Bubblegum Club

Author: Themba Kriger

  • Hakim Ngcongwane’s Distressed Project finds solutions for Black Creatives

    Hakim Ngcongwane’s Distressed Project finds solutions for Black Creatives

    “I don’t really consider myself a fashion designer” explains Hakim Ngcongwane, the creative force behind the Pretoria-based CRITIC STUDIOS. Born out of a company started by him and a friend 4 years ago, he launched the brand as a solo project last year. The name comes from the designers own self-doubt. “I was scared of what people thought of my work”. With critique linked to opinions, the studios slogan is “voice your opinion”.

    The studio’s first project is titled ‘Distressed’ and comes from the designer’s frustrations with following paths that weren’t of his own choosing. “For the longest time I was doing things based on what my parents were suggesting I should do. When you do it and you fail you hate the situation more because you’re failing on other people’s terms instead of on your own. You fail to understand why you’re failing and you fail to learn from those experiences because they’re not even what you wanted in the first place.” Parallel to this were personal hardships that caused stress in his life and affected him mentally, while from a political perspective he examined how economics create the positions that people like him find themselves in. “It became a research project. Not only was I designing but I was finding solutions for like-minded creatives that are going through the same issues where we have the talent but we don’t know how to monetize it.”

    “I chose to use red, green and black.” explains Hakim of the colour palette in his collection. “They represent the South African flag. Red represents blood and character, black represents the history that we’re coming from and green represents vegetation and the culture as a whole aspect.” Using satin, Hakim explains that it represents luxury and purity and states that while black creatives have the talent but not the resources, regardless of them going through these issues, they do not define them, and they are coming with their own solutions. Inspired by the way parents used to dress during apartheid the clothes are reinterpreted for a modern era.

    As a multi-disciplinary designer, Hakim sees a thread running through all the work that he does, with the collection referencing his artwork and making it more accessible. Similarly he is creating merchandise from his collection to make it more accessible. With this being his first collection he hopes that those that obtain his pieces understand the story of the collection. “ I’d love people to buy my clothes to feel like they were part of the struggle. That’s what this project references. Being my first project, hating the quality aspect of it cause you’re lacking funds, but knowing where you’re trying to go.“

    Credits:

    Brand: CRITIC STUDIOS
    Creative Direction & Photography: Lebogang Mokgoko

    Photographic Assistant: Lunga Ntila
    Makeup: Lesedi Leketi
    Styling: Lesedi Leketi and Lunga Ntila.
    Model: Kopano Selebano
    Project Management: Hakim Ngcongwane

  • Joseph Philemon is riding a New Wave

    Joseph Philemon is riding a New Wave

    “It’s the only way, to be honest.” explains Joseph Philemon on using the internet as a platform for his music. The Cape Town born, Johannesburg-based rapper continues, “the traditional way, people book the same five artists the entire time. When you switch over to radio, MTV Base or whatever they’re playing the same ten artists so there is no other choice, there is no other way besides the internet.” This philosophy defines his New Wave sound. “New Wave is just the new sound, it’s artists that are coming from the internet.”

    Growing up in a home filled with gospel, it was his elder cousins that introduced him to hip hop with artists such as T.I., Little Wayne and Young Jeezy. While he began writing in Grade 8 it was in Grade 10 that he decided to take it seriously, however it wasn’t until completing matric that he could move to Johannesburg to focus on music. “[Music] was the only thing that I loved and cared about. In matric I wrote my last paper for finals and in the same week I moved to Johannesburg.”

    In the past year, he has released three projects including his debut EP “Progression” , which saw him work with Ginger Trill  and Priddy Ugly on the single “John Lennon”. His most recent release is “The Break of Dawn” EP which sees Joseph exploring and telling the stories of his life. “I’m exploring the life and times of Joseph Philemon. I try to put what I’m currently going through or my mindset and stories about myself into 7 songs.”

    While the EP is primarily Joseph’s narratives it does feature Joshua the I Am on “Bad to the Bone”. Featuring the productions of Zoocci Coke Dope, LAE , YoungHeartThrobber , Marco Benz and Treih Earl Beatz the EP has a cohesive, emotional sound that is punctuated by slow and punchy trap rhythms. “Everything was organic with all of the producers. All of them are homies of mine.”

    On the EP’s first single “Mom Tattoo” he explains the story behind the tattoo on his neck. “Everybody always asks why I got the mom tattoo on my neck so I just wanted to explain it on a track as an outro and with the music video I just wanted a simple video where you can really just listen to the lyrics.” “Escaped from Hell” and “Bad to the Bone” are due for videos next with the order still to be decided.

