Bubblegum Club

Tag: pop

  • Serpentwithfeet – Standing Tall

    Serpentwithfeet – Standing Tall

    The most immediately noticeable thing about upcoming musician Serpentwithfeet aka Josiah Wise is his striking visual image. In his press photos, he rocks a massive septum piercing, an occasionally multi-coloured beard and face tattoos which announce SUICIDE and HEAVEN around the centerpiece of a pentagram. This brash image may remind you of a Soundcloud rapper, but in truth his angelic, classically trained voice makes him more like Nina Simone than Lil Pump.

    Raised in a religious household in Baltimore, Wise was immersed in both gospel and classical music growing up, and originally aspired to be an opera singer. The challenges and intense personal experiences of a life as a young, gay black man pushed him to an exploratory sound which merges the sweetest pop and the harshest noise. On the 2016 EP blisters and his new album soil, he uses music to explore the tensions, productive or irreconcilable, between earthy sexuality and spiritual yearning, love, lust and belief. These elements spark an exciting blaze which is being noticed throughout the music world. blisters includes production by Bjork-collaborator and film composer The Haxan Cloak, while soil saw him working with the divergent likes of cloud rap legend Clams Casino and Adele co-writer Paul Epworth.

    The importation of sacred musical tropes into carnal themes is brilliantly outlaid in his choice of nom de plume. In the Christian tradition, the snake is a low, bestial figure which corrupts humanity with sin and self-consciousness. In contrast, the image of a walking snake counters that knowledge of desire and sex is the path to true liberation, to at last proudly striding upright in the sun. His work reminds me of a famous quote by the great writer James Baldwin who undertook similar explorations of race, gender and religion – “If the concept of God has any use, it is to make us larger, freer, and more loving. If God can’t do that, it’s time we got rid of him”. In an era of violent orthodoxy and fundamentalist hypocrisy, Serpentwithfeet is a call to listen to the inner voices which call to us to free both ourselves and each other.

  • MATANGI / MAYA / M.I.A – a documentary about the story behind the star

    MATANGI / MAYA / M.I.A – a documentary about the story behind the star

    The documentary MATANGI / MAYA / M.I.A was collated from footage taken by Maya Arulpragasm and her closet friends over the past 22 years, documenting her life from an immigrant in London to international stardom. Working with her former art school friend Steve Loveridge to produce the documentary, it gives raw insight into the struggles and joys that culminate into the persona we know as M.I.A. It offers a door into Maya’s thinking about topics related to politics, art, identity and the relationship between these.

    Having fled from the Sri Lankan civil war, Maya travelled first to India and finally settled in the UK with her family, specifically a housing estate in southwest London. This journey, her experiences as an immigrant and refugee living in London make up an important part of how she constructed her identity, as well as influenced her approach to music and performance.

    Viewers will also see how pop and hip hop music filtered into her life, offering a sense of feeling grounded while growing up.

    The documentary presents multiple paces and tones. Moments of pause combined with heightened moments of discomfort, sensitivity, vulnerability and bliss. The viewer is invited into a time capsule to experience the building up of M.I.A as a musician and public figure. However, the most prominent aspects of the documentary share the intimate and delicate details of Maya’s discovery of her personal identity and heritage from her point of view, and the point of view of those closest to her.

    “M.I.A. can read sometimes as a project…but actually when you really step back from it, like the film does, I think there is a logic to it, and a sort of consistency in her vision, all the way through, from a long time before she became a musician, just a quest to represent and nail down her identity, and own the positives and negatives about who she was.” – Steve Loveridge.

    The film will be shown as part of the 20th Encounters South African International Documentary Festival taking place from 31 May – 10 June 2018 in Johannesburg and Cape Town.

  • Diamond Thug release their debut album ‘Apastron’

    Diamond Thug release their debut album ‘Apastron’

    My first experience of Diamond Thug was when I booked them for a gig at Cool Runnings in Durban along with Thor Rixon as part of their first nationwide tour about 4 or 5 years ago now. If you’ve been to Cool Runnings, you wouldn’t expect the 2 acts to sell out the place, but we had a packed room and the audience took in sounds which were unfamiliar to Durban at the time, with open hearts. They were new to the game, but they were professional, ambitious and put on a moving performance to an unfamiliar audience. I knew then that I’d be watching them on big festival stages down the road.

    A few years later, that became a bit of a self fulfilling prophecy when I booked them for an ambitious music festival called Outland that weirdly enough led to me writing for this site. At that time, I saw a band on the verge of breaking out. The years of touring together were paying off. They were captivating and had the crowd hanging on every note. I found myself floating in a beautiful sea of sound under the stars in the Midlands, with waves of intricate melodies and enchanting vocals crashing over me. It was as clear then as it was the first time I saw them, this was a band who was destined for big things.

    Those ‘big things’ have been happening. They’ve recorded in New York thanks to Converse and played at SXSW which is quite the feather in a musician’s cap. They’ve toured Europe and are looking to go back. And even local festivals and promoters are starting to give them premier slots and are being rewarded for it, if the glowing reports of their performance at Lush this year are anything to go by.

    It’s on the back of all of this, the years of putting in the hard work on the ground, that Diamond Thug have released their debut album ‘Apastron’. And, well, it’s pretty much a masterpiece. I mean, it’s just an incredibly beautiful album where nothing sounds out of place. Every note, every chord, every beat sounds like it’s meant to be there. Diamond Thug weave elements of pop, electronica, psych and even elements of country with the fullness of sound that reminds me of stadium rock. It’s intricate and deliberate in its execution but provides an easy listening experience on the surface. If you want to dig deeper, there are many layers to peel away on ‘Apastron’.

