ONYX Live in München 2026 | Strom Club

ONYX brought their signature New York energy to Strom in Munich. The show was put together by Cypher Sound Nation & Rap Legends Live, with special guest Ben Shorr and Sick Boy Simon flying in from Italy. Support came from M-Dot (USA), El9Six, and Exit Fame (USA), with DJ Ice Cap holding down the decks all night.

Stick around toward the end of the video for a bonus moment: every artist on the bill linked up for an impromptu freestyle cypher — raw, unplanned, real hip-hop.

Lineup:

– ONYX

– Special guest: Ben Shorr

– Sick Boy Simon (Italy)

– Support: M-Dot (USA), El9Six, Exit Fame (USA)

– DJ: Ice Cap

Organized by: Cypher Sound Nation & Rap Legends Live

Venue: Strom, Munich

Big Twins – "God Said It" prod. DJ Woool [VIDEO]

Big Twins, formerly known as Twin Gambino, does not carry Queensbridge as a reference. He carries it inside his voice. As a member of Infamous Mobb and a longtime Mobb Deep associate, he appeared on *Hell on Earth* before his own group made its full statement with *Special Edition*. His connections to The Alchemist, Evidence, Prodigy, and the wider Queensbridge circle helped create a solo catalog that has never depended on technical polish. “God Said It” continues that line with DJ Woool. The production does not need to modernize Twins; its role is to create space for that grainy, immediately recognizable voice. He does not rap with the flexible mechanics of a young technician. He raps with the weight of somebody whose pauses and emphasis have become part of the storytelling. Hostage Media keeps the visual equally direct. There is no manufactured Queensbridge drama—just a veteran who does not need to perform a character because the voice already carries the history. 

O.G.C. – "3:30" [EP]

O.G.C.—Starang Wondah, Top Dog, and Louieville Sluggah—release three new tracks through Duck Down under the title *3:30*. The package runs only about nine minutes, yet its existence carries weight. The Originoo Gunn Clappaz belong to the inner Boot Camp Clik circle; *Da Storm* and their wider BCC appearances made their voices permanent components of the Bucktown identity. The fact that this release arrives directly beside Buckshot’s *The Package* is therefore notable. Both projects run through Duck Down, both reactivate central figures from the collective, and Buckshot has publicly described the beginning of a new label generation. That is not yet proof of a complete Boot Camp Clik album or a coordinated crew return, but it is more than random noise. *3:30* stays intentionally small. That may be the correct entry point: no inflated comeback campaign with fifteen guests, just three tracks that allow listeners to hear how O.G.C. function as a unit now. If further releases emerge from the Smif-N-Wessun, Rockness, or wider BCC circle, the bottles can finally open. Until then, *3:30* is a meaningful sign of life—nothing more, but certainly nothing less. 

PlunderDawgMusik x Veteran Eye feat. Poncho The Honcho – "W.O.R.K" [VIDEO]

“W.O.R.K” is the first official video cut from the collaborative album by PlunderDawgMusik and Veteran Eye. Poncho The Honcho joins the record, while Brian Staples at LiveWire Studios handles recording, mixing, mastering, filming, and editing. That concentrated production structure gives the release a distinct Carolinas identity: short distances, independent infrastructure, and complete control. The album title *The Weed House on Black Wall Street* connects cannabis economics with the historical symbol of Black enterprise. Whether the full project explores that tension in depth remains to be heard. “W.O.R.K” establishes the foundation first: labor not as a corporate slogan, but as daily repetition, self-organization, and the condition required for independent release.

Shark & Hi-Q – "Every Villain Has A Story" [ALBUM]

 

Shark and Hi-Q construct the album as a descent narrative. An ordinary man moves gradually toward his darker personality until “villain” becomes less a role than a condition. Hi-Q produces, mixes, and masters every track, while Shark writes and performs the core material. That arrangement keeps the transformation sonically unified across thirteen pieces. “Hurt People,” “The Devil’s Got a Day Job,” “Halo Made of Razorwire,” “Circle of Salt,” and “Nothing’s Sacred” mark different stages of collapse. The imagery moves from psychological injury toward occult symbolism without reducing the album to horror decoration. Es, Jake Haw, Words, and B1 the Architect appear selectively. The real focus remains Shark’s internal monologue and Hi-Q’s task of making that monologue sound increasingly unstable.

