Bubblegum Club

Author: Themba Kriger

  • SubWav’s Wiretribe compilation showcases Joburg’s electronica

    SubWav’s Wiretribe compilation showcases Joburg’s electronica

    ‘Wiretribe’ is Joburg-based leftfield electronica label Subterranean Wavelength’s (SubWav) debut label compilation. Featuring exclusive unreleased contributions from the label’s roster, the compilation is an introduction to the artists and their unique sounds, and captures the colourful variety of electronica emerging from the Joburg scene at the moment.

    Founded by Micr.Pluto, Edward Kgosidintsi and Tribal Rebul Ludi, Subterranean Wavelength initially wasn’t meant to be a label, but organically grew into one from the compilation series of the same name, the first volume of which dropped in 2014. Featuring Hlasko, Watermark High, Obligations & Hawkword, it was a showcase of Joburg’s beat scene in its infancy, part of the reason for starting the compilation. A desire to release music beyond compilations resulted in the formation of the label in 2016.

    Whereas the ‘Subterranean Wavelength’ series of compilations was a showcase of the beat scene in general, ‘Wiretribe’ focuses on the SubWav roster. “Everyone on ‘Wiretribe’ are people who we are actively working with on the label. Who are signed to the label, either with our bookings or as artists,” explains Micr.Pluto. As such, ‘Wiretribe’ is a showcase of what the SubWav family has to offer. “We have a bit of everything because we’ve got rappers, vocalists, beat makers, producers. I’d say most the vocalists we work with are on the super experimental tip. Our beat makers are on that tip. I don’t think we have an artist that has a mundane output with their music, everyone is actively pushing boundaries in their sound, trying out new shit, experimenting all the time,” Micr.Pluto continues.

    While SubWav’s artists cover a range of styles, the fact that they all hail from the same label is evidence of how well the compilation flows. From the bouncy opening track ‘Glitch Memories’ by Daev Martian x Tribal Rebel Ludi to the dubby ‘Listen’ by Eye – On Feather x Nandi Ndlovu, the beats of Micr.Pluto and Kajama’s soulful experimentations, there is an underlying laid-back vibe to the Subterranean Wavelength.

    Outside of the releases the label also hosts its SubWav Live which focuses on the live aspect of the beat scene. “The concept is to uplift that in Joburg and place an emphasis on that specifically. We also make sure we have live sets and DJs around that to keep the party vibrant,” says Micr.Pluto.

    Apart from ‘Wiretribe’, Subterranean Wavelength is looking to release a number of projects including a solo project from Kajama’s ‘Nongoma’ (a project from Eye-On Feather) as well as a new project from Micr.Pluto, alongside a newly signed vocalist.

    While the growth of the label is an indication of the growth of leftfield electronica locally, Micr.Pluto believes there are positive and negative aspects to this growth. “I’ve actually seen crowds swell and get really huge for the beat scene type movement. But I also feel like it’s kind of evolved into something different in a sense. It ended up merging with everything and everyone is jumping on the bandwagon of the beat stuff. In a sense I feel like it hasn’t grown to have its own crowd, it’s own market. It’s still got a long way to go to where people can host parties or throw events that are purely based on leftfield electronica or experimental beats, there’s always gotta be something thrown in there to make it accessible, but [we’re] getting there.”

  • Detroit’s Marcus Marcus is a poet not a rapper

    Detroit’s Marcus Marcus is a poet not a rapper

    Detroit-based artist Marcus Marcus doesn’t describe himself as a rapper. “I’d describe myself as a poet who has a fairly good ear for music,” he states simplistically. While the earliest Marcus Marcus releases can be traced back about 7 years ago, he struggles to pin down when the artist was born, as Marcus Marcus is a true expression of who he is as a person. “I really think since birth because all of that has to do with how I approach music, what songs I pick, who is producing music.”