    With the EP being focused on himself, Joseph is working with a number of other artists too. “I got some exciting features but I can’t tell you them. I just wanna stay consistent with it.” Work on the next project might start in December. “I just want [people] to get to know me better.” Joseph says of what he’s trying to do with his music. “If they do feel me on what I’m saying that’s dope and they’ll love the music even more.” he finishes.

  • Manteiga infuses Batuk with drama

    Manteiga infuses Batuk with drama

    With a Mozambican father, who always had his guitar on hand ready to play a song, and a South African mother, both with great storytelling abilities, Carla Fonseca, the birth name of Batuk’s frontwoman Manteiga, was exposed to and had a great appreciation for the dramatic arts from a young age. “You know your aunts and your uncles, when they start telling the story of how somebody got robbed or whatever the story is, there is quite a lot of drama. I guess my interest in any form of dramatic arts started there and I consider music to be a form of dramatic arts as well.”

    Moving between Mozambique and South Africa as a child before settling in the township of Reiger Park in the East Rand of Johannesburg around the age of 6, Manteiga went to a high school for the arts where she focused on theatre and went on to study further in the medium at university.

    It is through her work in theatre that the idea to collaborate with Spoek Mathambo and Aero Manyelo came about. The two producers had already decided to collaborate when Manteiga invited Spoek to a production she had written & directed and in which she performed six different characters. “One of the characters sang. I guess [Spoek] saw the ability in me to change characters, write and sing.” Initially only joining them in studio to work on a few tracks, Manteiga would soon join the group as an official member.

    The Manteiga alter-ego serves a practical as well as an artistic purpose. “Manteiga helps me separate my music from my theatre work. It helps me think from a different mind space. Manteiga is the music maker in me and she is against sexism, homophobia, xenophobia. She is for equal rights and everybody having freedom in their lives. Whether it be freedom against war, coming from two countries where we’ve experienced extreme violence. A stand against violence against women.” explains Carla who believes that bringing this philosophy into the message of the group is of significance. “I think it’s important for artists to not just make work that’s just flimsy. It’s your responsibility to speak about subjects that are important to you.”

    Manteiga says it was her “philosophy on women needing to be in the forefront and needing to be empowered more and allowed to lead a lot more” that saw her take charge of Batuk, leading decision around visuals, storytelling and representing the group in the press.

    Coming from a theatre rather than a music background sometimes challenges Manteiga when it comes to writing. “It’s very different. I was kind of given a crash course on how things work [in music]. Sometimes I write stories and then from there I can take out bits and pieces and put it together.”

    Having released two albums and an EP over the last three years Manteiga says that she feels like she’s grown more confident in both her writing and singing abilities. “On the first album I wasn’t singing much. Nandi was a collaborator in the project and she’s got an incredible voice. I have a voice, but I was too shy to express it. But on this new album I got the balls to sing and that was a big step for me and I grew in that respect.”

    On both 2018 releases, “Kasi Royalty” and “Move!”, Manteiga and Spoek decided to pursue a more South African sound reminiscent of their township days. “There’s more Xhosa, Zulu and Afrikaans. I rap in Afrikaans, I tell my stories of what it’s like to be a coloured girl from the township. We want to appeal to a South African market but we just wanted to take our Kasi roots, Spoek being from Soweto, and make something that was true to us and nostalgic for us.”

    While hoping for local appeal, Batuk’s support is largely overseas, with their upcoming tour “Again She Reigns” spanning the European continent, save for a couple of local shows. Manteiga is excited for the tour which begins at the end of September. “It’s a lot more dramatic and theatrical. I’m incorporating my theatre roots into the show. There are different characters and the music is kind of part of a character’s story.”

    Speaking on the lack of support locally Manteiga says: “I think there’s a lot of corruption involved. In order for your song to be on the radio you have to bribe people. There’s a whole payola system in South Africa and if you participate in that you get more people listening to your music, exposure, etc. potentially shows. South Africa is interested in hip hop right now but they’re also interested in a lot of other genres. …It’s really just what appeals at the time. I’m not disappointed at all. I think for what we’ve done in the last 3 years I’m really proud and excited for what’s to come and what has been. I’m not complaining at all.”

    Batuk continues to work hard at pushing its music locally. “We print a whole lot of CDs and hand them out to taxi drivers, people in parks listening to music, we try as much as we can in South Africa to spread the music.” But Manteiga says that it is up to promoters to book them.

    In the meantime, fans can anticipate a new music video from the group dropping in the near future. “We just started a conversation with a director, we need to decide which song we really want to push, maybe we’ll leave it up to fans to decide, not sure, but we’re looking to release a music video soon.”

