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Lorin Searing
Swollen Members is a four-time JUNO Award-winning Canadian hip hop group from Vancouver, British Columbia, consisting mainly of Madchild and Prevail. Frequent collaborators include vocalist Moka Only (who was actually a member of the group for a short period of time in the mid-1990s when the group was formed, and then again from 2002 to 2005) along with the other former members Easy Roc & Zodak who were only in the group for a few years and producer Rob the Viking, an official group member since 2002. Swollen Members has released nine studio albums, one greatest hits album and 2 compilations, as well as numerous other singles. From 1996 to 2016, Swollen Members were the second best-selling Canadian hip hop artist in Canada (behind Drake) and were the best-selling Canadian hip hop group in Canada.[1]
Swollen Members was founded in 1995 by Vancouverites Madchild (Shane Bunting), Prevail (Kiley Hendriks), and Moka Only (Daniel Denton). Having begun a solo career while living in San Francisco, California, Madchild returned to Vancouver to work. There he met Prevail and Moka Only, who had been working together. He joined together. The group had to decide on a name and Moka Only suggested Swollen Members as a joke and it stuck.
The group began testing the international hip-hop waters by releasing four 12-inch vinyl singles on Madchild's own indie label Battleaxe Records initially distributed by New York-based Fat Beats; the singles sold approximately 10,000 copies each.
Following Balance, Swollen Members recorded and released Bad Dreams, released on November 13, 2001, and featuring guests such as Chali 2na of Jurassic 5, Son Doobie, Joey Chavez, and former member Moka Only. It appealed to both underground and mainstream audiences, reaching platinum status in Canada. The album earned Swollen Members their second Juno Award and four MuchMusic Video Awards including best rap video, best director and best independent video.[2]
2002's Monsters In the Closet, their third release, brought official group membership for Moka Only and Rob The Viking to Swollen Members. Monsters in the Closet was a collection of B-sides and outtakes along with three new songs, "Breathe" which featured Portuguese Canadian pop singer, Nelly Furtado. Production credits include Evidence from Dilated Peoples. In January 2003, Swollen Members signed with Virgin Records.[3]
In 2005, Moka Only decided to break off from the group for a second time and continue work on his solo career. The following year, Swollen Members released their fifth full album, Black Magic. It is understood that Madchild and Prevail made an attempt to return to their previously critically acclaimed style and method. Their previous album Heavy was unlisted on their official site discography. A single from the album, "Put Me On (feat. Everlast)", was released in August 2006. Later that year, Nettwerk Management dropped the group due to Madchild's affiliation with the Hell's Angels.[4]
Armed to the Teeth was released October 27, 2009 through Kottonmouth Kings label Suburban Noize Records. Featured artists on the album include La Coka Nostra, Talib Kweli, Tech N9ne, Tre Nyce, and a return of Moka Only on the previously released track, "Red Dragon". This release was followed by a North American tour with Australian Hip-Hop group Bliss 'n' Eso.
Swollen Members scheduled the release of a studio album, Dagger Mouth, for April 2011, under Suburban Noize. Its first single is "Mr. Impossible".[5] The second single released off Dagger Mouth is "Bring Me Down" which features rapper Saigon. A compilation album titled Monsters 2 was released August 2, 2011.
On March 19, 2013, their ninth studio album, Beautiful Death Machine was released, and had debuted at number 3 on the Canadian Albums Chart, making it the group's highest charting album in Canada to date.
June 17, 2014 brought their tenth studio album Brand New Day to store shelves across the world.In mid-February 2015, Madchild was listed on the King of the Dot BO5 card against the battle rapper by the stage name of Daylyt. Footage of his trailer for this event can be found on the KOTD Entertainment channel on YouTube.[6] The footage of the battle can be seen on the KOTD YouTube channel.[7]
In 2021, Swollen Members released a single and music video for "Tetris" featuring Neph. Since then, Madchild has been focused on solo releases, and Prevail and Rob the Viking have been focused on XL The Band.
Since 2009 when Madchild and Prevail joined forces again after a four-year hiatus, Swollen Members have released three full-length albums, a greatest hits collection and launched their own respective solo careers. The group has also released a follow-up to their critically acclaimed "Monsters in The Closet" album. And recently, their album "Beautiful Death Machine" peaked at the number two position on the Canadian Billboard Charts Top 200.