    Both the city of his birth and the family that raised him have had a marked impact on his journey as an artist. Musically this includes his older sister exposing him to the likes of Jay-Z and Master P, to him discovering homebred ghettotech from the likes of Blade Icewood & MC Reid, the pioneering work of Detroit techno producers, and the unique flows of Detroit rappers. “If I could name names it’s tough but rapping wise first MF Doom showed me the work it takes to write rap, Lil B showed me you can just be yourself and eventually the right people will catch up”. Marcus Marcus recalls adding that the groundbreaking work of composer and artists Julius Eastman has also had a major influence on him.

    Describing his approach to writing as instinctual, he traces his first encounters with poetry to middle school and an amazing English teacher helped spark his love for the language. “It’s this intuition, this beam of light from, I dunno, the universe, ancestors, and I just start writing. The moment I hit record usually doesn’t have a lot to do with what I’ve written, and what I’ve written may turn into something later or it just may never come up.” This approach is evident on 2012’s “THE NEW Audio Album” which he describes as a lyrically spontaneous album, with everything recorded as a 1-take freestyle rap.

    His latest release is a compilation of tracks created between 2013 – 2015 and is a collage of the music he was listening to at the time, and the words they inspired. “I spend hours really looking for new music or further researching, going into back catalogues of artists that I really admire, so people like Oneohtrix Point Never, there’s a James Blake thing on there, Thom Yorke had dropped this crazy, free album that you could torrent. So I chose to do that because I made it a point to listen to music that didn’t have words. Words come to me when I hear something that’s different and it just kinda connects with me”.

    ‘D I S S U A S I O N’, Marcus Marcus’ May 2017 release is one he views as his most cohesive to date. Rather than just a record, it is an art piece and a reflection of the moment in time in which it was created. “It’s not a comfortable record at all because we’re not living in comfortable times. At that moment when it came out, that’s how chaotic things seemed, that’s how peaceful things seemed, that’s how cohesive things seemed, that’s how disruptive things seemed,” explains Marcus Marcus. Purchase of the piece includes not only the digital release but also context around the piece. “You get all the lyrics, you get how I approached the music, you get my thought process, it’s me literally in the moment, typing, letting you know my thought process the whole time.”

    2018 sees Marcus Marcus focusing on bringing the physical representation of ‘D I S S U A S I O N’ to life with installations and performances planned. “I’m planning on doing installations, I feel like with such a wild record it needs something else to meet it. To make it make more sense. If you listen to it, it just sounds like a crazy guy maybe. Yelling and going crazy but also if you really listen to it, you feel it.”’

    “Self-discovery, self-knowledge & self-love,” says Marcus Marcus of what he is trying to convey with his music. “Those 3 are exactly what it is. A little bit cryptic if you listen to my music, but if you really listen and take your time that’s exactly what it is. Because I think it’s about bettering the world around you but it starts with yourself and just pushing the limits and having fun as well.”

     

  • Vancouver-based artist KENZA’s Dead State (of Mind)

    Vancouver-based artist KENZA’s Dead State (of Mind)

    Upon listening to 20 year old, Vancouver-based artist KENZA’s sophomore release ‘Dixie & The Dead States’, it becomes clear that she draws as much from the avant-garde as from pop. Presented with a strong 70s aesthetic, the 3-track album features a variety of sounds, from the atonal ‘VEGAS BEST, NV 89109’ to the trap-like ‘BISCAYNE BAY FT. EMERY SIMEON, FL 33138’ and the laid back, R&B tinged ‘SAN PEDRO SEDATION, CA 94158’. But what pulls the album together is KENZA’s soulful, buttery vocals.

    Whereas her debut release ‘Adult Glorification’ was heavily influenced by Frank Ocean, KENZA stayed away from outside influences on this EP. “There are no influences because I can’t allow myself to have influences at the moment. It makes me doubt my music. So this is the first one that is all KENZA,” she explains. Going from powerless to powerful is another difference between ‘Dixie & The Dead States’ and ‘Adult Glorification’ for KENZA. “It feels kind of like driving in your dad’s car. Now you’re the driver. You’re in the front seat.”