    Despite having dropped two releases in 2018, Batuk is looking to release new material next year. “Spoek Mathambo is a machine, he’s always in the studio, always making music, so we’re not going to rush this year but next year we’ll definitely be releasing music. The way I work, I constantly want to produce. I want to produce and not stop and wait for people to decide, maybe the album will only achieve what we want it to achieve in 3 years’ time and I don’t think we should stop for that.”

    Credits: 

    Photography & Styling: Jamal Nxedlana

    MUA: Kristina Nicol

    Hair Stylist: Nomasonto Malefo

    Photographic Assistants: Lebogang Ramfate and Darnelle Thompson

     

  • Darkie Fiction – Bringing back South African sounds

    Darkie Fiction – Bringing back South African sounds

    It’s been almost a year since the duo Darkie Fiction burst onto the scene with their nostalgic, feel good single ‘Selula’. Produced by Stiff Pap’s Jakinda, Darkie Fiction’s Katt Daddy and Yoza Mnyanda didn’t expect the track to have such an impact. “It was honestly just experimenting, trying, seeing what we could be if we came together.” recalls Yoza.

    The past year has seen the duo work hard in studio with like-minded producers to create their debut EP ‘Sobabini: A Mzantsi Evolution’. Meaning the two of us, the title is a reference to joining forces between rapper Katt Daddy and singer Yoza Mnyanda. Born out of frustration from hearing local music on commercial platforms that didn’t sound South African, the EP references a time when local sounds were dominating the airwaves. “We missed hearing Boom Shaka vibes and TKZee vibes. So we wanted to carry the baton from those kinds of people”. Yoza explains.

    Featuring productions by Fosta, Original Swimming Party, DJ Mdubulo, Thor Rixon, Albany Lore, as well as Maloon the Boom, the duo were looking for producers eager to experiment with them, but who also had their own style. “We want to take these producers out of the alternative/leftfield boxes and bring them into mainstream along with us. To change the perception of how people consume music and what people perceive as South African music.” says Katt Daddy of the duo’s decision in choosing the right producers for the EP.

    Stylistically the duo is similarly rooted in South African culture, with their photoshoots and videos referencing local culture heavily. The cover art for ‘Selula’ for example aims to portray the lives of Black South Africans during the 1970s & 80s that wasn’t documented or as Katt Daddy put it, “Black people were not seen in fancy houses with dinner tables and paintings on the wall.” Adds Yoza, “we wanted to say ‘hey, we grew up very nicely, [our parents] did their absolute best’”.

    Aiming for a shift in the local music industry, the duo believe that there is an appetite for local sounding music, but a lack of commercial support for it. “You play TKZee in the club now and people go crazy. But it’s access, it’s not circulating on radio, it’s not played on television. That’s what drives us to get back to be circulated again because we hope that our names are the names they speak of when the wave of the South African music industry shifted one day.” Yoza explains.

    Noting America’s dominance of media and culture, Katt Daddy also believes a major factor in the success of American sounding local music is due to an inferiority complex amongst black people thanks to apartheid’s legacy along with black South Africans admiration of black Americans who went through similar struggles during the Civil Rights Era. It is for this reason that Darkie Fiction is focusing on South African music for South Africans. “We’re not making music to be noticed in America and go to America, of course I’d like to be exposed to countries overseas, but it’s very important that we make music for South Africans as South Africans.” explains Katt Daddy.

    With the EP still fresh, the duo is currently working hard on promoting it and will be releasing a video for ‘My Ntliziyo’ next. “It’s focusing on the title of the EP, because we are also in a romantic relationship and lots of people ask if we are in one or not, so this video is going to say yes we are.” shares Yoza of the treatment for the video. They do have new songs in the pipeline, but are giving their EP some time to breathe first.

    Having played the likes of Design Indaba and Oppikoppi, the duo are no strangers to large stages and  feel more comfortable in that environment. “It’s actually the smaller stages we find more challenging. We performed at Kitcheners and that was the smallest stage we’ve ever performed on. It’s challenging, intimate, very different vibe, not to say that we don’t enjoy it but we conceptualise our performances on big spaces.” explains Katt Daddy. “We watch a lot of how Boom Shaka used to perform. We have a lot of grievances with the music industry at the moment. Sometimes we go to shows just to see how people perform and it’s so boring. So we decided to actually put on a show. We sweat! The visuals, the music, the performances it all has to tie in together and when you see Darkie Fiction on stage you say yes that makes sense. Quality is very important for us.” continues Yoza.

