Ribby Finalises 247DEGREES With Extended Cut Video

Ribby has finished what he started. On April 22, the Gold Coast rapper released an extended cut music video for “KING OF THE HILL” and “UNLEGIT”, the opening and penultimate tracks from his new project 247DEGREES, marking the visual completion of a six track album that documents a clear shift in his artistic direction. Directed by Elijah Films, the video ties the tracks together through a comedic narrative that centres a key moment in Ribby’s career.

The 247DEGREES Rollout Comes Full Circle

247DEGREES arrives after months of incremental reveals. Snippets came first, then individual track releases. Now, with the extended cut video dropping two days ago, the full shape of the project is visible. All six tracks “KING OF THE HILL”, “ROCKMOLLYCOKEKETAMINE”, “DEZI FREEMAN”, “UNLEGIT”, “BKD”, and “NO LOVE” are in the world. Every beat comes from DON!, a producer whose work across the project shows a consistent aesthetic. Complex, layered, detailed production that operates at a scale most Australian hip hop does not usually reach.

The sonic journey across 247DEGREES is clear. “KING OF THE HILL” sets the tone with a darker, old school trap energy. A walking piano melody drives the track, backed by an intense brass hit that acts as the main bassline. Xylophone bells mirror the piano line. The drums rolling snares, tight kicks, and 808s add complexity without losing control. The production feels spacious, letting the darker elements sit and breathe. It builds on what Ribby explored on “CHARLIE SHEEN”, but sharper and more confident.

“UNLEGIT” pushes further into aggression. The production pulls from Southern US sounds, Memphis and Atlanta influence, but filters them through a nostalgic texture. The melody feels almost lifted from an old sci fi show or early DVD era soundscape. It should not work, but it does. Bouncy trap drums, a heavy kick, laser effects, church bells, and cowbells create movement throughout. Between them, “KING OF THE HILL” and “UNLEGIT” frame the project. One introduces the direction, the other drives it into the darker second half, linking “DEZI FREEMAN” into “BKD”.

The Visual Narrative

The extended cut video, shot by Elijah Films and Late Night Collective, places both tracks inside a single comedic storyline. It opens with a back and forth between Ribby and what looks like a personal assistant, building tension around a controversial moment and an upcoming press conference. That tension moves into a news segment. A satirical take on the type of online criticism Ribby regularly faces, sitting somewhere between real critique and pile on culture.

What works visually is how the narrative and performance are blended. The story is not separated from the music. Elijah Films and Late Night Collective weave performance shots directly into the plot. Ribby appears both as the character dealing with the situation and the artist delivering the tracks. The transitions do more than connect the songs. They carry the story forward. By the time “UNLEGIT” hits, the visuals shift into more dynamic performance work, matching the energy of the production. The video works as both a music video and a short film. Ambitious in scope, but controlled in execution.

This marks the final stage of Ribby’s shift. Earlier this year came the announcement, then snippets, then individual releases. Now comes the full picture. What matters is not just that Ribby changed. Artists do that all the time. It is that the change worked, and it opens the door for others.

Ribby’s shift in sound and positioning

For years, the rawer and more intense sounds in Australian underground hip hop stayed within a small group of artists. The aesthetic was uncompromising. Abrasive production, unconventional structures, no push towards accessibility. It had an audience, but it stayed niche. Ribby’s earlier work suggested he might stay there. Instead, 247DEGREES shows him bringing those elements into something wider. He takes the intensity and makes it accessible without losing what made it hit in the first place.

When artists shift sound, it usually falls apart. Old fans disconnect. New listeners are unsure. The result feels like a compromise. That is not the case here. The production is darker, the energy is higher, the influences are clearer. But Ribby’s personality, tone, and presence stay consistent. The shift feels real.

This matters for the Gold Coast scene. Ribby is not operating out of Sydney or Melbourne where infrastructure is stronger. The Gold Coast has talent, but less visibility. An artist at this level evolving publicly, pushing his sound, and landing it, changes what is possible for the next wave. This is not just a strong project. It expands the lane.

What happens next depends on how 247DEGREES lands. Numbers will matter, but not as much as what this represents. For an artist at this stage, this is a rare move. Adapting without watering things down. Changing direction without losing identity. Backing craft and presence to carry the shift.

Ribby has shown the full picture. Now it is on the rest of the scene to respond.