DROPPED THIS WEEK: WEEK 13 - MARCH 29TH
Momentum Doesn’t Lie
The Australian hip hop scene has been building since January. Week on week, the output has held, the standard has risen, and the infrastructure behind it has become harder to ignore.
Week 13 doesn’t slow that down. If anything, it confirms what the past few months have been pointing toward. Momentum, once properly established, compounds.
What stands out this week is not any single release. It is the consistency of intent across all of them. Monthly release schedules are being held. Visual concepts are being pushed further. Artists are putting more thought into the extended rollout, not just the drop.
Crofty and Choppaz Rightz are now three months into their respective yearly commitments and neither has dropped in quality to keep pace. MRVZ delivers what might be his most complete release yet. Indigomerkaba reminds everyone why a feature from him still carries weight.
Before the rankings, two visual releases from earlier in the week deserve specific attention.
Top Pick: “No Telling” — MRVZ (10/10)
Best Crafted Record: “Pill Popping Animal” — Crofty ft. Indigomerkaba (9/10)
Monthly Rollout MVP: “Gotta Go Get It” — Choppaz Rightz (8/10)
Most Unique Visual: “PRESHA” — Elijah Yo (10/10 - Visual Only)
Visual Spotlight
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Best Australian Hip Hop Videos This Week
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Visual Spotlight 🌐 Best Australian Hip Hop Videos This Week 🌐
Cult Shotta, Jords, 4orttune — “Honey Pack”
Video Only — 9/10
The fifth visual from the Lonely Souljaz tape, and the rollout shows no signs of slowing.
Produced by DON!, co-produced by afogs7, “Honey Pack” is one of the more aggressive cuts on the project. High energy, layered, and carrying that DON! signature. Modern synth textures, distorted 808s, and unexpected sound design that still holds together as a complete record.
The video, directed, shot, and edited by mp4oscar with additional camera work from Alexander Lee Way, is the most visually distinct entry in the rollout so far. Modified JDM cars, Gong Cha, skateparks, warehouse carparks, arcade rooms. The locations are deliberate, not decorative.
Styling from Yana and Jack McLachlan adds another layer that most videos in this space overlook.
Lyrically, this is Lonely Souljaz operating at full capacity. Cult Shotta’s references land with precision. 4orttune adds aggression. Jords anchors the hook.
Five visuals deep into a project that has been out for over a month and the momentum hasn’t softened. With a deluxe on the way, this rollout still feels early.
Elijah Yo — “PRESHA”
Video Only — 10/10
The second visual from Get The Fuck Out The Water, and the most instructive one this week.
INHOUSE Productions has always operated with a level of self-sufficiency. “PRESHA” makes that clear. Elijah Yo filmed almost the entire video himself. A tripod. No crew.
Watch it back with that in mind and everything shifts.
The restraint is intentional. Static shots, controlled pacing, and one scene against the Sydney Harbour Bridge that lands without forcing the moment. SHOTBYRIZZ adds movement where needed without disrupting the aesthetic.
The track itself is one of the album’s sharper pivots. More aggressive. Latin-influenced percussion. A reminder of range.
But the visual is the takeaway.
INHOUSE, MRVZ, Elijah Yo and their circle continue to show that full creative ownership, executed consistently, produces results that do not need outside validation.
MUST LISTEN TRACKS OF THE WEEK
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MUST LISTEN TRACKS OF THE WEEK 🌐
Choppaz Rightz — “Gotta Go Get It” (8/10)
Three months into his release-a-month commitment, Choppaz Rightz has not blinked.
“Gotta Go Get It” is the third instalment, and by his own account, one of his favourites from the year so far. After a listen, it is easy to hear why.
Recorded, mixed, and mastered by Sneezy, the production sits in a space that feels both nostalgic and current. Warm enough to feel familiar, but clean enough to sit comfortably alongside anything releasing in 2026. It creates room for experimentation, and Chop uses that room effectively.
The track moves between cadences naturally. It opens sharp and punchy, then gradually stretches into more melodic pockets without losing control. The transitions feel instinctive rather than calculated, which is part of why the track holds together so well across its runtime.
The hook arrives early and stays. Not because it is forced, but because the structure earns it. It is introduced before it fully lands, meaning by the time it hits properly, it already feels familiar. That kind of songwriting discipline is difficult to execute and plays a significant role in the track’s replay value.