    Although Yoza and Katt Daddy aim to make music for South Africans they are acutely aware that in the current industry it is not sustainable as yet, still they believe artists shouldn’t be making music to be booked in certain places. “The ones that are making American sounding music are making the most money in South Africa and the ones that make South African music are the ones that get invited to Sweden or Switzerland to perform. It’s very funny. I think it’s possible and we as Darkie Fiction are advocating for that, that South Africans can be called to play overseas but you must not focus on making music so that you can perform overseas.” says Katt Daddy.

    Yoza continues, “…if you’re not being appreciated at home you should go where you’re appreciated. But I don’t think people deliberately don’t want to make it at home, it’s just the way it is. Hopefully it changes tho!”

    In the end Katt Daddy and Yoza want their listeners to take positivity from their music. “Be South African. Remember where you come from. Always stay positive in any situation. Just know that things will work out.” exclaims Katt Daddy. “Feel good. Katt & I both struggle from mental illness, so our music comes from there. It comes from when we’re feeling shit, we make music because it makes us feel better. And in turn when people listen to it they say they feel good. I think it’s not necessarily an intention that we’re going to make feel good music, but because of the place that it comes from for us then it ends up translating that way. Which is awesome.” adds Yoza.

  • AFROPUNK returns to Constitution Hill

    AFROPUNK returns to Constitution Hill

    It is fitting that the first AFROPUNK Festival to be held in South Africa took place on the historically significant Constitution Hill in Johannesburg. The festival, inspired by the documentary ‘Afro-Punk’, which spotlighted black punks in America, was first held in 2005 in New York City’s Brooklyn. Originally aiming to help black people build a community among the white dominated punk subcultures, it has grown to include a wider audience and a broader range of music, yet still highlights alternative black artists.

    With this shift away from pure punk culture towards celebrating blackness in its many forms, the festival has grown. Events are being held in Atlanta, Paris, London, and Johannesburg, with a total of more than 90 000 attendees. Utilising their platform for entertainment as well as change, the mantra of AFROPUNK is: “No Sexism, No Racism, No Ableism, No Ageism, No Homophobia, No Fatphobia, No Transphobia and No Hatefulness”. A free space for black and other bodies that do not fit into the moulds presented by mainstream media.

    Judging by the expressions and attitudes of those who attended South Africa’s first instalment of the festival, it is clear that this approach is highly welcomed in the country. For many this is a cathartic experience, beyond just the amazing music that is on offer from local and international musicians.

    And it is this fact, that the festival both provides a high standard of music along with a safe environment to enjoy it in, that has led to its success. Returning to Constitution Hill, this year’s AFROPUNK line-up is no different, with a strong balance between forward-thinking local and international artists. From the likes of Los Angeles’ future R&B superstars, The Internet and Thundercat. To experimental electronic music from Flying Lotus, who is debuting his 3D show on the African continent for the first time, to the superb dance grooves from producer Kaytranada. The legendary hip hop group Public Enemy and the queen of New Orleans bounce, Big Freedia. The international acts are a highly diverse showcase of black creativity.

    Similarly, the local acts on the line-up have all carved out niches for themselves in South Africa’s competitive music industry. They have stood out as artist that not only make a difference, but sound different. Local hip hop in its many guises is represented by Mozambique’s Azagaia and Cape Town’s YoungstaCPT, and Dope Saint Jude. Each of which are incomparable with their unique take on the art of emceeing.

    Other acts on the line-up include Joburg’s performance duo FAKA with their sound that is familiarly South African, yet utterly futuristic. As well as the sex-positive performer Moonchild Sanelly with her leanings towards Gqom and alternative pop. Joburg’s Thandiswa brings her revolutionary fusion of modern and traditional African sounds, while Nomisupasta brings a unique take on locally inspired music. Rounding off the local acts is Soweto’s BCUC, AKA Bantu Continua Uhuru Consciousness, with their highly energetic and emotionally charged rhythms.

    Themed THE PEOPLE RESIST, this year’s AFROPUNK is a call to action against racism, patriarchy and any form of hate. With 20 000 people descending on Constitution Hill for the first instalment of AFROPUNK Johannesburg, this year’s event promises to be even better and bring people closer together. Aside from music, the festival also encompasses Bites & Beats, Activism Row and the SPINTHRIFT Market as well as the chance to earn tickets via the Earn a Ticket programme. In the build-up to the event, the Battle of the Bands Joburg competition is held that seeks to unearth new musical talent.

    To buy your ticket click here, and keep your eyes on AFROPUNK’s social pages to find out which other acts are announced and for more details about the event.