    Another big change between the two releases has been KENZA’s approach to writing. Previously she would write and then create music, but now she freestyles a lot more in studio. “I think now I’m going away from structure and just make sure that I can feel it.”

    Finally, whereas ‘Adult Glorification’ was produced by KENZA, the track ‘San Pedro Sedation’ from the new EP was produced by her alter-ego ‘CFR’. “I can’t be focused on anything KENZA when I’m producing and that allows me to not think I’m making a hip hop record, I’m making a pop record or I’m making an R&B record.”

    The album title itself refers to KENZA’s attempt at making it in LA and not finding fellow artists to collaborate with. “As an artist that kind of kills you. So I had this thing where I’m in San Pedro, I have nothing at the moment, I can’t go forward with this and I just kinda have to go back home, and it put me in this really weird dead state”.

    Already working on a follow-up album, this time a full 15-track package, KENZA is also in the process of producing a music video to support ‘San Pedro Sedation’. While her music doesn’t fall into the neat boxes that people often feel the need to allocate to artists, KENZA’s approach to music is inspired by some of pop’s biggest icons such as Madonna and Kanye West. In fact, ‘808s & Heartbreaks’ by Kanye West was the album that got her into wanting to create music, with ‘Paranoid’ a heavy inspiration. While ‘San Pedro Sedation’ draws heavily on the 70s aesthetic, KENZA doesn’t want to be tied to any one look. “How can I make this fun for other people? I’m me no matter what, but I feel like they should also feel like they’re looking at something exciting every single time, not looking at the same thing.”

    While she relates to her music in specific ways, KENZA knows the same can’t be said for her listeners. “It’s about creating an experience for them so they can make whatever they want out of the song.” With ‘San Pedro Sedation’, KENZA has matured as an artist, taken the lessons from her debut release and improved on them. “I think I’m at that point where I can do anything. You learn from your mistakes. I feel powerful with this [EP].”

  • Producer Lay Lay is on the decks

    Producer Lay Lay is on the decks

    Much like the printing press, the internet has democratised knowledge, spreading information that was once only available to a limited number of people all over the globe, simultaneously connecting people to each other. For those with a desire to express themselves through music, there has been no better time than now to learn how to make and share it. A product of this wave of innovation is Cape Town based Lamla Bungane, better known as Lay Lay.

    Starting out as a rapper in primary school, Lay Lay became a producer out of necessity as money was tight, and he and his crew couldn’t afford to buy beats. With production software obtained from a friend and online tutorials showing him the basics, Lay Lay taught himself how to make his own beats and record within a year.

    A member of DAT Clique alongside Dj Fabo, Day Uno, Black Magic and Tony Neetch, Lay Lay has also worked with numerous up-and-coming artists on his first EP ‘Say More’ and on his mixtape ‘Lay Lay On The Dex‘. The 808-laden, trap-heavy release featured the likes of Cozmik, Chingatime and Broke Boy$. 2017 also saw him release his debut album, ‘Fake Love’, which sees him experimenting with more atmospheric sounds.

    Currently working on a follow-up mixtape, ‘Lay Lay On The Dex Volume 2’, Lay Lay will continue to collaborate, with Blaq Slim, Chingatime, Amilca Mezarati and DAT Clique confirmed for the release. His team have also released the music video for DAT Clique’s ‘Police’, from his first mixtape, directed by Motion Billy.

    When it comes to his music Lay Lay describes himself as an artist who is just trying to share his own journey. “I believe everyone has a story to tell. I’m a storyteller, I write about the things that I go through on the daily. The things I face in life.”

    Have a listen to his latest release, ‘Energy’, below.

  • Get addicted to the Afrikaaps raps of Niko10Long

    Get addicted to the Afrikaaps raps of Niko10Long

    While South African hip-hop today is dominated by artists based primarily in Johannesburg, the roots of local hip-hop can be traced back to pioneering Cape Flats acts such Prophets of da City, Brasse Vannie Kaap and Black Noise. Exploring topics such as social issues and everyday Cape Flats life, these groups would lay the foundation not only for hip-hop in South Africa, but through the use of Afrikaans, and Cape Flats slang, pioneered a brand new form of hip-hop. “They came with the realness and talking about the struggles. And that’s what attracted me to keep that alive and talk about the truth” says Wesbank-based rapper Niko10Long of his predecessors.

