grime artist Psychosis Holochaust has really been keeping his nose to the grindstone of late. For the most part, he’s been tirelessly promoting his city’s grime scene, in addition to participating in the odd rap battle for Don’t Flop, releasing a slew of quality music videos, and all the while maintaining operations at Prison Planet Records HQ.

With his rapid-fire delivery, complex rhyme patterns and fantasy-inspired lyrics that draw influences from a mix of sci-fi, comic books and computer games, the Steel City representative is honing arguably one of the most distinctive styles in UK rap music today. Hopefully, the following interview will give you an insight into what really drives and inspires this talented young artist to stay so fresh and innovative in the scene.

TC: First off, where did you get your name?

PH: Growing up, a lot of the people around me called me ‘Psycho Theo’ and that name kinda stuck with me for many years right through to college when I first started showing more interest in MCing and stuff. This was back I would record like 2/3 tracks a year, and was primarily a filmmaker; I didn’t class my self as a rapper for one minute. To be honest, I thought rapping was a bit of a stupid thing to do! It wasn’t until the years went on that I started realising how much I actually enjoyed it, so I started doing more and more tracks. I needed to change my name, so went with Psychosis, and being a massive movie fan — especially one of 70s/80s Italian exploitation — a lot of my favourites were Cannibal Holocaust, Zombie Holocaust and Cannibal Ferox, so I just thought the ‘Holochaust’ part was nice to throw on the end. It was still a time when I wasn’t taking music too seriously; I just had a lot of people around me who were into it and making beats and I kinda just got hooked, so I went with that name and have stuck with it since.

TC: You came up through the Sheffield grime ranks, but you’ve also been heavily involved in hip-hop over the past few years. Do you see yourself as a grime emcee, a hip-hop crossover artist, or perhaps someone who’s helping to bridge the stylistic gap between the two genres?

PH: I have always classed myself as a grime MC, however hip-hop is something I have always loved and is a genre of music I will always make. I think some of the best tracks I have made have been hip-hop: ‘Prison Planet Anthem’, ‘Final Wars’, and not to mention a whole bunch of new ones I’ve got coming out on the new album. To say I am purely a grime MC would not a correct as I have made and always will make lots of hip-hop. Being from Sheffield, a city constantly thriving in grime and bassline, it’s grime music that I have always held closest to me, and the one genre I personally will always favour over hip-hop; but at the end of the day, its all just rapping no matter what speed the instrumental it’s over.

TC: Which artists would you say have most influenced your style?

PH: Probably Ghetts and Shameless if I’m honest. I have been listening to all kinds of music for years, but have only been rapping seriously for about 2 and a half years, and it was listening to his early stuff that really made me wanna do it. I have always had that high, stabby voice so early on I never really knew how to project myself without sounding too mad over the beat, so it was listening to their stuff that made me realise that I could make my voice work. Going even further back, B-Real from Cypress Hill, and his high stabby voice also inspired me to want to make mine work. As for ideas and inspiration, films, comics and computer games influence my style more than any rapper ever will.

TC: I’ve noticed recently you’ve been busy promoting a night called Grime House in Sheffield which features an array of local grime talent on the bill. How do you feel about grime in the Steel City? Is it a thriving scene? Are you guys getting the recognition you deserve?

PH: Yeah, Grime House is sick; basically it’s me and all the people I am involved with in the Sheffield grime scene putting on a big rave every two weeks, complete with live hosting and PAs from a slew of local MCs. We decided to set the whole thing up because most venues in Sheffield that once played bassline have since shut down, owing to the ‘bad vibe’ it has been accused of attracting. Similarly grime (well, I don’t even know venues that even play much grime anymore) has probably waned on the club scene for the same reason. Eveyone nowadays is on that dubstep hype — and that is one genre I have never been a massive fan of; hence why me and my scene heads decided to put a grime night on so we can actually play our own stuff to a massive crowd, and listen to all the grime and bassline tracks we never get to hear when we go out anymore. And yes, Sheffield has a massive grime scene, plus I think we do to some extent get a lot of good recognition for it — not as much as we should get but unless it’s down south, no city does. Birmingham has started to get a lot of mad coverage which is good, and hopefully the buzz will spread further North soon. People in general just need to keep pushing their own stuff forward, and not imitate the sound of others or changing up their own sound to please a certain crowd. If you know you are making good music, it really doesn’t matter where you’re from.

TC: Earlier this year you released an absolute banger of a grime track titled ‘100 Hit Combo’. Firstly, who produced it and secondly, what sort of a message were you trying to send out with it?

PH: It was produced by Titch of BOK studio in Sheffield, and anyone from Sheff knows what a legend he is. He is part of a massive dance music collective called ‘The Squire of Gothos’ who play all over Europe, and he is also one of the sickest producers I know so, we just sat down and made it togther in just a couple of hours. To be honest, the only message I wanted to put accross with that track is that I had not been on the grime scene for a good while for the pure fact I was battling in Don’t Flop a lot at the time, as well as spending about 9 months making Adventure Rap, and then working on my solo album, End Game which is mostly hip-hop. I just wanted to come back with something proper hard-hitting and to show everyone that I can still duppy grime better than most. I also wanted to write a track that had a hardcore knockout punchline every 2/4 bars and I think i did this pretty well with ‘100 Hit Combo’ and the remixes.