  • Lelo What’s Good blends ballroom and gqom

    Lelo What’s Good blends ballroom and gqom

    Lelo What’s Good is a Johannesburg-based multidisciplinary creative that got into DJing unexpectedly. He met FAKA‘s Desire Marea while living in Durban. Upon returning to Johannesburg to study, he got to know Fela Gucci who invited him to play at Cunty Power.

    “I decided to come through and play. That’s when it started. After that I started getting booked, which was a bit hectic. I didn’t plan for it to be quite honest,” recalls Lelo. The gig led to him being invited by Pussy Party‘s Rosie Parade to attend DJ workshops in order to hone his skills. “I went to her and we just hit it off and she really helped me a lot in starting this new adventure that I was going on. Before I knew it, I was on lineups, people asking me to play places. It’s been interesting.”

    Fascinated by music videos from a young age, Lelo was exposed to artists such as Missy Elliot, Aaliyah, Destiny’s Child, Beyonce, D’Angelo, Lauryn Hill the Fugees as well as local artists such as Lebo M, Zola, Boom Shaka & Brenda Fassie. As a DJ, he likes to push an alternative, grungy sound that draws a lot from ballroom and underground UK warehouse music as well as the raw sounds of Durban’s gqom.

    Thanks in part to his affinity for ballroom music and a desire to create safe spaces for the queer community, Lelo What’s Good founded Vogue Nights. This saw him bringing New York’s ballroom subculture to life in South Africa. “The ballroom scene in New York shifted culture, it uplifted the LGBTQI community into what we know it [to be] today. If you look at it now there’s ballroom all over the world, Berlin, Paris, London, and we don’t really have one here. So I thought since I play ballroom type music and there aren’t a lot of safe spaces for us to actually venture our bodies in, so why not create a space that speaks for us and is by us in the city and also take it around the country. Because we never really had that. So it’s a response to that. An urge to create more safer spaces.” explains Lelo.

    Beyond the parties he throws and the music he plays, Lelo What’s Good aims to be a representative of South African queer culture. “I think I do represent the people in my community to mainstream media. Everything that I’ve written is about queer artists or safe spaces and things like that. I do my best to accurately represent the times that we are in now as queer people, in queer bodies, whether it be as artists or the person down the road and how they might be feeling. I think that’s the type of content I’m trying to create, to write about and speak about. Even the places that I DJ at, they have to be 100% safe for femme bodies and queer people. It’s really important.”

  • Rose Bonica doesn’t want it to get to your head

    Rose Bonica doesn’t want it to get to your head

    Since her beginnings in 2016, Rose Bonica has quietly made a name for herself as a fresh and innovative producer of electronic music that, thanks to its many influences, defies classification within a specific genre. Unbound by the rules and structures inherent in club music, her productions instead are highly textured and often play with the listener’s expectations while still referencing the foundational elements of dance music. “I stick to a loose idea, like when there’s a break [the track] has to develop, but I still live arrange. I feel like copy-pasting, sticking to that structure, loses that kind of feeling and makes it really rigid, but I do try keep the live arrangement within the realms of the rules of what people actually resonate with,” Rose Bonica explains.

    Her second EP after 2017’s “Rosy Disposition”, “Don’t Let It Get To Your Head” sees Rose Bonica pushing herself more as a producer and artist, exploring new territories and honing her sound. Explaining her move to include her own vocals on this release Rose Bonica says, “I wanted to fuck with vocals. I found you can actually do a lot with vocals and I was tired of waiting for people to come to Hout Bay, so it was definitely a natural progression I wanted to push. I don’t know why I should sample someone else’s voice if I can attempt it first.” As a producer she is also pushing herself to incorporate more melody in her music, something she felt was lacking in her first release.

    Photography by Tatyana Levana

    Viewing production as a therapeutic outlet, Rose Bonica sees “Don’t Let It Get To Your Head” as a release that deals with how quickly one can veer off one’s own path, dealing with the industry and how easy it is for all these things to get to you. “I would say it’s just a culmination of everything like a break up in relationship terms and with the [industry]. Trying to step away from everything and the politics that go around this little city, and the world.”

    As on her previous release, the sounds and moods of “Don’t Let It Get To Your Head” are varied, with Rose Bonica’s sonic palette featuring everything from deep, droning techno basslines to drum patterns with a distinct afro-house feel, serene synth-leads and industrial percussion. Over the course of 6 tracks, Rose Bonica shows her versatility and originality as a producer, with the tracks on this EP each having their own sound yet fitting together as a coherent whole.