Mic Bles x Avant Garde – "From The Westside With Love" [VIDEO]

The single had already appeared on HHHeadz; the new element is the full video and the wider context of the forthcoming collaborative album *Since 81*. Avant Garde produces, Klutch Norris handles chorus vocals, and DJ Romes provides cuts, mixing, and mastering. Dungeon DS presents the Westside not as a film set but as inhabited space: graffiti, concrete, streets, and the beauty located beneath standard postcard imagery. Mic Bles writes with regional attachment without romanticizing the environment. The visual therefore does not simply repeat the single. It gives the record a more precise location. 

Buckshot – "The Package" [ALBUM]

Buckshot describes *The Package* as the soundtrack to a short film about the future of Brooklyn. The album contains twelve tracks across approximately thirty minutes and arrives directly through Duck Down—the label Buckshot helped build and maintain as independent infrastructure across multiple eras. The central figure is therefore not only the voice of Black Moon, but the label architect who has consistently treated Brooklyn as origin, business ground, and cultural responsibility. One significant detail deserves attention. A public project profile connected to the Duck Down operation describes *The Package* as fully AI-produced. With no complete production credits currently available, it remains difficult to determine what “produced” means in this context: fully generated instrumentals, AI-assisted processing, or a broader technological workflow. For an artist whose history is inseparable from Da Beatminerz and one of Brooklyn’s most recognizable sample aesthetics, this is not a minor footnote. It changes the question from “What does Buckshot sound like now?” to “What role does human beatmaking occupy inside the next Duck Down phase?” O.G.C. are releasing new material through the same label in close proximity, showing at least some coordinated movement within the Boot Camp Clik environment. Whether that develops into a complete new chapter remains unconfirmed. For now, *The Package* stands as its own Buckshot project at the intersection of film soundtrack, Brooklyn commentary, and technological experiment. Keep the bottles cold—but do not open them yet.

Trigger tha Gambler – "Rob Boys" [VIDEO]

Trigger tha Gambler comes from a Brownsville school where rhyme technique and street pressure were never separate categories. Alongside his brother Smoothe da Hustler, he helped establish “Broken Language” as a benchmark for interlocking rhyme chains, while his own *Life’s a 50/50 Gamble* remained suspended between cult reputation and a disrupted official career. “Rob Boys” does not return to that history as nostalgia. It simply reminds listeners how heavy and immovable Trigger’s voice has always sounded on a beat. Presented as a birthday release, the video avoids manufacturing a grand comeback narrative. It is a veteran stepping back in front of the camera and allowing the voice to carry its own history. 

Killy Shoot x Chuck Chan – "The Schooling" [ALBUM]

 

Chuck Chan produces *The Schooling* in full, giving Killy Shoot a unified foundation across fifteen tracks. Most of the songs remain brief, allowing ideas to end before they become trapped inside standard structures. Titles including “Backpack Full of Crack,” “All City,” “Eastpak,” and “Winter in Worcester” combine graffiti, street, and backpack imagery within a clearly defined East Coast frame. Supreme Cerebral, DJ Grazzhoppa, Substance, and Deuce Hennessy appear briefly, but Killy Shoot remains both student and teacher throughout the project. “Schooling” is not treated as academic knowledge. It is information acquired through blocks, loss, observation, and repetition. Lord Sarin keeps the mix and master dry enough for Chuck Chan’s loops to remain exposed. Hometeam Records provides the appropriate setting: family-organized, but never soft.

Quincey White & The Frost General – "Blood of My Ancestors" [VIDEO]

“Blood of My Ancestors” is the third track from *Chain of Command: Vol. 1* and now receives its own visual treatment. The EP has already been covered as a concise five-track statement; this cut reveals its more reflective side. Quincey White connects South Central reality with the question of what ancestry leaves inside the body and mind. The Frost General keeps the production controlled, giving White’s direct delivery enough space. Yellow Nyugen’s visual expands the song without surrounding it with unnecessary explanation. 

