DROPPED THIS WEEK: JAN 18
The Week Australian Rap Came Back Swinging
This week marks a turning point. After a year of relative quiet from several key players, the scene is waking up with purpose. Artists who helped establish the current landscape are coming back sharper, more focused, and more technically refined than when they left. Meanwhile, newcomers are arriving with fully formed identities, not testing the waters but diving in with confidence.
What stands out isn't just the quality of the releases, but the intentionality behind them. These aren't placeholder singles or rushed comebacks. They're calculated reintroductions and strategic debuts, each one designed to establish momentum for the year ahead. The production is cleaner, the performances are tighter, and the visual presentation has leveled up across the board.
The week's releases also reveal a scene that's becoming more comfortable with sonic experimentation while maintaining cultural specificity. Artists are pulling from global influences (UK drill, West Coast bounce, cloud trap, hybrid melodic structures) but they're doing it without losing their Australian identity. The accents are intact, the references are local, and the energy is unmistakably tied to place.
Must-Listen Tracks of the Week
Walkerboy - "Ghettokid"
The identity track from Walkerboy's debut EP GHETTOKID is the perfect representation of what this artist brings to the table. Far softer than the EP's aggressive intro, "Ghettokid" takes a motivational and inspirational stance while reflecting on the things that shaped him and his ambition.
The production is immediately striking. A floating synth pad creates an ethereal, spacious vibe that leaves plenty of room for the bouncing 808 kicks, brass hits, vocal calls, and unique background elements that blend together to make this one of the most sonically distinct tracks on the project. It's West Coast influenced without being derivative, pulling in Pharrell adjacent textures with a modernized bounce that feels both familiar and fresh.
Lyrically, Walkerboy takes a reflective look at his upbringing, his environment, and the ambitions that drive him forward. The hook's statement "you know how it is, big dreams, ghetto kid" paints the picture perfectly, framing the entire project through a hustler's lens. It's upbeat and uptempo, confident but restrained, reflective yet forward looking.
As the second track from his debut EP, this marks the official start of Walkerboy's career. It's ground zero for all his future musical success, and it shows. This is a statement track that establishes who he is and where he's going without overcomplicating the message.
Heat Rating: 7/10
Miko Mal - "the ppl (tell the producer)"
Miko Mal opens 2026 with an unexpected sonic shift that somehow still feels entirely on brand. "the ppl (tell the producer)" moves away from his usual UK influenced production and dives into cloud trap territory, sampling a sound made popular by artists like YEAT, EsDeeKid, and local acts like Cult Shotta, 4ortune, Lil Golo, and Jords.
The production carries that floating, untethered quality that defines the cloud trap aesthetic. It's big, massive even, creating an expansive soundscape that gives Miko's delivery room to breathe. What makes it work is that despite the sonic shift, his performance remains unmistakably him. The confident, calm, melodic delivery that Miko Mal fans are used to translates seamlessly into this new environment. His accent stays intact, his cadence unhurried, his vibe completely consistent.
For an up and coming Melbourne artist with a cult following and a unique lane in the industry, this track signals versatility without compromise. Miko isn't chasing the trend, he's adapting it to his particular sound, proving he's capable of evolving without losing what makes him recognizable.
The track feels like Miko Mal's entire aesthetic represented sonically with a modern cloud rap twist. It's big, confident, hype but restrained. This is his niche, just with a wider palette.
Heat Rating: 7/10
That Kid Kearve - "Swear Mums"
After a year away from music, That Kid Kearve returns with what might be his best song yet. "Swear Mums" shows elevated mechanics, improved delivery, and a noticeable step up in production quality across the board. This is a statement track that proves he wasn't doing nothing during his time off.
The production is pure Australian street sound. Bouncy trap with a head knocking bassline and spacious drums that let Kearve's delivery do the work. His fluid, melodic flow is strictly his lane, a style no one else can quite match, and here it's executed with more precision and control than ever before. The performance feels refined without losing any of the raw energy that defines his sound.
What's particularly impressive is how the track balances mainstream playability with Kearve's unfiltered cultural lens. It's accessible without being compromised, polished without being sanitized. The improvements are visible everywhere. Tighter flows, better production choices, more confident execution.
The music video, shot by Noah Hill across multiple locations in the Sydney streets, reinforces this evolution. The visual opens with Kearve delivering a bag to the studio before performing the song, a subtle nod to the constant improvement he's dedicated himself to. The production quality has leveled up significantly, showing an artist taking his presentation seriously.
For a returning veteran, "Swear Mums" does exactly what it needs to. Reaffirm his position, showcase tangible growth, and set the tone for what could be his strongest run yet.
Heat Rating: 9/10
DonDrino - "Doc Ock"
DonDrino's return with "Doc Ock" is nothing short of a statement. After a year with no music (his last video dropping in April 2024 and his debut EP 10,000g's released in August 2025) he's coming out of the gates swinging with his most technically accomplished track to date.
The production sets a perfect summer vibe. Plucked guitar strings and light piano chords create the melody, while a super rhythmic drum pattern built around bongo drums drives the bounce. Behind it all sits a hard hitting, aggressive drill style 808 that adds weight and menace. Snare hits and occasional claps keep the bouncy, rhythmic feel throughout, creating a track that's both laid back and intense.
What makes "Doc Ock" special is its structure. DonDrino has evolved his drill sound with subtle mechanics and intricate wordplay that rewards close listening. The track feels like controlled chaos. Verses drift off beat creating tension and instability, but every four bar unit resolves perfectly, giving the listener closure without them even realizing why. It's the perfect balance between risk and control.
The music video, shot by Ryan J. Ridley (Blood Juice) on the Sunshine Coast, takes the track's communal energy seriously. DonDrino put out a call for fans to join the shoot, turning the video into a shared moment rather than a closed production. It's a smart move that cements him into the local culture and proves that even after time away, he's still rooted in the place that shaped him.
Lyrically, DonDrino documents his reality with precision. Amounts, actions, consequences, all structured with surgical intent. There's even an ironic flex about not missing a beat like CADA (the Australian rap and R&B radio station that played in prison), while he's literally rapping off beat. The layers are there for those paying attention.
This is DonDrino at his most refined. He's turned absence into advantage and built a comeback track that demands attention without begging for it. This is the perfect reintroduction and the start of what could be insane momentum.
Heat Rating: 10/10
What This Week Says About Australian Hip-Hop
The scene is evolving, and those who paved the way are returning to prove they're evolving with it. With returns and debuts dominating this week's coverage, it's a clear sign that Australian rap is back. The momentum has returned, and the sound has evolved in a way that's now far more mainstream accessible while retaining its cultural authenticity.
What's particularly significant is that culture has accepted these artists more. They're taken seriously now in a way they weren't before. The technical improvements are visible everywhere. Tighter flows, better production, polished visuals. Artists are treating their releases as strategic moves, not just content drops.
If this is what the first full week of 2026 looks like, the rest of the year should be worth paying attention to.
DTW26002 | January 12-18, 2026