TC: Alongside long-time beatmaker collaborator Dr. Calpol, you’re also part of Sheffield grime collective, Toxic Defence Force. Is this still an active outfit, and if so, what are your future plans for it?

PH: Yeah, Calpol has been my best mate for years now. We both grew up together and went to the same school and stuff. Toxic Defence Force is the music me and him make, and he is by far the best musician and beat maker I know. He has played classical piano since he was 8 years old and now makes bassline and grime music. We have an EP coming out at somepoint, for which he has made all the beats and has confirmed all the collabs; I just have not had a chance to start recording it yet because of the other projects I have going on at the moment. It’s sounding amazing though, possibly the best music I have ever made, plus it’s gonna have some mad collabs on it you wouldn’t expect, too.

TC: In 2010 you founded independent UK hip-hop label Prison Planet Records, with the likes of Flex Digits, Pseudonym and OhPityMe all featuring on the current artist roster. What’s the label all about, and what do you hope to achieve with it?

PH: We didn’t aim to achieve anything with it really; it was just about putting the music we do under one banner and to push it as a whole. Me and Flex are both predominantly solo artists, but obviously we do collab and work on projects together from time to time, and Pseudonym is always up for getting involved in the stuff we make. OhPityMe is less into the music side of stuff these days and is more into the classic Sega game play-throughs and stuff we do for the Prison Planet YouTube channel. We as a collective provide all different types of entertainment — I for one am working on a feature length documentry which I plan to release on the label as a way of promoting all our stuff on a proffesional level under one organisation.

TC: One of your best-known releases to date is the Adventure Rap EP on which you, a host of various UK emcees and producer Saint Bastard all collaborated. For those that don’t know, what is “Adventure Rap” and how did the whole concept come about?

PH: The whole adventure rap stuff came about from bars we used to just freestyle all the time, and with us all been massive fans of movies, comics and rap, the whole thing just kinda all fell into place. It was actually Faceraper from Wales who made most of the beats; the guy’s an absolute G — he just used to send me about four mad adventure beats everyday! There was loads of material we didnt use too, and we’ll probably do a part 2 at somepoint in the future. It was a lot of fun to write, and some of the tracks of that album — especially the ones produced by Saint Bastard — are still some of my favourite tracks I’ve ever made.

TC: There were a few brief mentions of your debut solo album titled ‘End Game’ earlier in the year. Is there a definitive release date yet, and what sort of sounds can we expect from the project?

PH: As it stands, End Game is one track away from completion!! I’ve just kept getting distracted with grime projects, raves and battling of late to have taken the time to get it all finished. That said, I’ve got a banger dropping when the CD is out featuring a music video and a big name on it,  as well as stuff produced by Wizard, so it should be sick when it’s all out! It’s weird trying and put a finger on what sound it is: its proper 70s retro post-apocolyptic exploitation and sci-fi sounding (if that makes aby sense) plus there’s a lot of deep real shit in there with some proper ‘fuck you’ music, some of which you could call adventure rap, albeit set in space rather than in a medieval fantasy world. I’ve also got some killer collabs on there with people like Trellion and Tenchoo, as well a grime number on there with Kase and Chronicle, which is an absolute beast of a track! The album will be out before Christmas, and I’ll keep y’all posted about it. Also, shouts to Wolly for the cover art!

TC: You’ve battled extensively on Don’t Flop, and are steadily building a reputation as a quite formidable opponent. What do you like about battling, and how do you feel about the current state of the UK battle scene?

PH: I like the hype you get from battling – a lot of the time it can be way better than performing at a rave or doing a gig, purely for the adrenaline boost you get. When I walk into my battles, it’s like a cage fight bruv haha! However, I do think you have to mix it in with music and PA’s though, cos I don’t think its healthy just putting all your energy into one thing. I look at these guys who don’t make music and just battle, and I don’t ever wanna be like one of them. As for my future battles, it looks like I’ll be locking horns with Tantrum from California in November — a battle which has all been confirmed for Don’t Flop’s flagship Blood in The Water event in London. The battle should be an absolute beast, especially given how a lot of people say we have such similar styles. It should be really interesting to see who comes out on top.

TC: With you being a film maker and me being a bit of a film buff, I have to ask you who’s style of directing you prefer: Kubrick’s or Hitchcock’s?

PH: Well, Kubrick is obviously a fucking legend, and Clockwork Orange features one of my favourite fight scenes in any film ever, where the droogs fight Billy Boy’s gang. It also has some of the best dialogue in any film ever — the same can be said for Full Metal Jacket. However, I would still have to say Hitchcock — his film ‘The Birds is untouchable! Also, Kubrick’s arty style can give me a bit of a headache after a while, plus Hitchcock even had his own theme song which is a big look! So, Alfred all day!

TC: And finally, where’s the best place on the web for people to find you, look your stuff up and get in touch with you?

