Bubblegum Club

Tag: r&b

  • “The Greatest of A-Town”: Khenji Releases His Debut Album “Notes”

    Lately, I’ve been getting so tired of my own music. My friends and I came to the conclusion that TikTok, and all its slowed and reverb versions of mainstream (often good) songs that are used in viral trends, is the reason that new music doesn’t hit the same anymore. So, naturally, I’m always interested when I come across an underground artist that mimics mainstream music genres, but in some way, adds their own ‘character’ or ‘interpretation’ to the generic to create something that will stand out more- and it’s even better when it’s a South African artist!

    In my pursuit of discovering new music, I came across a Twitter account owned by Thato Mashigo (Khenji) a Musician, Writer and Producer from Alexandra, Gauteng. He recently released his debut album “Notes”, a 12-track celebration, which he describes in an article as “a brief record of points or ideas written down as an aid to memory.”

    More times than others, I think we fail to call out musicians for creating albums that sometimes fall short of manifesting clear purpose or intent. I find it so enlightening listening to an album that sounds like a clear lived experience of someone- and I think this is where this album wins and makes it a project worth listening to. 

    Khenji

    Along with the announcement of the album on X, Mashigo unironically shared a couple of key takeaways from the album; notes of what the album is made of, what it represents and how it should be received by listeners. 

    “Notes is more than a story, it’s my perspective of Life”- Khenji/@SolarKhenji 

    Along with the Khenji, the album was produced by Lucas Mathule, an Alexandra-based producer. 

    As much as I do appreciate a solo album, featured artists on a tracklist always take an already good project to the next level, and that’s what happened here. I can hear from songs such as Plenty and Too Long that this album evokes so many feelings about community and the essence of one’s upbringing. In terms of its production value and artistic appeal, the album is an impressive way of characterising Alexandra’s music scene.

    There’s all those present elements for the album to qualify as an alternative R&B album, but there’s also so many elements that make it a perfect blend of R&B, Hip-Hop and Jazz- Oh and those beats of drums just enhance the overall vibrancy that the music in this album reflects. 

    While I will admit that prior to this, I had never listened to local musicians’ albums from front to back (without skips), this was really fun to listen to. The album stands as a type of homage to the rawness of youth, but within that rawness, Khenji’s use of lyrics implies faith in one’s present state and hopes for one’s future. 

    You know what I like about @SolarKhenji music? You can hear the fun in his music. I can tell broer was having the time of his life in the studio. 

    A tweet by @master_rxph 

    Quite excited to see how far this emerging South African artist goes! 

    Khenji

  • Umaah’s Sheila EP is Vulnerable and Experimental

    Umaah’s Sheila EP is Vulnerable and Experimental

    Before the current wave of soulful songstresses from Durban who blend R&B with hip-hop and jazz, like Red Robyn, Victoria Raw, and Rhea Black, I used to be enchanted on the weekends by Umaah Khumalo, or as she was affectionately known then, Apple. Umaah mostly used to kick it with Ex-Con (Existing Consciousness), a high energy free-flowing new age act that would blend hip-hop with jazz, rock, soul, R&B and whatever else tickled their fancy. Even though she was the smallest member, she never came across as such on stage.

    Umaah has always felt bigger than her surroundings. Like she couldn’t be contained, although, for a while in Durban, she was a bit. I’ve had a few conversations with her over the years. About the struggles of being a young musician, of balancing work with being in a band. About whether or not that band would make it. It didn’t. But that doesn’t mean Umaah won’t. Her debut solo EP as Umaah is a massive step in a direction that could see some success for her.

    Produced by Jozi’s experimental electronic music genius, Micr.Pluto, Umaah is given plenty of space to shine on the Sheila EP over sounds I’m not used to hearing her on. No acoustic guitar or big band behind her. Instead Umaah gets to pair her voice with some good-old fashioned boombap (with Micr.Pluto’s modern touches, of course), trip-hop, and even a few dubsteb wubs.

    The opening track, ‘Baptist‘, is my favourite. The beat kinda reminds me of Nas’s ‘Represent’ and coupled with Umaah’s soulful vocals, it takes me back to the 90s, driving around in my mom’s Uno Fire whilst she’d play R&B compilations with the likes of Erykah Badu and Lauryn Hill on them. There’s a good chance Umaah grew up on Erykah, as she’s the artist I can most liken her to. She’s experimental with her vocals, although she keeps things relatable with an ever-present layer of vulnerability.