    With a visual treatment in partnership with Tamzyn Limb on the way and yet-to-be-announced festival bookings on the calendar, Rose Bonica is looking to bring her EP to life in way that is fun to experience and perform, all while remembering not to let it go to her head.

  • DJ SistaMatik doesn’t play hits

    DJ SistaMatik doesn’t play hits

    Originally from Soweto, Johannesburg-based Tumelo Kgwathe aka DJ SistaMatik first discovered her passion for sharing music with others at the age of 9 when her uncle gave her a box of tapes. “I played those tapes every day to everyone that came to visit us, and when I look back that’s where it all started. Because I just became that person that always wanted to play music for people,” recalls SistaMatik.

    Introduced to the world of hip hop through American movies, SistaMatik was fascinated by the culture surrounding hip hop. “To me that was like wow, I want to be an American, not in a shallow way but in a really innocent type of way. I just became that kid around the neighbourhood with the baggy clothes, trying to emulate that culture,” SistaMatik explains.

    Growing up in Jo’burg, SistaMatik found that the only place where she could find fellow hip hop heads was at a club called Metropolis run by DJ Blaze. This ignited her passion for hip hop even further and pushed her to learn how to DJ. “When I went there I found that everyone liked hip hop. They [knew] the raps. They play[ed] the music that I like[d], that I [could] never hear on the radio. So I started going there often and then it was like ‘I wanna DJ, I wanna try that out.’”

    The eagerness to learn led SistaMatik and her own sister to ask DJ Blaze for a lesson, which resulted in him starting DJ workshops. “He’s the guy that allowed us to touch the turntables back in those days. So salute to him.” Through these workshops she learned the art of mixing as well as the tricks of turntablism.

    SistaMatik’s sound and taste is constantly evolving, although when she finds a sound she likes, she sticks with it for a while. “I was really big on the Wu-era, but it keeps changing. Because later I was into the boom-bap KRS-One type sound and then I got into the more gangsta, thug music, Mobb Deep, New York street type music. I keep bouncing around different eras and different sounds. But I listen to a lot of hip hop. Local as well.”

    Film continues to play a large role in SistaMatik’s life, and she often finds songs through film. “I listen to film scores a lot. I’ll maybe download the score before I watch the film. That’s my main source [of music].”

    Although she specialises in hip hop, SistaMatik’s sets feature a variety of genres depending on the occasion. “…I love music as a whole. I’m very much against playing hits. The best feeling is when you’re playing and someone asks you ‘What is that?’ [because] they’re enjoying it.” The results are sets that feature a unique mix of underground gems, old school classics and the finest of African rap music.

    Her collaborations include providing scratches on Wanda Baloyi’s debut album, as a live DJ for Yugen Blakrok and an unlikely collaboration with pop singer ChianoSky. She is also looking to work with more people. When asked what her future plans are, SistaMatik reveals that she is aiming to score a South African film before the end of the year. Considering her affinity with film, that seems likely.

  • Richi Rich is bringing Alex to the World

    Richi Rich is bringing Alex to the World

    Soweto-born, but raised in South Africa’s oldest township, Alexandra, the young rapper known as Richi Rich has been active as a rapper since 2010 when he was part of YunGunz crew alongside Suup Zulu and Hip Nautic Sean. “We all were different, so we all chose to go our individual ways and do different stuff, but we were still going to support each other,” explains Richi Rich.

    As a solo artist Richi Rich has released three mixtapes and an EP, most recently dropping the ‘NORTHGOMORA MIXTAPE’. With Alexandra, or Alex as it’s called, on the border of ‘the North’ aka Sandton, the title alludes to the two worlds which Richi occupies. “I’ve been to the North, I’ve been to Alex. I’m where the suburbs and the hood meet.”

    Having found hip-hop at an early age, Richi Rich describes himself as an influencer in his circle of friends, introducing them to sounds such as G-Unit when it first came out. In terms of influences on his sound he holds The Notorious B.I.G. and Okmalumkoolkat in high regard. “When I saw Okmalumkoolkat and the ‘Sebenza’ song that changed the whole perspective of music for me. (To) actually create South African hip-hop. People in America don’t want to hear what they do. They want to hear something new, something from South Africa, something from Africa. So I feel like we should push that.”

    For Richi Rich creating something new isn’t just about the music he makes but everything that surrounds it too, from the fashion to the slang. It’s a lifestyle. “We’ve created something new. It’s not like we took something from someone and just carried on doing it. Everything is new. Because we’re young people. We’re trying to grow into becoming superstars, we’ve evolved like crazy.”