Substance810 – "Greed Tastes Like Power" [ALBUM]

*Greed Tastes Like Power* is not an album about the seven deadly sins, as the early single “Gluttony” might initially have suggested. Substance810 describes the project as a cinematic crime drama about ambition, money, betrayal, morality, and the way power changes the temperature of a room. Its reference point is less religious doctrine than Gordon Gekko’s Wall Street coldness, translated into the language of grimy underground rap. Substance810 is from Port Huron, Michigan, with the 810 in his name referring to the regional area code. As a member of the Umbrella Collective, he has built a catalog around the belief that every album should occupy its own world. Here, that means production must sound cinematic and gutter at once, guest appearances cannot exist merely as names on a cover, and even delivery and sequencing have to serve the atmosphere. “Gordon Gekko” functions as the mission statement, while previously released records including “Gluttony” and “Kindness for Weakness” establish different moral temperatures within the album. The key is that Substance810 neither condemns nor celebrates greed in simple terms. He understands the hunger of someone who comes from less and wants more, but he also examines the point where “more” loses any natural limit. The album therefore operates as a character study: power can create opportunity, but it also exposes who somebody already was. Twelve tracks, thirty-five minutes, released through Raw Soundz and Umbrella Collective—cohesive enough to sustain a concept, raw enough to avoid sounding like a lecture. 

Xzibit, B-Real & Demrick – "Call the Cops" [VIDEO]

“Call the Cops” had already appeared as an advance single from *This Thing of Ours*; the new video now places it more firmly inside the Serial Killers universe. Scoop DeVille produces not only this record but the entire album, which allows Xzibit, B-Real, and Demrick to sound like a permanent unit rather than three veterans assembled for a playlist. The beat draws on a recognizable element from LL Cool J’s “Mama Said Knock You Out,” translating that battle cry into a forceful modern West Coast structure. Xzibit carries the track through massive vocal projection. B-Real cuts through the center with his immediately identifiable higher register. Demrick connects those extremes with a more flexible cadence. None of them has to imitate the others; the incompatibility of their voices is precisely what makes the group work. Across eleven tracks, Scoop DeVille keeps the album focused, combining modern low-end pressure with classic sample architecture. “Anarchy,” featuring Chuck D, widens the political frame, while “Call the Cops” represents the physical side of the project: three emcees who still know how to occupy a beat rather than simply appear on it. 

Crop – "Kein Thema" prod. Snowgoons [VIDEO]

The Snowgoons build “Kein Thema” inside their familiar intersection of heavy drums, dramatic samples, and internationally readable boom bap tension. Crop does not respond by forcing an Americanized delivery. He stays inside the rhythm of the German language. That distinction matters: the beat provides scale, but the emcee does not have to exchange his identity to survive on it. Snowgoons have connected European and American underground scenes for years; “Kein Thema” brings that work back onto native linguistic ground. 

Reel Wolf – "Vicious Cycle" [ALBUM]

Reel Wolf is not a conventional rap group. It operates as a production and filmmaking structure. Beginning with music videos, Tom Vujcic’s team developed an entire world of compilation albums, short films, and large-scale posse cuts. “The Underworld” and its sequel established a formula in which hardcore rap is not merely recorded but staged like horror and crime cinema. *Vicious Cycle* extends that approach across thirteen tracks, again bringing voices from different underground scenes into the same environment. The title is effective because Reel Wolf’s work has always dealt with repetition: violence produces violence, trauma becomes entertainment, the characters change, yet the mechanism remains. Following *Nocturnal*, *The Witching Hour*, *The Wolfpack*, and other collaborative projects, *Vicious Cycle* does not need to invent a new aesthetic. Its task is to make the existing film darker, denser, and more narratively complete. Reel Wolf has one major advantage over many horrorcore acts: the visual component is not attached after the music. Camera, editing, artwork, and sound are built as parts of the same world. 