  • Nodiggity are Audio Visual Curators for the Lovers

    Nodiggity are Audio Visual Curators for the Lovers

    If you are a hater, Nodiggity are not for you. For real, if you have hate in your heart, don’t even bother reading further and most certainly don’t click their mixcloud link because, in their own words, “Nodiggity is for the lovers, by the lovers”.

    This dope duo of audio and visual curators from Cape Town consists of two talented womxn who are making their mark through djing, design and whatever mediums and platforms that are available to them (I mean, they have T-shirts called NodiggiTees available on Insta). They’re pro-femme, pro-queer, pro-POC and very pro creating and curating spaces for femme, queer, people of colour to get the fuck down in comfort and style as a way to subvert the traditional Cape Town nightlife experience.

    Listening to them talk on ‘The Cooking Question’ podcast, I actually feel pangs of jealousy because I realise that I’ll never be as effortlessly cool or comfortable with myself as these 2 femxles. While they’ve only really known each other for just over a year or so (after Jordan slid in Nickita’s DMs after her performance at Mother City Live Festival in 2016), they have the rapport of life long besties. I actually highly recommend listening to the podcast to really get a feel for who is behind the audio and visual delights.

    In terms of the audio delights, Nodiggity have put out a few sick mixes on their mixcloud and soundcloud pages which show off their immaculate taste in music. They describe their djing style as a “House, gqom, jazz and jazz hop – same Whatsapp group”, which is pretty accurate although I’d add soul and R&B in there too. House tends to be the base they work off of but they don’t shy away from the snares of hip-hop and gqom, and the jazz influence often shines through with a love of keys. They mix the classics over new school beats. They mix new school vocals over old school beats which makes their mixes sound timeless but, at the same time, incredibly current. Give their latest mix a listen below then go catch them live at a venue near you.

  • Gaika – “Some Neon Lit Underworld”

    Gaika – “Some Neon Lit Underworld”

    Gaika‘s collision of dancehall, grime and ominous drone creates a charged atmosphere of dread.  As audiences to his recent performances in South Africa can attest, the UK musician and visual artist’s work powerfully evokes themes of confusion, terror and exploitation.

    Top by Y-3

    Via email, Gaika described this intensity as a response to the confusing social reality of the early 21st century.  “I don’t think I can make art divorced from reality, however fantastical it may seem. I think of my work as hyperreal in the sense that it amplifies our surroundings. I do see all the chaos and tension in the world explicitly, for sure. But I also really feel its beauty, I hope there is some of that in what I do too”.His projects to date have explored the space between intense anxiety and stark beauty. The mixtapes Machine and Security, and EPs Spaghetto and The Spectacular Empire 1, as well as his accompanying visual releases, place a deeply resonating patois above production which pushes R&B, trap and grime styles down a haunted, gothic path. The result is darkly alluring, as on the deceptively gentle ‘Glad We Found It‘, where a mournfully lovely synthesiser winds under lyrics like “it burns to love” and “this is my song for you, Now we’re dead”. While many artists are making dystopic electronic music, Gaika stands out for his concise lyricism. His break out song ‘Blasphemer’ announced itself with the hook “I’m watching TV when it’s not on”, a precise distillation of the contemporary sense that we are trapped in an endless loop of media voyeurism.

    2016’s Security narratively focused its menace on a conceptual journey through London nightlife. When I asked Gaika about its origin and inspiration, he suggested that it was “about fear, money and dying, inspired by my time getting my ankles wet in some neon lit underworld. The truth is there, if you know what to listen for”. The word security conjures images of control, rigidity and surveillance cameras watching over clinical spaces. But the album sounds profoundly out of control, with Gaika’s howling tales of nights lost under a blizzard of drugs, guns, money or worse. At first listen, lyrics like “I’m getting smashed like the world ain’t real”, seem to echo the depressive hedonism of Future or The Weeknd. But while those artists can never seem to identify the causes of their existential malaise, Gaika pulls a brilliant rhetorical move with the closing song ‘White Picket Fences‘. Guest MC 6Cib precisely details the true roots of mass feelings of insecurity, firing off at war mongering politicians, corporate greed and pacifying consumerist values. Security joins the dark British pantheon of dystopian music, conjuring images of police cars on fire, illuminating riotous tower blocks. Its most recent ancestors are the black hole bass of Kode9 and the Spaceape’s Memories of the Future or The Bug’s London Zoo. But you can trace it back even further to David Bowie’s 1974 album Diamond Dogs, where the singer essayed the imagined collapse of society with a mix of despair and relish.

    Later in 2016, Gaika dropped perhaps his most hard hitting release to date, ‘3D’, with its opening verse of – “This is my city and these are my streets, in a state of emergency/ This is my city and these are my streets and it’s murder out here”.