    Originally from Kleinvlei in the Cape Flats, it was his move to Wesbank which led to the birth of Niko10Long (Nicotine Lung) the artist and a move away from a negative past. “I was still a rude boy [gangster] when I moved there. 2002 is when I encountered rastas and that’s where everything changed. That’s when I realised that I can write music and that I can take hip-hop even further.”

    Photography by Brandon Hiemand

    Rapping in his mother-tongue, Kaapse (Cape Flats) Afrikaans, Niko10Long explores the realities of living in a poverty stricken township that is rife with unemployment which feeds drug abuse and gangsterism, while still focusing on the positive human stories that exist around him. “Love, gangsterism, domestic violence, most of all the people, the beautiful struggles, change and freedom. All of that stuff is important to me to talk about.”

    This realness is evident on tracks such as ‘VaderViguur’ in which he shares the realities of an unemployed father raising his daughter or 2016’s ‘Politrix’ which deals with the attempted evictions of shack dwellers in Hangberg, Cape Town.

    Photography by SIEP

    Attributing both the lessons learnt from rastafari and hip-hop to his own growth, Niko10Long hopes that his music exposes his listeners to good energy, consciousness and reality and to encourage them to stand up for themselves. “That I’m willing to speak out and stand for my own; I want them to see that and it must encourage them to also big up themselves.”

    Currently in studio working on a 7-track EP with his producer SIEP entitled ‘7ewe’, Niko10Long is also working on his second album, DubbeleLONGonsteken, to be released in time for the Rasta New Year.

    Get Niko10Long’s music and gig info at www.illmajormovement.co.za

  • The Sounds of Nigerian Pop

    The Sounds of Nigerian Pop

    While West African pop has come to be dominated by the sounds of Afrobeat, it is more of a catch-all term for the variety of West African pop sounds that are emerging from the region. Arguably, it is Fela Kuti who laid the foundation by fusing Western sounds taken from jazz and funk with West African sounds to create Afrobeat in the 70s. A similar sonic melting pot is present today, with their EDM, house, pop, dancehall, R&B, hip hop and trap coming across as a combination of contemporary Western sounds infused with West African rhythms and melodies.

    West African pop has now crossed borders, transported by the internet and the diaspora to places such as the UK and USA. The growing popularity of the sound in these places has led to an explosion in popularity of the practitioners and sees them increasingly crossing-over and collaborating with other pop stars such as Drake, Snoop Dogg, Wyclef Jean, Skepta and Rae Sremmurd.

    Below are four Nigerian artists who are fusing West African and Western sounds to create their own brand of Nigerian pop.

    Small Doctor – This Year 

    Featuring an infectious rhythm and the ever popular autotuned vocals, ‘This Year’ is Small Doctor’s latest single. Shot in the desert, the colourful, dance-heavy music video is reminiscent of scenes from Mad Max, although with a much more upbeat soundtrack. Hailing from Ondo State in Nigeria, Temitope Adekunle aka Small Doctor broke onto the scene in 2012, releasing mixtapes and freestyles. Singing primarily in the Nigerian language Yoruba, he rose to prominence in 2015 with the release of the singles ‘Gbagaun’, ‘Anobi’ & ‘Mosquito Killer’, produced by Dre Sean. His music is a combination of pop with Fuji music, a popular Nigerian genre which arose from the improvisational Ajisari/Were music tradition, which is a kind of music performed to wake Muslim people before dawn during the Ramadan fasting season.