PH: The official website ( is currently down as I’m switching hosts and servers in addition to doing some redesigning. At the moment, the Prison Planet YouTube page is probably the best place to check my shit out and to download most of the songs I’ve made in the last year from the download links in the video descriptions. (

Prison Planet Records Website – Coming Soon!

"It's West Yorkshire, BITCH!"

Despite being a relative newcomer to the Don’t Flop rap battle movement, Sinoptic Music affiliate and West Yorkshire representative Lunar C is fast becoming its most popular competitor. With a string of superb performances under his belt, in which he displays a real knack for degrading opponents, Lunar has endeared himself to audiences with his mix of plain speaking, blithe humour and confident rapping ability. Recently garnering attention and praise from such celebrities as grime heavyweight JME and 20-year old entrepreneur and founder of SB.TV, Jamal Edwards, the aggy Bradford rhymesmith is on a surefire route to success. What follows is a brief interview with the guy before he becomes so famous I might have to circumnavigate publicists to even reach him again by email.

TC: For those who might not know you, sum yourself up in a sentence.

LC: I am your favourite person!

TC: It’s a bit of a stock interview question, but what inspired you to a) get into hip-hop, and b) start making music?

LC: I’ve always loved hip hop since I can remember. My dad brought me up on all kinds of music, but he played Wu Tang Clan and Cypress Hill a lot which was when I started to get the bug!! I started recording at a youth club called ‘Mapa’ which was linked to a course I had to do when I was 15 after I was kicked out of school. I was the cool dude who ran it since I was like eight and used to go there, so studio was free to me but I only wanted to record when I went on the course and had to fill my time. When I was 8 me and my brothers did a rap song there called ‘Kick Buttickah!’. Big up Jerry Crawford.

TC: Which artists are you feeling at the moment?

LC: Current hip hop artists I’m liking at the moment are Joel Ortiz, Yelawolf, PacDiv, Wretch 32, FlameGriller, Jack Flash, Matter, RumCom, Wizard, Defenders Of Style…. And loads more I can’t even think of.

TC: You represent Leeds/Bradford label/collective Sinoptic Music. Tell us a bit about the movement and the sort of music it produces.

We’re all pretty different as individual artists, but what unites us is our passion to make ill hip-hop! Check my crew FlyTippers, Minas, Phoenix, ExP, JND, Hash Finger, Flame Griller, Illuzual and Addverse! We’ve got a free bi-monthly EP available, too. Check out

TC: What’s the hip-hop scene like up in Leeds and Bradford?

LC: It’s better in Leeds than it is in Bradford, but as a whole it’s still pretty small and not doing an awful lot to be honest. West Yorkshire as a whole though is a dope scene with lots of dope artists who are recently coming together and making things happen! Shouts to the local hip-hop and open-mic night, Beats ‘n’ Pieces.

TC: As I said in the preamble bit, your rapid ascent through the Don’t Flop ranks has been quite phenomenal. What are your future plans for battling? Do you have any opponents in mind? Top-tier ones perhaps? 

LC: To be honest, no. I haven’t really planned anything with battling at all, but I know Eurgh and Cruger are talking about a lot of ideas at the moment which are hopefully going to make Don’t Flop a lot bigger and better than it’s already getting. Personally I’m just taking it as it comes and trying to stay on my toes. Battling is good fun and good for promotion, and I recommend it to any unknown MC trying trying to raise they’re profile (unless they’re the sort of wet pussy that rhymes ‘lyrical’ with ‘miracle’). Shouts to Don’t Flop!

TC: Do you ever fear that by becoming famous as a battle emcee and by being labelled as a “battle rapper”, your musical talents might get overlooked?

LC: I have done a little bit because the hype from my battles has happened so fast and people presume battlers are shit on beats; however I’ve been rapping since I was 15 and started battling only a few months ago. I know music is my forte — my next Solo project will prove that!

TC: You recently collaborated with Don’t Flop teammate and fellow West Yorkshire emcee, Matter, on an absolute banger of track called “Ip Op”. How did that project come about?

LC: Me and Matter had been talking about doing a track for a while and he got the beat from Wizard. We both then got in the studio and slapped each other in the face till the verses were popping!

TC: Many of us will now have seen your SB.TV video in which you spit a frenzy of battle bars to a hopeless dope dealer. How did the appearance come about, and who came up with the original battle rap concept?

LC: Jamal Edwards hit me up on Twitter and said, “Let’s make a video!”. This was crazy because I’d been wanting to get on SB.TV for a while, but I hadn’t the pluck to ask coz I’m a vagina with whiskers. Jamal is the coolest guy you’ll meet. Big up him and SB.TV!

TC: Aside from the battle scene, what are up to musically these days? Any future releases we should look out for?

LC:Yes. Me and my crew Fly Tippers will be bringing out an EP very soon. I’m also getting beats together for a solo project which I don’t have any plans for other than it will be your new religion!

TC: And finally, where can people best follow you, stalk you or just look you up?

LC: Follow me on Twitter @lunarfuckingc, but don’t tweet me asking when my new battle is out coz I don’t upload them!! Haha, BUH!

Sinoptic Music
Lunar C Bandcamp