    Top by Floyd Avenue

    As the title allusively hints, it’s also a song about the racist and classist imaginaries which fuel police killings and the role of the cultural industry in reinforcing these destructive tropes – ” Our bodies as props to the jewels and the glocks, that’s the only narrative that we see”. It becomes a song not just about violence, but about the nature of perception itself.

    The inspiration came from an unexpected source – “3D glasses are the one, like the old school ones with the red and blue lenses.  When I was a kid I wanted to wear them all the time. The song is about the perception of black male artistry in Europe/America. I think it’s often a bit flat from the outside. I think it’s ok to be contradictory. To be a developed human and to do gangster shit”.

    With his most recent work Spectacular Empire 1, Gaika expands his hyperreal vision into the future. The two track release includes the stirring ‘Battalion’, a collaboration with Miss Red which is sung from the perspective of a future bike gang member. The ambiguous words leave it unclear if they are homaging a human lover or an advanced machine.

    Cape by Don Zondo

    The EP came with an richly detailed text piece where Gaika imagines the next 50 years of geopolitics, with London ruled by omnipotent warlords and the rise of “walled-in fascist republics” under the iron fist of an adult Barron Trump. The text works as a satire of our current political malaise, while retaining a disturbing plausibility. Gaika modestly describes how “I just wrote what I thought might happen and tried to make it make sense, I wrote it over a few days as a framework to some music and visuals I was making. I like to make complete worlds that pieces inhabit but normally this kind of thing stays firmly hidden on my hard drive. Somehow it got out. I’m glad though”.

    According to the theorist Mark Fisher contemporary life is defined by the creeping sense that “The catastrophe… is neither waiting down the road, nor has it already happened. Rather, it is being lived through. There is no punctual moment of disaster; the world doesn’t end with a bang, it winks out, unravels, gradually falls apart”. It’s that sense of creeping dread you get when reading on your Facebook timeline about the melting Artic, or the latest electoral victories of xenophobic politicians. But Gaika’s darkly luminous work not only paints a picture of our time, it makes you want to question and change it.

    Credits:

    Photography by Obakeng Molepe

    Direction & Styling by Rich Mnisi

    Grooming: Orli Meiri 

  • Musician RHEA BLEK : The Goddess of Finesse

    Musician RHEA BLEK : The Goddess of Finesse

    Rhea Blek calls herself The Goddess of Finesse (aka Finessa). It’s apt because she has an impressively delicate touch and skillful use of her voice, which is pretty in line with the definition of ‘finesse’. Rhea is singer/songwriter born and bred in the city of Durban, which you can kinda tell if you’ve been paying attention to the sounds coming out of the 031 lately. Although she says she creates genreless music, Rhea is part of a growing group of brilliant young women in Durban, like Red Robyn, Nipho Hurd, and Victoria Raw, who are making incredible neo-soul, R&B and jazz influenced songs that touch the soul. And I don’t even believe in souls.

    Rhea is firmly her own woman though, and while she may be playing in similar spaces, she’s doing it completely in her own way. On the opening track of her debut EP THIIIRD WAV, ‘Terms and Conditions‘, she opens up by confidently asking if she can shoot her shot and get down to business with a fine-as-hell man, with no strings attached, terms or conditions. Although, she also admits that she wouldn’t mind a little l-o-v-e, she’s happy to just get what she wants if the fine-as-hell man is down with it.

    Track 2, ‘Clyde‘, is a take on Bonnie and Clyde, but, as Rhea explained on Facebook, “this time, instead of Clyde running around and doing the crimes and Bonnie being down for it, it was Bonnie being the boss and Clyde being a loyal lover and partner in crime. That’s why the hook says ‘ride or die, sink or fly with me’”. Apparently a friend was supposed to do a verse but “the niggas were like ‘what you wrote is too hot, the song is yours, just write for the whole song’”.

    ‘Clyde’ is actually what inspired the whole EP, or, as Rhea puts it in another Facebook post, “After that, we decided – you know what? We’re making an EP, that’s what the fuck we gon’ do!” She also explains the concept for the album in her candid post, “I thought about centering it on love and on a love story with someone that started since we were kids, that’s where ‘TEENAGE DREAMS’ comes in.”

    ‘Teenage Dreams‘ is the last track on the EP and it’s a cute love song. According to Rhea, “That song is a story of how and where the love began and how long its sustained to the present. It’s just a big thank you to the dude and appreciation for the love. And it’s called ‘TEENAGE DREAMS’ because the love is so amazing it feels like we’re teenagers in love and we’re dreaming.”

