Bisz was born in Bydgoszcz. At the beginning of his musical journey, he was involved with local rappers. Together with Rafał “Oer” Skiba and Karol “Kay” Tomas, he founded B.O.K.. The band was later joined by Paweł “DJ Paulo” Molenda, as well as Marcin Bartyna (guitar), Michał “Bromba” Lutrzykowski (bass guitar), Arkadiusz “Pestka” Wiśniewski (drums) and Łukasz “Syluch” Sylwestrzak (violin). In 2007, Bisz started working with music producer – Kosa, with whom he released a mini-album entitled “Zimy”. The album gained popularity in the artistic underground. A year later, together with B.O.K, he released the unlicensed album “Ballady, hymny, hity”. The album was placed 5th in the ranking of the Spinner website –”Nielegal Roku 2008″. The next album of the Bisz – Kosa duo was “Idąc na żywioł”.  B.O.K went on to record the second unlicensed album “Raport z walki o wartość”. The band then signed a publishing contract with My Music. The result of the cooperation was the album “W stronę zmiany”, released in 2011, which reached the 44th place on the OLiS list. A year later, Bisz’s debut album entitled “Wilk chodnikowy” was released and gained the status of a golden record. B.O.K’s next album, “Labirynt Babel”, reached number 1 on the OLiS list.

Bisz, appreciated for his literary imagination, is invited by many artists to cooperation – including  Miuosh, Vixen, Tau, Vienio and Sarius. He began a longer collaboration with an artist at the opposite musical pole, the excellent lyricist – Radek Łukasiewicz, creating the duo Bisz/Radex. For their jointly released album – “Wilczy Humor” – they were nominated for a Fryderyk Award. In 2020 Bisz released the album “Blady Król” – a conceptual set of stories about the difficult aspects of human fate. Alternative rap, poetic, intelligent, reflective – this is how Bisz’s works are commonly described. The rapper himself makes no secret of his fascination with the works of Gombrowicz and David Foster Wallace. In his texts, he reflects on man’s entanglement in the laws of capitalism, media mediation and the pursuit of success. He tries to find the limits of freedom and individualism, and reflects on loss and transience. The reality in his eyes is as if taken out of a Kafka novel – it makes no sense to seek an escape from it. On the other hand, respite can be found in noticing the everyday life and an attempt to accept one’s fate. Reality is a construct. Bisz tells it like it is and his analysis of modernity is devoid of comforting fictions and naive excitement. Capturing chaos in the form of songs brings temporary relief. The truthfulness, rawness and calmness of the beat bring temporary relief. Is that not enough? Perhaps that is all that music can give.