DJ King Flow interviews Da Inphamus Amadeuz for Mixtape Addict 93.
- 1 day ago
- 9 min read
French DJ and producer DJ King Flow returns with a new edition of Mixtape Addict, delivering a carefully curated exploration of underground hip hop. Broadcast via Scientific Sound Asia, the Vietnam-based international radio station, promoter, music news site, and DJ agency, the programme continues to operate as a global platform for artists committed to the core values of hip hop culture.
DJ King Flow began his journey at the age of fourteen, shaping a style rooted in boom bap while maintaining a contemporary perspective. His sound draws from the foundations of 90s hip hop while remaining connected to the present, consistently supporting emerging voices across the underground scene.
This ability to bridge generations has earned him recognition from listeners and artists worldwide, establishing him as a trusted selector within lyrical hip hop. Over the years, he has collaborated with influential figures including Ras Kass, Tragedy Khadafi, O.C., Juicy J and Khujo Goodie. These relationships reflect his continued commitment to preserving the genre’s lineage.
Since launching Mixtape Addict in 2015, DJ King Flow has developed the series into a respected hub for independent artists, combining radio broadcasts, interviews and mixtape releases to highlight genuine talent and reinforce the strength of the underground community. Alongside his work as a selector, he continues to expand his creative output as a producer.
His instrumental album The Adventures of F.J. Parker brings together jazz-influenced melodies, soulful textures, deep grooves and the gritty character associated with classic hip hop production. In recent years, he has expanded his catalogue with projects such as Trill Legacy (Instrumentals), a beat-focused release built around layered production and cohesive sonic themes, alongside tracks including Warzone featuring Ice Crimi and Win or Lose featuring Imam T.H.U.G.
His collaboration Money with Lex Lakaiser reinforced his presence within contemporary underground hip hop, while mixtape compilations such as Industry Pirates 2, Industry Pirates 3 and Time Travel (Beat Tape) reflect continued creative activity. His 2025 releases, including Money, Give the Town Some Hope and additional forthcoming collaborations, demonstrate ongoing artistic development and a clear dedication to the craft.
Interview Guest: Da Inphamus Amadeuz.
Da Inphamus Amadeuz is a New Jersey-based hip hop artist known for his raw delivery, street-rooted lyricism and consistent presence within the East Coast underground scene. Emerging with a sound grounded in boom bap and hardcore hip hop, he has built a reputation through independent releases and collaborations that reflect the grit and authenticity of classic New York and New Jersey rap traditions.
His music draws heavily on themes of survival, street life and personal experience, delivered through direct and uncompromising lyricism. This approach aligns him with a lineage of artists who prioritise substance and realism, maintaining a strong connection to the foundations of 90s hip hop while remaining active in the current underground movement.
Da Inphamus Amadeuz is closely affiliated with the Dirt Disciples collective, a group known for its focus on hardcore hip hop and collaborative releases that highlight lyrical skill and cohesive production. Through this platform, he has contributed to a steady output of music that reinforces his position within the independent scene.
His catalogue includes projects such as Dirty Dialect and a series of singles and collaborative works that showcase his consistency and work ethic. Tracks often feature traditional boom bap production, hard drums and sample-driven beats, supporting his straightforward and aggressive vocal style.
He has worked alongside a range of underground artists and producers, further expanding his reach while maintaining a clear artistic identity. His releases continue to resonate with listeners who value authentic, unfiltered hip hop rooted in the culture’s original principles.
Within the context of Mixtape Addict, Da Inphamus Amadeuz represents the harder edge of East Coast hip hop, combining street perspective, lyrical focus and classic production aesthetics that align closely with the show’s direction.
The session opens with Da Inphamus Amadeuz setting a firm Boom Bap foundation through Close To Me, Link Up and Raised By A God, combining raw delivery with underground intensity. Cha Cha Chicken shifts the tone slightly with DJ Muggs’ signature minimalism, before LXG brings the focus back to hard-edged East Coast lyricism.
