Bubblegum Club

Tag: kwaito

  • Ses’fikile – siwu mndeni // celebrating queer spaces and queer artists

    Ses’fikile – siwu mndeni // celebrating queer spaces and queer artists

    Zer021 is an inclusive queer club in Cape Town, and will be the host of Ses’fikile – siwu mndeni on the 20th of July. Translating to ‘we’re here; we’re family’ in English, the name of the event speaks to the importance of queer people celebrating the presence of spaces such as Zer021 as well as the queer artists who continue to push their creative practices.

    Siwu Mndeni is the name of the ongoing collaboration between filmmakers and art practitioners Jabu Nadia Newman and Luvuyo Equiano Nyawose. Ses’fikile is the first project in their collaboration. “The whole inspiration for this project was to acknowledge or pay homage to poc queer club spaces that inspire creatives, drive culture and act as a sanctity for individuals who are discovering themselves,” Jabu and Luvuyo explain.explains.

    Zer021 will be transformed into a gallery space, disrupting ideas around where art can be viewed and who can have access to these spaces. Ses’fikile includes the premiere of the short film/music video produced and directed by Jabu and Luvuyo for FAKA’s latest single ‘Queenie’, produced by Angel-Ho. It will also include powerful photographs taken on set by Daniel Walton. To bring the event full circle, live performances by well-established and relatively new artists and djs will transform the dance floor into an exchange of energetic vibrations through gqom, hip hop, kwaito, house, and experimental sounds.  “The lineup consists of artists, acts and DJs who unapologetically carve out their own path and continue to inspire and give back to the community. The lineup consists solely of poc queer artists and incredible performers who are touring Europe and playing in different countries all over the world, yet are hardly get booked in their own country,” Jabu and Luvuyo explain. The performance lineup includes FAKA, Angel-Ho, Queezy, and a DJ lineup with K$, Nodiggity, Parasite Hilton and Sensitive Black Dyke.

    “Our event will not tolerate any racism, homophobia, transphobia, bullying, queerphobia, sexism, fatphobia, taking up space and in general no discrimination. It aims to be an inclusive space primarily for members of the LGBTQI+ and non binary individuals.”

    Find out more here.

  • 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

  • Umlilo and Whyt Lyon – Glory Bois

    One of the most visually opulent artists working today, Umlilo has been winning ears and hearts with their bold fusion of kwaito, rap and bubblegum pop. Since their debut EP in 2013, Umlilo’s project has been exploring the tragedies and triumphs of life in a world of repressive gender politics. Their artistic comrades in the struggle is the Johannesburg electro-rap Stash Crew. Frustrated by the erasure of LGBTQ identity in mainstream culture, they combined their talents in 2016 with the “Queer Galactic Alliance” world tour, thrilling audiences with raucous live shows in Brazil and Germany. Their aim was to attack the Death Star of toxic conservatism, promoting “glitter anarchy” on the streets.

    The performance collaboration has extended into the new DL Boi a song and video featuring Umlilo and Stash Crew rapper Whyt Lyon. The music video is an extravaganza of fashion and movement. Filmed in Melville’s Glory nightclub, it intercuts grainy, VHS-style scenes of nightlife with crystal clear choreography, conceptualised to show off “Joburg’s fiercest queer talent”. Directed by Jono Kay, its choreography scenes focus on internationally renowned performers Henk Opperman and Lllewellyn Lulubelle Mnguni. The intensive costuming was provided by designer Caroline Olavarrieta, with makeup by Orli Meiri and Dylosaurus Rex creating a world of glamorous retrofuturism.

    The lushness of the images complements the driving simplicity of the song itself. DL Boi is a massive-sounding pop song, with a relentless beat throbbing like strobe lights under a chorus hook of “If you want me let you know”. It sounds instantly classic, like hearing a forgotten house anthem from the early ’90s. The song’s title references a ‘down low brother’, a closeted gay man trying to secretly hook up with gay men. In the hands of Umlilo and Whyt Lyon, this scenario becomes a tale of brash self-assertion, delivered with utterly compelling visual and musical flair.

  • Bhubesii- Kobyashi EP

    This release is a psychedelic fun ride through the urban centre of South Africa, from the streets of Soweto to the enclave of Maboneng. Bhubesii raps from the perspective of his Kobayashi alter ego, a stylish trickster on a mission for a good time. The music aims to reinterpret classic kwaito for 2016, with Bhubesii saying that ‘it has a very township wave feel about it. Kobayashi is a new wave tariyana.’ The boisterous title track looks back to the infectious work of Arthur, Mandoza and M’du. But Bhubesii is clearly working in his own lane. For a start, he is a lot more lyrically focused than his minimalist progenitors.  He adopts an impressive amount of languages and idioms, dropping witty punchlines and outrageous boasts.

    The eager embrace of local influences and style set him apart from an often derivative SA hip hop scene. It’s no secret that even talented artists may often expend energy trying to keep up with what’s happening in the US. In the most egregious cases, people will adopt entire fake accents, which isn’t fooling anyone. More subtly, there is pressure to emulate production styles and sonic tricks. Constantly chasing the next big thing is a fool’s errand though, as it always leaves musicians on the back foot.