    Kiss Daniel – No Do

    Sensuous and simple, ‘No Do’ is a ballad and Kiss Daniel’s first single of 2018. Shot in Lagos the video follows Kiss Daniel as he strolls through the streets and encounters everyday life in the area he calls home. Kiss Daniel was born in Ogun State. He is best known for his single ‘Woyu’ released in 2014 which was nominated for Best Pop Single at the 2015 Headies, as well as Hottest Single of The Year at the 2015 Nigeria Entertainment Awards. The single also received a remix featuring Tiwa Savage and Davido. Kiss Daniel showed interested in music from an early age, receiving support from his father and was signed to G-Worldwide Entertainment in 2014. His debut album ‘New Era’ was released in 2016 which saw him winning Album Of The Year and Best R&B/Pop album at the Headies in 2017.

    Reekado Banks – Like Ft. Tiwa Savage and Fiokee

    Featuring label-mate and multi-talent Tiwa Savage as well as Fiokee, ‘Like’ is the latest single from Reekado Banks. Dedicated to the ladies, like so many pop songs, the video takes on a cinematic quality with scenes straight form Noire films and flourishes of 80s neon. Lagos born Ayoleyi Solomon aka Reekado Banks fka as Spicy, has been active as an artist since 2008, although he gained notoriety in 2014 with his Rookie of the Year win at The Headies. Released in 2016, his debut album, Spotlight, was released in 2016 and debuted at number 10 on the Billboard World Album Music Chart. Signed to Mavin Records, he has worked with the likes of  Don Jazzy, Korede Bello, Di’Ja, Dr SID and D’Prince.

    Glenn Mena – Sound it (Freestyle)

    Shot on Lagos Island, ‘Sound it’ showcases Glenn’s skill as a rapper. With a strong dancehall feel, the  track is all about the rhythm and witty verses. Afropolitan model, pianist and recording artist, Glenn Mena had been making music since 2010, however it was with the release of his single ‘Movement’ in 2012 that he his career really took off. Releasing a number of singles between then and 2017, his debut EP ‘Mask&Music’ was released on his own imprint of the same name. Not tying himself to a specific genre, his sound evolves as he grows and learns as an artists.

  • Nigerian recording artist Glenn Mena isn’t bound to one genre

    Nigerian recording artist Glenn Mena isn’t bound to one genre

    Listening to Glenn Mena’s  releases, it becomes clear that he doesn’t want to tie himself to a specific sound. This kaleidoscope of musical influences is in part thanks to his childhood which he spent in Warri State, Nigeria, where he was exposed to music from a number of different sources. “I pick up music from different places that I go to. People that I go to school with, folks in church.” His home too was filled with music, with his father a very capable singer, and his mother a fond follower of music.

    Although the recording artist, pianist and afropolitan model began his musical education on the piano at around 14, and composed songs for the church choir, it was only when studying at University towards the end of 2009 that a friend approached him and told him about the possibility of recording on campus.This was an opportunity that led to his first release ‘Shawty’. “We went to the producer’s house. He had this little studio he had put together. And I recorded my first song. It sounded good. We put it out in school and people liked it.”

    Officially Glenn Mena’s career really took off in 2012 with the release of ‘Movement’ while signed to Phoenix Records. “They put the song out and it made a lot of impact, so that’s when I started to take it professionally.” Since then Glenn has released a number of singles and in 2017 released his debut EP ‘Mask&Music’ on the label of the same name, which he co-founded. “The label is owned by me and my partner. We started it together because I got tired of reading contracts from other labels offering to sign with clauses that I’m not comfortable with.”From his first ever single ‘Shawty’, to 2012’s hit ‘Movement‘, the 7-track EP showcases his versatility as a musician. “It’s basically a compilation of the songs I have done. People were asking how they can get my songs all boxed up in one place so they can listen to all of it. So I thought I’d compile my old songs and the ones I have done recently and put them together as an EP.”

    Most recently Glenn has dropped the single ‘Take over’. “[It’s] basically dedicated to a typical African lady. How beautiful she is, just appreciating who she is and declaring that she has taken over my life or the life of the guy who is in love with her.” He has also released a video for his trap-inspired track ‘Swerve’ featuring Problem.When it comes to defining his sound Glenn says that it is a reflection of where he is at in his own personal journey. “I feel like my life’s a journey. I’m evolving every day. The music kinda changes with whatever situation and circumstance I am in at that process of evolvement or self-discovery.”