The momentum continues through Cutthroat Wave and Cold Hell, blending melodic street elements with gritty storytelling, while Finesse maintains a sharp, energetic flow. Three In The Chamber then raises the intensity with a full cypher presence, followed by the darker tone of Life Sucks And Then You Die.
A change in pace arrives with Stop Counting My Pockets, bringing a smoother West Coast Rap groove before Red Rum and No Smoke reintroduce hardcore pressure. The Unusual reinforces classic Boom Bap structure with disciplined lyricism, keeping the set grounded in tradition.
The closing stretch balances reflection and message through The Uno, before DJ King Flow transitions into an in-depth interview with Da Inphamus Amadeuz. Episode 93 stands as a focused Boom Bap session built on underground credibility, East Coast dominance and strong collaborative energy.
Da Inphamus Amadeuz joins DJ King Flow on Mixtape Addict for a wide-ranging conversation that connects France and New York through shared respect for lyricism, craftsmanship and hip hop culture. Across the interview, he speaks openly about his influences, creative philosophy, career turning points and the purpose behind his current projects, while also outlining how he wants to push the culture forward through radio, production and artist development.
When asked about his favourite DJs, Da Inphamus Amadeuz names DJ Premier, DJ Battlecat and Red Alert. Each choice reflects a different part of hip hop history. He credits Battlecat with helping define the West Coast sound, while Red Alert is recognised for shaping New York radio and helping break both artists and DJs in the early years.
Premier is praised as one of the most important architects of boom bap, with his production style, chopped samples and scratch hooks still setting the standard for underground rap. The discussion also expands on Premier’s wider influence, including the connection between his musical background and later generations of artists.
King Flow points out that Amadeuz himself carries that same all-round spirit, not only as an MC but also as a producer, DJ, radio personality and cultural organiser. That observation leads to one of the most revealing parts of the interview, where Da Inphamus Amadeuz explains why he deliberately chose to learn multiple parts of the business rather than remain only a rapper.
He argues that too many people stay trapped inside one role, while a career in music actually requires a full machine to move properly. Over time he taught himself publishing, media, film, radio and production, driven by a determination not to wait on others to create opportunities for him.
He traces that mindset back to two major turning points. The first came after a serious legal case that could have altered his life completely. Beating that case forced him to leave a destructive period behind and re-evaluate the direction he was heading in.
The second came when he realised that rap alone could not be his primary focus if he wanted long-term growth. That decision pushed him into learning the wider mechanics of the industry and eventually placed him in a position where he can now create, release and platform work on his own terms.
That broader vision sits at the heart of his work on Punchline Academy on Shade 45. Amadeuz explains that the platform was built out of a desire to reconnect listeners with lyric-driven hip hop in a real and immediate way. Rather than simply following current trends, he started pairing respected voices with production that reflects the sounds audiences originally fell in love with.
He also began building freestyles, interviews and cyphers that felt grounded in the street rather than trapped in one studio format. In his view, the best way to revive listener engagement is to give people new music framed through a sound and energy they already trust.
That idea has grown beyond radio into a more mobile concept. He talks about bringing the Punchline Academy directly into neighbourhoods, filming cyphers on location and creating moments where local artists can be seen in their own environment.
For him, this is about restoring authenticity. It is not just about established names, but about giving real lyricists the chance to be heard in settings that carry natural energy. He also hints at taking the platform to more cities, and eventually overseas, which fits naturally with the idea of a future European edition.
Mixtape culture is another major thread throughout the interview. Da Inphamus Amadeuz says he absolutely misses the mixtape era, especially the period when audiences were actively searching for new music. He reflects on the classic mixtape circuit, from Clue and Kid Capri to J Arms and the wider DJ culture that made freestyles, B-sides and exclusives feel like events.
He even names Canibus as his favourite mixtape artist ever, praising the incredible run he had during that period. At the same time, he acknowledges that streaming has changed listener behaviour. Today, people are less likely to hunt for music in the same way, which makes it harder for the old mixtape model to function as it once did.