    So Bhubesii uses the recent South African past to find his own voice.  Tracks like ‘Chankura’ and ‘Zulu Jedi’ mutate and stretch in constant motion. It conveys the sense of a weekend with endless possibilities, spanning the hot spots and dank dives of Gauteng.  Bhubesii also put extra attention into curating his image, with a laudable eye for detail. The cover for the single version of ‘Kobayashi’, has him as a futuristic seer, bringing life to a blighted wasteland. For this EP he has  gone for a witty piece of cover art. In place of the tough guy mask which rappers have adopted in the past, his face is covered by an explosion of flowers. It’s a nicely unexpected touch, which expresses the exuberance of his music.

  • Mma Tseleng- The Kwaito Monument

    In the 1990s, South Africa experienced the subcultural supernova of Kwaito. Fuelled by post-1994 optimism, and inspired by international hip hop, dancehall and house, local artists created a thriving underground of music, dance and fashion, spread through cassette tapes and taxi sound systems.  In almost no time at all, this became the mainstream with the youth captivated by the music’s style, fun and adventure. Kwaito was both populist in appeal and musically progressive.  Songs like Alaska’s ‘Accuse’ and Fester’s ‘Jacknife’ still sound as fresh as ever.  Although the genre has receded in visibility, its influence is still felt throughout contemporary music.

    As a young person, Rangoato Hlasane (Mma Tseleng) was caught in this cultural shockwave. From a small village with no electricity, his first exposure to music was the 80s bubblegum and reggae blaring out of taxis. As 1994 came around, he was at a perfect age to have his mind blown by the pioneers of kwaito, as well as the US rap and R&B which flowed in as the country ended its cultural isolation.  As a fan, Hlasane built up an extensive music collection, but it was only in 2009 that he found his true calling as a kwaito DJ and archivist. When a DJ failed to turn up at a Drill Hall party he stepped to the plate and has been playing live ever since.

    hillbrow-theMap_LR

    Along with performing, he has also become a historian of the recent past. He started doing ‘boom box walks’ through Hillbrow, finding the spots where the early pioneers of Kwaito lived, played and dreamed.  These trips were commemorated with a special map featured in the book Not No Place, by Dorothee Kreutzfeldt and Bettina Malcomess. The book itself is an excellent secret history of Jo’burg and Hlasane’s map is one of the highlights, showing the bars and nightclubs where some of the early sound was birthed.   He also created the irreverent ‘limited edition cassette-sleeve publication that explored early industry beefs in Kwaito’.

    With Malose Kadromatt Malahlela, they have curated a live memory project called Thath’i Cover Okestra, an evolving pan-African Okestra that investigates the meaning and importance of Kwaito music’s legacy for a new generation. Its premise – a speculation into the direction that Kwaito could have taken post-2004 positions the project as both nostalgic and futuristic, thus appealing to a wide audience that cuts across age, race and geography. Through this collaborative exploration, what emerges is a new super nostalgic African futuristic spiritual chant non-genre. The story of Thath’i Cover has thus far been featured in Tsitsi Ella Jaji’s magnificent Africa In Stereo: Mordenism, Music and Pan-African Solidarity (2014, Oxford University Press) and the recently published The Art of Public Space. Curating and Re-Imagining the Ephemeral City (2015, Palgrave) by Kim Gurney. Such interventions memorialise the living legacy of the genre and help deepen its impact on the present.

    Mma Tseleng loves the late Lebo Mathosa, he made a song for her:

    Thath’i Cover Okestra

  • The rise and rise of Moonchild Sanelly

    My first meeting with Moonchild was in Cape Town, she performed at the legendary Cold Turkey and won me over with her energy and openness. Her performance was electrifying and I’ve watched her grow from strength to strength in every facet of her creative output. Now some four years later I sit opposite a SAMA nominated artist, an established fashion designer and the person responsible for the proliferation of coloured woollen hairstyles. The opportunity to connect with someone at such an critical moment in their career is beautiful, Moonchild’s energy and love for her work is palpable, her ambition supported by a steel will and drive to make people dance and sing and celebrate. She’s on the road at the moment, about to perform at Zafiko festival in Durban and Primavera Sound festival in Barcelona.

    Moonchild is on a roll; The New York Times featured her in a photo diary by Chris Saunders that revealed her perspective and hustle in GoliWood, she’s going on a national tour with Red Bull soon and she is currently nominated for one of the nation’s highest musical honours. The SAMA nomination is a nod from people within the music industry, people who run record companies and make it their business to invest in new talent and artistry. “The nomination has opened a lot of doors for me, people actually respond to me emails now ” she says with the sweetest smile.   ” I don’t know if it’s hit me yet, and I’ll be travelling when the ceremony is on but I do hope I win “.  Her competition is stiff but anything is possible, so we await June 4th with bated breath.  This nomination reflects the establishment taking note of alternative and independent artists, the people who run the streets and contribute to urban culture are finally being recognized in the upper echelons of the creative industries.

    Creativity is a beautiful gift and meeting it with professionalism and productivity makes it powerful. This is the power Moonchild exudes, ‘I want to be exhausted, I’m just tired now’ she says in reference to her touring schedule for the coming months. Her dreams are big and her passion spills out in the conversation about recording and singing. And after 7 years in this city, these accolades and opportunities are well deserved, it really is inspiring to see things come together for such a talented, ambitious human, I tell her this, she smiles that same sweet smile and says, ‘I want a lot, I’m on my way to getting it’.

    Moonchild’s latest single Fox With That, produced by her long time collaborator Maramza is available on iTunes and currently rising up local charts. Follow her @Moonchild_SA and watch out for her performing somewhere near you, soon.

    Words by Oratile Mashazi @Oracle254