The content sits in that motivational hustler space, but it does not drift into empty energy. The bars carry weight because they stay grounded in perspective. The pressures and realities sit alongside the ambition rather than being replaced by it. There is no romanticising of the struggle, just a clear understanding of what the work requires.
What makes “Gotta Go Get It” stand out is how much ground it covers without feeling crowded. Multiple cadences, multiple melodic pockets, multiple flows, all sitting within the same track without losing cohesion. The range is visible, and Sneezy’s production gives each section the space it needs.
Monthly release schedules are easy to announce. Sustaining them without a drop in quality is a different challenge entirely. Three months in, the standard has held across every entry, and this is the strongest one so far.
Crofty ft. Indigomerkaba — “Pill Popping Animal” (9/10)
This is the track that will age the best.
Produced by Rowan Gibb and mixed by Deeza Music, the production does not announce itself immediately. The intro holds tension before the drums arrive, and once they do, everything locks into place. Triplet hi-hats sit high in the mix, a steady 808 anchors the low end, and small percussive details keep the rhythm slightly unsettled without losing control.
The structure is disciplined. The atmosphere carries the weight.
Crofty enters when that tension breaks. The first section is tight and readable, then he stretches the flow just enough to shift the feel without disrupting momentum. The adjustment is subtle but deliberate. There is a line about working on his flows that lands as a statement of fact rather than a flex, and the verse backs it up completely.
References stack without feeling crowded. Wordplay rewards repeat listens. The delivery moves across multiple cadences while staying coherent throughout. He also carries the hook, tying the title into something memorable without overcomplicating it.
Then Indigomerkaba.
He has always operated in his own technical lane within the Australian hip hop scene, and here he leans into precision rather than volume. Every bar is placed with intent. Nothing feels wasted.
He references a specific bar from Crofty’s verse and answers it with a subtle callback, turning the feature into a continuation rather than a separate moment. That level of detail separates a real collaboration from two artists simply sharing a beat.
The structure works because it feels like a back and forth. The contrast between Crofty’s range and Indigo’s precision gives the record shape.
This is not chasing a trend. It is built to last.
MRVZ — “No Telling” (10/10)
This might be MRVZ’s most complete release to date.
Produced by MKAYY, the track opens with a blues-influenced jazz piano melody, bass guitar sitting underneath, and soft background vocals that ease the listener into the record. Jazz horns sit low in the mix without competing for space. The drum pattern remains minimal, allowing the instrumental to carry the emotional weight early.
A recurring reverse effect on the piano introduces a subtle sense of disorientation that becomes more noticeable on repeat listens. It is the kind of detail that does not demand attention but rewards it.
The slower tempo gives MRVZ room to stretch his phrasing and sit inside the subject matter.
He moves between two modes across the track. The melodic delivery carries the intro, reflective and controlled. When he shifts into rap, the delivery sharpens without breaking cohesion. The transitions feel natural because they are earned through the structure of the record.
The extended visual, shot by RIZZ, is one of the most distinct releases in the Australian hip hop scene this year.
It opens on a black frame. No immediate visual hook. No drop. Just silence, held until an alarm sounds. 5:30 in the morning.
From there, the video moves through MRVZ’s day. Training. Routine. Family. A brief exchange where he is asked what it all means to him, and his answer is simple. It means everything.
Performance shots are present, but they are woven into real moments rather than replacing them. The video does not separate the artist from the person. It keeps both visible.
The result feels closer to documentation than performance.
The message is clear. Consistency matters. The day to day matters. The work carries value before recognition arrives.
This is the strongest entry in his current run.
What Week 13 Says About Australian Hip Hop
Momentum and intent.
That is the thread across everything this week.
The pace has not slowed. The artists sustaining it are doing so with structure, not urgency. That difference is starting to show.
Crofty and Choppaz Rightz are building across a full year. MRVZ is deepening with each release. Indigomerkaba continues to set a technical standard for features.
The visual conversation is shifting as well.
Lonely Souljaz push high-energy rollout execution. Elijah Yo demonstrates self-produced control. MRVZ delivers a narrative-driven extended visual.
None of them look the same. All of them are intentional.
The scene is no longer building.
It is moving.