    There’s no doubt in mind now that Diamond Thug are going to be huge. I mean, now that I know that they’ve already racked up over 2 million plays on Spotify, but still. The saying goes that it takes 10 years to become an overnight success. With ‘Apastron’, Diamond Thug might just knock a few years off the adage.

  • 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].”

  • 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.”

  • Move with Batuk’s Latest Single

    Move with Batuk’s Latest Single

    By its title, Batuk’s latest single should give you a fair idea of what you’re in for. No, they’re not telling you to get out the way, but rather to move that ass of yours to the tropical groove. ‘Move!‘, the first single off the Pan-African duo’s upcoming 7-track Move! EP and Kasi Royalty album is an up tempo jam that’s sure to get you shaking what your mamma gave ya on the dancefloor.

    While their most popular single to date, ‘Call Me Naughty’, had a bit of a darker vibe to it with the deeper bass tones and repetitive house beat (although it still had plenty of grove to move to), Move has a much more jovial feel to it. They call it an ode to their township roots that shaped them although personally, it sounds like a party on the beach. Truth be told, this would have been perfect for December but there’s still enough Summer left to slip on a floral shirt, sip on a cocktail and sway those hips to the sounds of Manteiga and Spoek Mathambo.

    You might remember Batuk being a 3 piece but the trio is now down to 2. Spoek Mathambo has taken over production fully from Aero Manyelo whilst Manteiga handles most of the vocal duties. Spoek’s production on Move adds a layer of pop sensibility that makes it a bit more accessible to the general public than some of the group’s earlier work, which might lose them some of their earlier fans but will certainly help them pick up a few more. Manteiga fully embraces the front woman role and comes through with 2 verses of raps that are full of attitude and spunk, whilst Spoek casually drops a few bars in the second verse but takes up very little space on the song vocally.

    The video for the song is a visual feast of dancing in settings that’ll look familiar to many South Africans. Kitchens, lounges, backyards, the beach and even an M3 serve as the backdrop to gyrating bodies. The only real crit I have is that a Playstation doesn’t make 8-bit sounds, but that’s just the nerd in me being pedantic.

    Give Move a watch and a listen below and look out for more from the Mozam and Mzansi connection in the next few months.

  • Pussy on a Plinth // elevating the personal as political through paper-based prints and zines

    Hearing about young, womxn-only collectives in Johannesburg is always a moment of excitement and encouragement for me. It speaks to the importance of collaborative work as well as the necessity for womxn to provide creative and emotional support to one another when learning to navigate art spaces in the city. Pussy On A Plinth (POP) is one such collective. The collective includes the artists Yolanda Mtombeni, Boipelo Khunou, Lebogang “Mogul” Mabusela, Allyssa Herman, Cheriese Maharaj, Lara Bekker, Zinhle E. Gule, Penny Muduvhadzi, Nthabeleng Masudubele, Didi Allie and Janine Bezuidenhout.

    When asked about where the name for the collective came from, they shared that it emerged out of conversations about an image from a nude shoot that involved two of the members. “In one of these images, one of them was seated on a plinth. That is when we began discussions around what that image could possibly mean.” Wanting to unpack this further, I asked about what kind of ideological weight they are hoping their name will have, particularly when combined with their creative practice.

    “The name attempts to disrupt the patriarchal structures both in society and the white cube gallery spaces. Putting a pussy on a plinth speaks of uplifting, bringing attention to, as well as monumentalizing the work of womxn artists. ‘Pussy’ in this instance, is used as a reclamation of power by attempting to normalize the use and essence of the word as a term that is not derogatory or belittling.”

    Since the inception of POP their work has manifest in the form of paper-based prints and zines. These are often guided by reflections on their experiences and thoughts as womxn. “Our work is interrogative, illustrative, engaging for the public and thought provoking,” they express.

    The most recent display of their work was at the Lephephe print gathering towards the end of 2017, which was hosted and organized by Keleketla Library! in collaboration with the collective Title in Transgression. For this they created an image-focused zine to introduce  POP and its members. In addition to this they hosted a zine workshop that zoomed in on the question ‘What is your personal politics?’ Reflecting on this, they shared that “the experience was inspiring and affirming; [it allowed us to] communicate our processes, thoughts as well as our goals with the public and other artists in the space as a collective.

    The work of the collective and of each member ties into the ideas shared by the 70s feminist slogan ‘The personal is political’ which was adopted from Carol Hanisch’s essay by the same name. Individually, under this larger umbrella, they each have specific areas of focus, which sometimes overlap. These include patriarchal culture, post-colonial or gendered culture; the gaze, human consumption, black womxnhood and its experiences; mental health and associated topics; as well as the effects of post-colonial, patriarchal and gendered cultures. When listing these themes, it is quite easy to see how their collective has become an extension of their individual thematic foci.

    When asked about what they have in the works for 2018, they shared that, “We are working on hosting more zine jams at various spots in Johannesburg where people can engage and contribute to the zine archive that has started building up. There is also a plan to have a womxn takeover at the DGI studio as a type of physical alteration of the male-dominated space. The result of this will be a print show which we have been organizing for a while now.  The prints we will be producing will mostly consist of relief prints, ‘relief’ being in the form of printmaking, but also as a literal form of relief for us as womxn, as a collective and as individuals.”

    POP hopes to continue to grow as a collective by getting involved in work and art spaces beyond paper-based prints and zines. To keep up with their growth and the possibility of new artistic directions, check them out on Instagram.

  • 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