    While Richi Rich is focused on originality, he acknowledges the influence Alex has had on him and his aesthetic. “The influence comes from Alex. What we say, how we live, what we do and how we dress, most of the influence comes from where we come from. Being in the hood you learn a whole lot of stuff. Life lessons. People giving you advice.”

    Ultimately, Richi Rich is trying to show people a side of Alex they might not be familiar with. “I feel like that’s what makes me special. I don’t believe in everybody sounding the same. Like Youngsta, you can tell that he’s from Cape Town. That makes him special. It makes him more interesting; you want to listen to him more, you want to learn more about Cape Town, where he comes from. So I feel like it does make me special. Me being from Alex and bringing Alex to the world.”

    Richi Rich hopes that people enjoy his music, but also learn something from it too. “When you listen to my music I want you to learn something. Not just come out of it like that’s good. When you’re finished with my mixtape I want it to be that you’ve learnt something from Richi. I want you to take knowledge from me, what I’ve learnt in the hood.”

  • Drop Shop – A workshop & live techno mix from Markus Wormstorm & friends

    Drop Shop – A workshop & live techno mix from Markus Wormstorm & friends

    The brainchild of South African electronic music stalwart, Markus Wormstorm, Drop Shop is a week-long incubator that brings together established and more up-and-coming producers to create a thirty-minute mix of original techno. “It started with this feature film which I was commissioned to do called ‘Sounds of Animals Fighting’ which takes place in South Africa and São Paulo, Brazil. To enrich my creative process I thought I’d set up a system through which I could collaborate with an artist from São Paulo and get to make some stuff in the studio with them and then use this music in the film. When I started putting it together I thought why don’t we go further and get a whole bunch of electronic producers together.” explains Markus.

    Meeting in April 2018, the week featured Narch, Maxime Alexander, Felix Laband, D_Know, Whosane and Paulo Tessuto from São Paulo. The latter is known for his Carlos Capslock squat parties thrown in São Paulo as well as his record label MEMNTGN. He has established himself on the Brazilian and Berlin underground, playing the likes of Mezcaleria Lupita, Tresor, Golden Gate, Sisyphos, Chalet, SchwuZ. Describing them as ‘X-Men-like’, each with their own speciality, the week saw each producer bring two original loops which were then remixed and developed by the rest of the team. A stark contrast to the usual conditions in which electronic producers usually work, alone with minimal input from outside sources, Drop Shop saw them crammed together in a room packed with synths and drum machines at Honeymoon Studios working on tracks together and playing these live together as a unit. “When we got together each day was dedicated to a certain amount of tracks, we’d sit down and play each other what we did for a loop and then I’d choose which parts we’d use and then we’d come up with a sequence to play it live.”

    From Narch’s bass-heavy Arp Odyssey to Felix Laband’s mysterious vocal samples, D_Know’s driving rhythms, the creative melodies of Maxime Alexander and the curious rhythms of Paulo Tessuto, the various elements were brought together by Markus. Ensuring that everything flowed together rather than clashing. Jamming and recording the tracks live meant that the group was able to record more than 8 tracks over the course of 3 days, which ultimately resulted in a 30-minute mix of original techno that drifts from dark and driving to melodic and uplifting. With a raw sound, it’s clear the mix was made live on machines rather than produced within the neat confines of a computer.

    Aiming to continue the concept for the next few years, Markus hopes to bring in producers from other countries. “Maybe Argentina, Mexico, something from the east, Japan would be amazing. People come, play some shows and we make some music with them. What would we be great is if they, in turn, could do Drop Shops there.”

  • The Shadowgodz shed light on Cape Town’s hip hop underground

    The Shadowgodz shed light on Cape Town’s hip hop underground

    A collaboration between two pioneering members of Cape Town’s hip-hop scene, Shadowgodz sees Abadon Horseman and Fungus (a.k.a Sammy Sparks) reunite on a project that was birthed out of their previous crew, League of Shadows. Beginning his career as Garlic Brown as part of Brasse Vannie Kaap, Abadon has since rapped alongside some of the country’s biggest names, including Isaac Mutant, Jack Parow, and Die Antwoord, while Fungus is known for his dexterous word play, and for having been involved in some of South Africa’s best freestyle battles with some of the biggest names in Southern African hip-hop.

    Originally conceived to be a larger collective, Shadowgodz became a duo as some strayed off the path into darkness and others became fallen soldiers. It is this theme of light and dark which the Shadowgodz explore, tying it to their daily lived experiences from the Cape Flats. “Cornerstoned”, the group’s first release and video, with its dramatic strings and witty wordplay simultaneously pays homage to fallen underground heroes such as Bonzaya and Jon Doe with their murals featuring in the video.