"I just got back from touring Europe, and touring Canada, and touring America. And it's all really sort of the same thing. I guess we bring the same people out wherever we go. Whether it's Europe, Australia or B.C. in Canada or Los Angeles in America. We attract the same people. It's really funny, but it feels like the same vibe everywhere we go, to be honest."
"We have the new Swollen Members record Brand New Day coming out, then I have my album Superbeast. I believe the Supervillain album with Slain and myself will be coming out this year, but it could be next year. I don't know."
"It always becomes a funner show when we add some of the new songs, we try to switch it up a bit," he said. "We play classics from Lady Venom and Fuel Injected all the way up to the new album. We like to switch it up and play some songs from the whole discography."
"We focus on the enjoyment and celebration of life," he said. "That's part of the whole thing of Brand New Day. I honestly don't look at it as getting older; I look at it as getting better. I used to be a little bit worried about getting older but now I realize I'm having the best time of my life. It's just a great time period in life where we're at. Artistically, mentally, spiritually."
"A lot of artists, I'm definitely not the first one and I'm sure I won't be the last, sort of fall on their face, but the point is getting back up and dusting yourself off and moving forward," Madchild said. He has had a long road of recovery from addiction to prescription medicine.
"We were probably one of the first groups to get sort of world wide recognition as far as Canadian hip hop," he said. "We never sort of broke mainstream outside of Canada, but we've always been a world-wide known underground hip hop group, which I think Canada is proud of and we're proud of."
"I thought, this is so cool, I'm listening to a guy who I thought was American, but he's from Canada out touring and on Shade 45 and nobody's blinking," he said. "This obviously told me that we're finally at a time where the border is now invisible and good is good. I think it's a great time for Canadian hip hop."
"Don't get me wrong, I am proud to be Canadian, and I'll always love Vancouver and represent where I'm from. But I just feel like it's just the next move. I'm no spring chicken anymore. I've got a lot of talented friends and great people in the business down there. I'm pretty excited. Plus it's sunny all the time."
"We're so lucky that, in a time when it's so easy for people to download music for free, that people still buy our albums," he said. "We can't express how much we appreciate that. It means the world to us and it shows the industry that underground hip hop is still alive and important."
The article seeks to analyse the D. Sebastio Monteiro da Vide's work, published in 1720, which deals with virtuous life and holy death of Vitria da Encarnao, a Santa Clara do Desterro's nun. The main objective is comparing the narrative focused with hagiographies and devotionals models influentials during the context, such those provided by the lifes of saints Catharine of Siena and Rose of Lima.
O artigo procura analisar a obra de d. Sebastio Monteiro da Vide publicada em 1720, que trata da vida virtuosa e da morte santa de Vitria da Encarnao, freira do Convento de Santa Clara do Desterro. O objetivo principal comparar a narrativa em foco com hagiografias e modelos de devoo influentes no contexto do perodo, como aqueles propiciados pelas vidas das santas Catarina de Siena e Rosa de Lima.
The article seeks to analyze the work published by D. Sebastio Monteiro da Vide's work in 1720, which deals with virtuous life and saintly death of Vitria da Encarnao, a nun in the convent of Santa Clara do Desterro. The main objective is to compare the narrative focusing on hagiographies and devotionals models influential at that time, such those provided by the live of St. Catharine of Siena and St. Rose of Lima.
The deliberate projection of Mother Vitria da Encarnao though the publication of various actions from her virtuous life contrasts with the restricted number of studies about the Convent of Santa Clara do Desterro. Moreover, scholars have clung almost entirely to the narrative produced by the metropolitan of Bahia, without seeking to add other sources. Leaving aside some occasional comments by other authors, the most significant analyses of Vitria da Encarnao were prepared by Anna Amlia Vieira Nascimento and Evergton Sales Souza. The first author's study is more descriptive, even though it sought to relate the elements of religious practices in the Bahian cloister to the aesthetic traditions of the Old World. In a short passage the author presents an argument that requires more attention: "between the lines in the biography of Mother Vitria is the archbishop's perfect knowledge of the of the disagreements between the religious of the monastery, which happened frequently" (Nascimento, 1994, p.254). The analysis of the practices of asceticism assumes clearer contours in the work of the second historian, which provides valuable indications which deserve greater deepening. Certain characteristics of Monteiro da Vide's work, such as the fact that it was published in Rome, and the parallel established by the Bahian Archbishop between Mother Vitria da Bahia and St. Rose of Lima, justify Evergton Souza's conclusion that the publication of the pious narrative may have been aimed at starting a beatification process.
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