Error 999 feat. PNO – "Sacrilegio" [VIDEO]

Error 999 and PNO position “Sacrilegio” between religious symbolism and deliberate transgression. Ruzto and Pocket Tincho produce, with Kick Botón Estudios handling the mix and master. The video’s VHS texture fits because it does not artificially beautify the material. It makes it appear damaged, like forbidden footage recovered from an old archive. Uaiakan and La Rutina de los Tapes provide a clear independent framework. Error 999 has been developing a catalog where conceptual titles and increasingly varied writing remain central, and “Sacrilegio” continues that direction. 

BlackBelt Poemz – "Voice Print" [ALBUM]

 

*Voice Print* revolves around a central question: what still makes an emcee recognizable in an era of increasingly interchangeable voices? “Golden Era Ghost,” “Man vs Machine,” “Identity Theft,” “Old Heads,” and “Time Is Gold” are not random titles. BlackBelt Poemz examines origin, technological imitation, generational tension, and the necessity of maintaining an individual signature. Skit Slam of Everliven Sound brings a production philosophy connected to the Subverse world and its history alongside artists including MF DOOM, Scienz of Life, Micranots, and Marq Spekt. That history gives the album weight without automatically making it retro. The crucial tension exists between “Golden Era Ghost” and “Man vs Machine”: the past can provide direction, but it cannot become a costume. Across ten tracks, the project avoids an overcrowded guest list because the voice itself is meant to function as the fingerprint.

Primo Profit & RLX – "Still Tippin" prod. MichaelAngelo [VIDEO]

“Still Tippin” belongs to *GABO*, a collaborative album by MichaelAngelo, Primo Profit, and RLX. The title initially recalls the Houston classic, but the larger project follows a different thread. Titles including “100 Years,” “Macondo Marmalade,” and “What Would Gabo Do?” point toward Gabriel García Márquez, whose nickname Gabo and fictional town of Macondo provide the conceptual architecture. MichaelAngelo connects literary magical realism with dark, luxurious rap production. As a Colombian-American emcee based in Boston, Primo Profit brings a biographical link to that framework. His writing moves between street economics, heritage, and status, while RLX answers with measured coldness. “Still Tippin” functions as one of the project’s tighter pieces: a familiar rap signal removed from Houston and placed inside a world that feels closer to late-night hotel corridors, imported goods, and yellowed novel pages. MichaelAngelo is not simply providing a beat. He is giving two distinct voices a shared atmosphere without making them sound interchangeable. 

Brainorchestra – "Patient Man Rides The Donkey" [EP]

Following its advance singles, the complete project has arrived: seven tracks digitally, with an additional cut on vinyl, all kept deliberately concise. Brainorchestra combines developed instrumentals with concentrated vocals, while Krate Killer handles the mix. The limited pressing separates vocal and instrumental sides, making the intention clear—the beats are not merely support systems for the rhymes. They are expected to survive on their own. The title speaks to patience and persistence, which accurately describes Brainorchestra’s method. He digs deeply, allows samples to breathe, and ends an idea before a third verse can dilute it. The short runtime therefore does not feel incomplete. It forces careful selection. The result is a compact, self-contained work that gains its power not through scale, but through the desire to run it back. 

Baritone Brothas – "The Jakes" [VIDEO]

“The Jakes” is not a new song but a later visualizer for *For The 90 Now*. The seven-track album was built entirely through the Baritone Brothas’ collaboration with Wizdumb, and its intention is already contained in the title: translating the spirit of the nineties into a present working method. “The Jakes” is shaped by heavy voices, clear drums, and crew chemistry that never tries to sound younger than it is. The animation now gives the cut an individual visual space without rewriting its original album context. 

Tha 4orce feat. Poynt Blak – "Magnificent" [SINGLE]

 

“Magnificent” is not newly manufactured nostalgia. It is a reactivation of a track from Tha 4orce’s *Mind The Gap Anthems* world, returning to a period in UK hip-hop when beat, emcee, and turntables were treated as equal parts of the record. Poynt Blak handles the rhymes while Tha 4orce produces, arranges, records, and uses his cuts as an additional voice rather than surface decoration. Released in main and instrumental versions through BBE Records and Mind Tha Gap Recordings, the instrumental is more than a secondary file. It exposes the construction: how Tha 4orce organizes drums, samples, and turntablism, and why the track does not feel like a frozen Golden Era reconstruction. Poynt Blak’s organic delivery works with the beat instead of standing above it. That relationship is the source of the record’s durability. “Magnificent” does not disguise itself as contemporary. It trusts that rhythm, deliberate cuts, and a controlled emcee do not expire. 