    Having added an Afro-twist to r&b, soul, hip-hop, pop and trap amongst other genre’s, Glenn is currently looking at creating music outside of what would be expected of him. “I’ve been trying to get a folk and country sound and put Afro music in there. Hopefully I pull it off and put it out.”Regarding future releases, Glenn is unsure at this stage if he’ll put out another EP or an album next, but he does know there will be cross-border collaborations. “I’m looking at featuring South African artists, I have a few on my list, I’m trying to work on that.”

    With his music, Glenn aims to leave a legacy behind, an idea of who he was. “It’s basically my life and my journey so far and how I can release and put it out in music. I just hope it has a lot of me written all over it.”

  • Off The Meds: Swedish tech house with a South African touch

    Off The Meds: Swedish tech house with a South African touch

    Adrian Lux, Carli Löf and Måns Glaeser, the producer’s behind Off The Meds, have been active in the industry for the last decade, working and touring collectively and as solo artists. They have made a name for themselves through major releases as well as writing and production credits on a number of Swedish and European releases. Joined by South African photographer-cum-vocalist Kamohelo Khoaripe the four have released their debut EP ‘The Meds Are Kicking In’ a year after the successful release of their bouncy single ‘Geraas’.

    Recorded in 2016, after a chance encounter between Kamohelo and Måns Glaeser at a studio afterparty, ‘Geraas’ was picked up and released by the label Play It Down in 2017. This prompted the four to formally band together as Off The Meds, a name which Adrian came up with after returning from New York and describes the fun mentality of the group.

    Released independently with the group’s label Off The Records, the four-track ‘The Meds Are Kicking In’ EP features the chant-driven vocals of Kamohelo underlayed by high-energy tech house. “It’s pretty much everyday life.” explains Kamohelo of the lyrics. “My childhood memories, situations in South Africa. Happy times. Maybe it’s a song I used to sing in daycare and then I just mash it up with modern stuff. There’s one song that’s like [influenced by] football commentary.”

    Cover design by Mzwakhe Ndlovu

    With three producers, each with a passion for synthesizers and music gear, the productions on the release are born in the machine and feature minimal samples. Speaking of the energy and sound they were trying to achieve Kamohelo says, “Every song is influenced by each and every gig we played [last year]. Every time we got back from a festival we recorded a song. So it’s the vibe we got from people, [and] we’re just giving [that] back.”

    Scandinavian summer will see Off The Meds hit the festival and rave circuit once again, while their next release might come towards the end of 2018. “We’ve been making a lot of music. We might release in December when winter comes this side. We might release another EP and then next year release an album, or keep on releasing EPs because we have enough material to release more EPs.”

    While they have no plans to visit South Africa anytime soon, a tour isn’t off the cards. “I’m trying to get the guys to come [to South Africa] because I was there in December for a month and I played a few songs for some of my mates and some radio people, and they liked it. So if we get a gig we will go down.”

  • Electro-soul duo Kami Awori wants you to interrogate your reality

    Electro-soul duo Kami Awori wants you to interrogate your reality

    Having met in high school, the duo now known as Kami Awori began their creative pursuits together performing in front of their school which led to the birth of their first band CaramelBrown. A classical pianist by training, producer Karami [Juline] grew up in a musical household thanks to a grandmother that was a piano professor. Similarly, singer & songwriter Awori’s maternal grandfather also had a passion for music which led to a music-filled home and her pursuing singing and songwriting from the age of 8, and studying classical and jazz in high school. They continued their musical education post high school, with Awori going to Montreal to study live performance and Karami going to Cuba to play music in a collective.

    As CaramelBrown the duo released 3 EPs including a collaboration with Karami’s former collective in Cuba. “That was the first time we were [in Cuba] together…We went there separately and this was the first time the both of us were there to work on the music collabos with musicians that we’d met from when Juline was there for a year,” explains Awori.