    Laying their trademark lyricism over beats produced by METHODMATIKZ, the duo describe their sound as shroom-bap, a nod to boom-bap sound in which they have their roots, while also alluding to these elements of light and dark. Shadowgodz buck the trend when it comes to what’s currently happening in hip-hop and it’s trap-leanings, rather focusing on their strengths and evolving their styles. Wordplay, punchlines and creative figures of speech all feature heavily in their rhymes, while the beats try to find a balance between old and new school sounds.

    Apart from the material recorded as a duo, both Abadon Horseman and Fungus have other projects in the works which will be released over the course of 2018 and sees them step out of the shadows a little more.

  • M(x) Blouse doesn’t have time for idiots

    M(x) Blouse doesn’t have time for idiots

    Joburg-based M(x) Blouse might rap, but they don’t consider themselves a hip-hop artist. Born at the end of 2016 as a creative outlet for KZN-born Sandiso Ngubane, M(x) Blouse’s first release was “WTF(SQUARED)” in collaboration with Joni Blud. The release made an impact and led to a performance at Braam’s Pussy Party and which was followed in May 2017 by the release of their debut EP ‘Believe the Bloom’. Produced with a heavy boom-bap influence and a lot of mistakes along the way thanks to naiveté, the EP nevertheless was a valuable learning for M(x) Blouse. “I think it’s true what they say, if you wanna do something, just jump in and hope to swim. Because after that I started seeing more interest from other people saying let’s work.”

    Fast-forward a year and the latest single from M(x) Blouse has sonically moved away from boom-bap, exploring areas such as kwaito and gqom. Produced by Thor Rixon, Stiff Pap’s Jakinda and Albany Lore, the track has helped M(x) Blouse push themselves as an artist. “It’s been amazing for me to just take a cue from them and how they do things and incorporating my rap into that. It’s opened up a huge scope for what I can do as an artist rather than trying to stick strictly to rapping in a hip-hop sense. So the growth has been crazy.” Another major growth-point for M(x) Blouse has been the switch to vernacular. “It just feels so comfortable, feels authentic, but I must add that I don’t necessarily feel like people rapping in English are not authentic. It would be a ridiculous notion to say that considering how much English is a part of our lives in South Africa. But for me specifically, writing in vernacular and mixing it with English just feels natural to me because that’s just how I speak.”

    The single, “Is’phukphuku”, Zulu for idiot, speaks of freedom and those that encroach on it, the idiot being those who restrict the freedoms of others trying to have a good time. “The beat to me just communicated a sense of freedom and I wasn’t necessarily thinking this is a song about freedom but that’s eventually what it came to be. In the second verse I talk about this dude who approaches a woman. She’s trying to have fun, he offers her a drink and she’s like ‘nah, I’m cool bra, but thanks’, but he takes that the wrong way and starts calling her a bitch. That to me is someone who is making a space unsafe for someone. That sort of became what the track is about, but it really didn’t start off that way, it just clicked in the end.”

    The video that accompanies the single is a visual feast featuring M(x) Blouse in South African fashion from the likes of ALC Man, Nicholas Coutts, with jewellery by Stefany Roup and Lorne, while dancers and supporting cast can be seen rocking Nicola W35T, and Art Club & Friends, with headgear by Crystal Birch. “I identify as non-binary. So it was important for me to express that stylistically, so the styling very much communicates that I’m not bound by gender in terms of what I wear. When you dress how you feel it doesn’t matter how you express yourself in terms of fashion. People always raise an eyebrow. So I really wanted a video that expressed that kind of quirk, if I can call it that, and being in a space as someone who is different you always seem like a fish out of water. I wanted to find a space where me and the people that I’m with would just look like a bunch of weirdos in the space, so we ended up going to a fish and chip shop!”

    An EP or album isn’t on the cards for the next year at least, but M(x) Bloue will be releasing music this year. “I do have one or two more singles that I want to put out before the end of the year, but there’s also the Thor Rixon collaboration which is a house track, I’m very excited about it.” They are also looking to perform more in 2018. “What I’ve been trying to do is, at least here in Joburg, gather like-minded artists and do our own shows. So I’m hoping that’s going to pan out real soon.”

    Having found a way to touch on social issues much like their hip-hop idols such as Nas and Lauryn Hill, without boxing themselves within hip-hop, M(x) Blouse is able to push themselves creatively. “I don’t even know what genre to say I am doing at the moment, but I’m happy to be exploring the limits of what I have to offer.”

    Credits:

    Photography – Aart Verrips

    Styling – Bee Diamondhead