When you hear this signature call, you know it means a good time. You know it means juking, drinking and good music. You know it means debauchery, insanity and all around fun. You know it means Mic Terror. Mic Terror, the self-proclaimed “Black Bart Simpson”, is the next big thing to come out of Chicago rap. He’s a rapper who rhymes with rapid-fire punch lines, astonishing precision and big enough balls to say whatever is on his mind. Mic Terror aka The Pipeman aka King of the New School is a Chicago-based emcee who rhymes strictly about his own reality, straying far from fabrication and over-exaggeration. “I represent the average Joe…I only rap about things that actually happen in my life,” he says. Although he may rep Joe six-pack, Mic is pretty far from what you’d call “average”. In fact, he’s pretty extraordinary. Born and raised in Riverdale, a suburb right on the outskirts of Chicago, Mic Terror has become a highly-praised and repeated name on the Chicago club and street circuit, performing regularly with artists such as The Cool Kids , Hollywood Holt and GLC. However, people are beginning to take notice in the distinctive lyricists’ skill and potential, such as MIA, Travis from Gym Class Heroes, Famous DJ Duo Flosstradamus and a handful of other elitists of the music scene. Now, Mic is preparing to take the world by storm, armed with a new school style, and old school swagger, and a presence that’s all his own.

There is an eclectic contingent of jazz heads, hip hop kids, vinyl junkies, and classic rockers that frequented the infamous parties and late-night studio sessions held within the smoke filled, brick-walled confines of Chicago’s West Town Recording. THE JORDAN YEARS’ dusty, smoky, soulful grooves became the unofficial soundtrack. They are an ode to the golden age of Motown, the DIY ethic of the new music business, and the winning spirit held within their city’s heritage.

The Opus is comprised of Kevin Johnson (Mr. Echoes) and Aaron Smith (The Isle of Weight), two producers that combine their haunting styles with penetrating sounds. This production team constructs its elaborate sounds with depth and passion in such a way that listeners’ deepest emotions are stirred.

After working individually for some time, the two producers decided to combine their styles of production. Shortly after, Mr. Echoes and The Isle of Weight ventured into projects with several lyricists to compliment their instrumentals. In a search to find lyricists to match the eerie yet mesmerizing sounds of The Opus, Mr. Echoes and The Isle of Weight discovered the talents of Meta Mo and Lumba, together known as the group, Rubberoom. The Opus’ heart- wrenching beats combined with Rubberoom’s crafty lyrics which evolved into a wild success.

The collaborations include four twelve-inch singles, a CD five, an EP, and an album. The EP, Gothic Architecture, was the beginning of a saga that continued with the group’s subsequent album, Architechnology. Segments of Architechnology were displayed on MTV’s Road Rules and also used in the X Games. Architechnology received national recognition, and ultimately became the product of a global record deal.

The Opus has since collaborated with a number of other artists such as DJ Krush, Meat Beat Manifesto, Elliot Lipp, Slug from Atmosphere, Aesop Rock, Murs, Pigeon John, I Self Devine, MC Adad, Lord360 and Earatik Statik. To date, the OPUS has released three EP’s (Early Detection, Earthwalker and Praying Mantis), two full length CD’s (First Contact & Breathing Lessons), One mixtape (Blending Density) and a special 12″ series called the Movement Series, which was released exclusively in Japan. Currently, the OPUS is releasing its 3rd studio LP titled “Praying Mantis – Plus”. The Opus’ ultimate goal is to convey ingenuity and innovation throughout its work, while also retaining the originality that listeners have raved about since their first exposure to the production team’s intricate style.