    2016 saw the duo drop CaramelBrown in favour of Kami Awori. “We felt like we weren’t linked to that name anymore,” says Awori. The debut release as Kami Awori was the politically charged ‘Lunation’ which was a tribute and contribution to the Black Lives Matter movement. However, Awori explains that the aim of Kami Awori isn’t necessarily to make political music, although politics have always been important to them. “Not to say that all of our music from now on is going to be super political, but I think it’s important to have a message and think about what people are going to take from the music. Our future projects, like say the album that we’re working on, isn’t 100% political, you know. There [are] still love songs in there, there [are] still songs about heartache.”

    While the album is in its final stages there isn’t a set release date yet. “I’d say we’re in the final stages so hopefully 2018,” says Awori. The album has been created around the world including Berlin, New York, Paris and Johannesburg, and features collaborations with a number of traditional musicians. The album documents their experiences making and playing music around the world over the last few years. “The theme is life and evolution through life as women working in the music industry, and the different stages [we have gone through]: good, bad & ugly.” Karami notes that in terms of the sound they used a lot of percussion combined with electronic effects, something she had explored on ‘Lunation’ but is being pushed even further in the upcoming album.

    Speaking of what she wants her listeners to take from their music, Awori simply states: “I’d like our music to change people’s views on things or question what they hold as true. I’d like people to think more of the world, and also really feel things.“

  • Naye Ayla wants her music to articulate your emotions

    Naye Ayla wants her music to articulate your emotions

    “‘Dude, this is what you want to do with your life, you need to get the ball rolling!’ and literally within a month I recorded and released my first song” explains Naye Ayla of her decision to focus on music at the age of 18, although the Joburg based singer and songwriter has always been attracted to music and performance. “Since before primary school I used to sing in church, I’d go with my grandmother and I’d always be the lead singer in the children’s choir.”

    Although she has fond memories of her mother playing the likes of Sade, there was never a strong musical influence in her life. “The music thing was something that was my own”. Writing her first song in Grade 1, it developed into a favourite creative outlet of hers. “Writing’s just always been my thing. Writing poems, writing short stories, writing plays, things like that.“

    Having released two EPs thus far, the most recent being Exi(s)t which featured YoungstaCPT as well as her Culture Cartel band mate, Una Rams, she is currently working on her follow up EP, although a single in collaboration with Langa Mavuso and Una Rams is to be released soon. “The cool thing about the song is that it has all three of our vibes. That’s another thing I want to do in music, I don’t want to become a different person, because I’m doing another person’s vibe. But we can create a song that gives people three different feelings, that puts people in three different spaces and to me that was the most exciting part.”

    In comparison to Exi(s)t she feels her upcoming release is a lot lighter. “I feel like my transition into music made me go through a lot of things in my own mind that made me see things in a darker perspective, not like emo, just very honest and very raw. Now I’m in a lighter place, I’m in a more celebratory place and even the introspection isn’t very dark. So I think it’s a lot more relatable and it’s a bit more fun.”

    Apart from the upcoming EP, Naye’s current projects include a video for last year’s single ‘Waves’ and a residency at Hard Rock Cafe Sandton starting in mid-March, and a performance at the We Are One festival, something she wants to do more of. “I want to be on world stages, like festivals. I really enjoy the festival feel. Oppikoppi, Rocking the Daisies, Coachella, Lollapalooza, Red Bull Stages, that kind of vibe. I really like things that make you share spaces with artists that are completely different from you.”

    When it comes to her music, Naye Ayla hopes that she can connect with her listeners and help them articulate things they otherwise couldn’t. “I’ve always said that people don’t have to understand what I’m saying but if it evokes some kind of feeling, that’s all I want. I wanna speak for people who don’t know how to put their thoughts together. I’ve listened to so much music where I’m just like ‘aw that’s exactly what I wanted to say that’s what I’ve been trying to say my whole life’ and I couldn’t get it together and someone else did. I want to be able to do that, even if it’s just one person. Then my job is done.”