Bad Lungz – "I Ain't Average" [VIDEO]

The “Stove God Cooks x 38 Spesh type beat” description locates the sound quickly, but it should not become the entire reading of the record. Dr. Juan creates a dark, soul-heavy backdrop built around the current underground balance of luxury and danger. Bad Lungz, however, arrives with his own history out of Paterson, New Jersey, and an already substantial independent catalog. His rougher vocal texture keeps the song from becoming simple imitation. “I Ain’t Average” is less a complex thesis than a declaration of position: Lungz does not merely discuss exclusivity—he raps as if he has to prove it inside the room. 

Chuck Strangers – "Glory of the King's Hand" [ALBUM]

Chuck Strangers has evolved from a Pro Era beatmaker into a fully realized author without abandoning the producer’s perspective. On *Glory of the King’s Hand*, however, he applies that perspective differently. “Everyday” is the only beat he handles entirely himself. Across the rest of the album, he takes on the expanded role of producer as curator—bringing musicians, beatmakers, and vocalists together in a way that creates an album rather than a playlist. The Alchemist, Animoss, Theravada, Kenny Segal, Preservation, Child Actor, Morriarchi, and Human Error Club represent a wide section of the adventurous underground, yet none of them remove Chuck from the center. Born Che Jessamy, he still writes from the perspective of his actual life. Chuck Strangers is not an exaggerated alter ego; it is simply another name on the same door. His East Flatbush observations feel more mature because the songs now use choruses, melody, and instrumentation with greater intention. “Breaking Atoms,” featuring billy woods and Zeroh, is the clearest example: improvised Fender Rhodes, heavy drums, compressed city imagery, and a psychedelic exit that refuses a standard verse-hook structure. The album also carries the influence of two mentors, Ka and The Alchemist. Chuck does not simply borrow their sonic vocabulary. He absorbs their commitment to building and protecting a distinct lane. That is the real glory inside the title: gratitude for the hand life dealt him and the responsibility to play it without imitating somebody else. Seventeen tracks deep, the project never feels inflated; many pieces resemble compact notebook pages written by an artist who has learned that silence between bars can carry meaning too. 

Casablanca the Gawd – "Greatest Weapon" [VIDEO]

This is the explicit version of the video already covered. Musically, “Greatest Weapon” remains unchanged: Scottzilla provides the foundation while Casablanca the Gawd treats voice and pen as the real weapons. The record belongs to *You’re Now About to Witness…*, deliberately echoing the language of a canonical West Coast introduction even though Casablanca’s own aesthetic remains rooted in darker East Coast underground rap. The explicit upload does not add a new musical layer, but it removes the final filters. 

Emerg_Da_Mc – "TRIPLE 9" [EP]

 

Emerg_Da_Mc compresses *TRIPLE 9* into four tracks, each running well below two and a half minutes. “9th Eye Shift,” “Triple 9,” “9 Milli,” and “9th Ward” circle the same number from different directions: perception, symbolism, weaponry, and location. Bobo Production keeps the beats short and immediate, with King Bobo appearing on two cuts. The format demands concentration. There are no extended openings or oversized hooks; each track arrives like a single strike and disappears before the pressure can fade.

Mista Pigz – "I Am the Liquor (House of Pain)" [VIDEO]

The title points less toward the rap group House of Pain than toward the alcohol-soaked madness of Jim Lahey from *Trailer Park Boys*. Mista Pigz, based in Albany, adopts “I Am the Liquor” as a character position: not simply somebody drinking, but somebody who has merged with the intoxication itself. Beneath the humor sits a darker core—self-destruction, delusion, and the absolute certainty of a completely unreliable narrator. Pigz has enough underground history to carry the role, from earlier crew work in Dutchess County to his solo catalog in Albany.