Even so, he still believes there is a place for that spirit. He talks about the need for a dedicated space or updated format where the energy of mixtapes can live again, while pointing to SoundCloud as one of the few places where that freedom still exists.
He also plans to feed that market through Punchline Academy itself by releasing new records regularly, built around the classic sound that so many listeners still connect with. He makes clear that this is not nostalgia for nostalgia’s sake. It is about giving the audience a musical experience that has become harder to find.
That same thinking drives Hennessy and Her, the album that becomes the focus of the final section. King Flow speaks highly of the project, especially the track Close to Me, praising its blend of hip hop, R&B and strong songwriting. Da Inphamus Amadeuz explains that the title carries a double meaning.
“Her” represents hip hop itself, framed as a woman, while the album as a whole explores the complicated relationship creators have with the art form they love. It is about loyalty, frustration, memory, struggle and passion, all filtered through songs designed to work beyond underground rap spaces.
He wanted to create a body of work that could live in public environments such as bars, brunches, clubs and other everyday spaces, rather than being confined to one corner of rap culture. That goal led him to embrace melody, storytelling, acoustic textures and classic R&B structure while still keeping the emotional core of hip hop intact.
He produced the entire album himself and wrote all of the R&B elements, including the hooks and melodic sections, making it one of his most complete creative statements to date. He also explains that the album is layered with commentary about the current state of the culture.
In the intro, Me, Her, Hennessy, he reflects on his first relationship with hip hop. On Link Up, he addresses the growing separation within the culture, the confusion caused by social media voices with little real experience, and the way artists are often misled by false guidance. Across the project, he makes it clear that this is not only an album of mood and melody, but also one that calls things out directly.
Toward the end of the conversation, Da Inphamus Amadeuz outlines his immediate plans. He urges listeners to subscribe to his YouTube channel as he moves toward fifty thousand subscribers, while also highlighting the Punchline Academy Lyric League series, which now has enough material lined up to continue for months.
Alongside freestyles and interviews, he plans to begin releasing new Punchline Academy records every two weeks, pairing artists with his production and leaning into the classic tempo range that defined so much of the music he loves. Rather than following the slower pace dominating some current underground styles, he wants to push the energy slightly higher and bring back a more driving boom bap feel.
By the end of the interview, what emerges is a portrait of an artist who no longer sees himself as confined to one discipline. Da Inphamus Amadeuz is not only an MC or producer, but a curator, organiser and builder. He understands that culture is sustained through infrastructure as much as talent, and he has chosen to contribute on every level he can.
From his reflections on legal struggles and artistic reinvention to his work with Punchline Academy and the layered concept behind Hennessy and Her, he presents himself as someone fully committed to preserving the essence of hip hop while also expanding its possibilities.
The live broadcast is scheduled for Tuesday, April 7th, 2026, from 8 to 10 PM Indochina Time (ICT), with a replay planned for Saturday from 8 to 10 AM (ICT).
DJ King Flow Mixtape Addict episode 93.
Da Inphamus Amadeuz & Blazin - Close To Me
Da Inphamus Amadeuz - Link Up
Da Inphamus Amadeuz & DAARMY97 - Raised By A God
DJ Muggs & T.F - Cha Cha Chicken
RJ Payne, Ali Vegas & Sandman - LXG (Prod Stu Bangas)
Interstate Cutthroat & Max B - Cutthroat Wave
Eto, Raekwon & Thvnos - Cold Hell
Casablanca The Gawd - Finesse
Obleak, Yotto Beatz, Ruste Juxx & Rockness Monstah - Three In The Chamber
Obleak & Yotto Beatz - Life Sucks And Then You Die
Snoop Dogg - Stop Counting My Pockets
Red Cafe & ElCamino - Red Rum
Venom & Reef The Lost Cauze - No Smoke
El Da Sensei - The Unusual
Def-I, Kail Problems & Marley B - The Uno (Prod DJ Hoppa)
DJ King Flow - Interview With Da Inphamus Amadeuz
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