  • Mr. Allofit is trusting his journey

    “You know when you’ve always had a halo? You’re not meant to be in a group or a big crowd. Where you’re just destined to become a superstar. I can’t be making other people’s shows great when I’ve got so much potential to just do it for myself,” explains Mr. Allofit confidently when asked what encouraged his move to become a solo artist. A founding member of the dance crew VINTAGE, Mr. Allofit made the move into music alongside VINTAGE crew member Lee-ché, releasing the track ‘Shabang’ in 2015. “We were like let’s just try this out. Vintage Crew has such a following it would be an easy way for us to break into it.”

    Mr. Allofit’s latest offering, ‘5 to Mainstream‘, comes across as a more conceptually cohesive EP when compared to his debut release ‘Losing Sunglasses’. “My first EP that I did in 2016 was very experimental and it was all over the place.” The new EP, as the title suggests, is focused on his journey towards making an industry breakthrough. “‘5 to Mainstream’ is just this transition for me into a musician. I really wanted to write something that was factual, that was meaningful, something that people can relate to. Something that I can [go back and listen] to and feel motivated because it’s such a hard situation being an independent artist.”

    This journey towards an industry breakthrough is also a journey to unleash his true self. “For me it’s about delivering the true Mr. Allofit and sharing that with the world. I’m always pushing the motto that people need to believe in themselves 100% in every situation. That’s when you’ll do the best, because you’re fully doing it as yourself. Trust your journey and be yourself.”

    Mr. Allofit will continue to trust in his journey in 2018, aiming to add visual elements to ‘5 to Mainstream’ as well as playing at more festivals and getting a track from the EP on the radio. “I just really wanna trust my journey more than ever before. Whatever God has planned for me I really just want to go with it. That’s just my vibe for this year. Whatever is coming, needs to come. But I’ll stay killing it.”

  • The Pontifications of Big Space

    “My girlfriend tells me there’s an SABC job to be done, I’m the assistant stylist, R1000 a day for 8 days, that’s R8000, I firmly agree. We wait for production budget of R21000 to be deposited. It never arrives. We have no electricity, we drink wine, I smoke weed and play 30 seconds in the dark until we fall asleep.”

    So begins one of the stories that form part of the novella Big Space is releasing along with his latest album. “To pontificate is the stillborn child of the union between solitude and loneliness. These are my pontifications in text and sound, a collection of moments entrenched in my pursuit to not only make music, but to create a world inside myself where I can be King, ruler of the troglodytes, the lord of the flies. I have lived a thousand lives and I have died a million deaths, behold my truth and eat my shit.”

    When it comes to producers forging their own path through South Africa’s music landscape, there are few who are as firmly committed to producing original music that pushes boundaries as Big Space. Over the years he has worked with the likes of Schlachthofbronx, Scratcha DVA, and Spoek Mathambo, local producers 7FT Soundsystem, Leeu & Jumping Back Slash as well as having a slew of original releases under his belt.

    “PONTIFICATIONS”, out on the 8th of February, continues this tradition of seeking originality and is an insight into the world he has created for himself. Released through his label, Wet Dreams Recordings, which he runs with label-mate Rose Bonica, “PONTIFICATIONS” is electronic music, but refuses to stick to the limits of this genre. Taking bits and pieces from well-known and not so well-known musical genres, it has an underlying familiarity while still managing to sound like nothing before it.

    With a playtime just short of 90 minutes, the album is filled with diverse tracks that still form a cohesive collection, a testament to Big Space’s relentless pursuit of originality. Highly layered, with non-traditional structures, the music on “PONTIFICATIONS” requires a few listens before the nuances become apparent. From touches of drum ‘n bass on “Innocent Hands” to the psych-rock tinged “Serpent Moon” featuring Young Om, it’s impossible to know what is coming next on the album, which is precisely the point. It’s clear that “PONTIFICATIONS” is the product of solitude and loneliness because it sounds like nothing else.

    Have a listen below to ‘DAT SINKING LIFE’ from “PONITFICATIONS”