    Rhea has been racking up the gigs around Durban and has even made a few Gauteng trips of late, and now that she’s put out some music, she can’t wait to put out more. She’s actually working on a follow up EP already and will be part of the We Are One Festival in Joburg alongside the likes of Moonchild, DJ Doowap, & Nonku Phiri on the 31st of March. Make sure you look out for The Goddess of Finesse, you’ll be impressed.

  • 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.”

  • Immerse yourself in the nuances of Luca Williams’ Sonecy

    Luca Williams is an energetic and passionate young artist from Cape Town who dreams big, and despite being affiliated with Cruel Section and Straight Feels, has already put into motion his plan to start his own record label. “Sonecy is basically the world that I place my music in and it’s a record label that I just started. The problem I’ve always had was that I’m not sure people understand the extent to which I want to take things and how wild and weird my ideas would be. I want to take responsibility for my vision,” Luca Williams says excitedly.

    Unpacking the name gives more sense to the world he envisions. “Sonic Prophecy. What the future is going to sound like. That’s the type of music I’ve been trying to make lately.” Taking inspiration from the groundbreaking French comic Métal Hurlant which influenced Bladerunner and Akira amongst others, Luca Williams imagines Sonecy as a bright world, filled with neon lights, where sound is synesthetic and music has colour. It is in this futuristic world that he creates his music.

    Photography by Mzonke Maloney

    With two EPs under his belt, ‘Just So You Know’ and ‘Someone, Somewhere’, his sound has been described as R&B, although that was never his intention. He would rather be able to define his own genre so that he can set terms and manage expectations. “If I say I make trap, you’ll say this isn’t Migos, this isn’t Lil Uzi. But if I tell you this is just nuance, that’s the genre I subscribe to. Nuance is anything that can fit into Sonecy, that lives in Sonecy. So it doesn’t have to be my music.”

    He has spent the last year working on his third release ‘Just So You Know 2’ and while the process has been challenging and frustrating at times, he believes dumping and reworking tracks is necessary in order for him to achieve what he is looking for sonically. “My mission in life is to make work that becomes referential. That’s what this year’s been about. I’ve been honest enough with myself to say that this is not going to become referential.”

    Photography by Luke Doman

    The upcoming release sees a slight sonic shift with elements of house alongside soul and R&B but maintains his futuristic outlook. “When people ask me what does it sound like I say it sounds like what I think the future will sound like.” Determined to make music on his own terms, Luca Williams is approaching the industry from an angle most artists don’t take, and won’t stop until he has made his mark on it. “That’s the one thing I see as one of my greatest purposes. To provide a certain sonic palette that is immersive.”

  • Una Rams – True Confessions

    Being sad about failed love and emotional disasters is almost de rigueur for any self-respecting contemporary star.  It shows your human side by connecting with universal experience.  In rap and RnB, (primarily male) pain has been a dominant style since Kayne released the morbid 808’s and Heartbreak in 2008. Almost every major artist who has come up since then has been influenced by some aspects of that work. The Weeknd has the whole focus on predatory relations and the hollow pleasures of fame. Frank Ocean has capitalized on the space for naked self-expression. Drake, of course, owes his entire career to his heartbroken persona, although at this point it’s clearly more a marketing tool than coming from any real personal conflict! Conversely, many female artists like Rihanna and Beyonce have adopted a more confrontational attitude to matters of the heart, and produced some of their most forthright and empowered work.

    Pretoria based Una Rams is drawing on this international pop hegemony in an interesting, and highly personal, way.  His intimately detailed work borders on certain types of confessional folk music- less trap beats, more sighs and whispers. In fact, his Pink Moon EP even shares a title with the album by doomed UK folk singer Nick Drake.

    The song  Girls Like You is a good representation of his style.  It deals with the common musical scenario of being messed around by your object of affection. But Rams doesn’t fall into the common lyrical snares of either self-pity or sexist insults. In fact, he suggests that they should just stay friends. The song’s production is subtly complex. A downtempo piano loop is uplifted by a burst of dancehall style toasting. The celebratory Nobody takes a more courtly approach in which he promotes his personal qualities to a love interest.  With his unvarnished style, he charts a heartfelt, but optimistic course through the travails of modern love.

  • Agord Lean is An Artist Making Introspective Synthpop

    Agord Lean is one of the most slept on artists in Johannesburg. Since dropping his first mixtape “The Ghost and The Machine in 2012 Lean has quietly but consistently released a series of independently produced projects including his debut album “Time Loopers Directory”, the “Space Impact” Ep and his latest offering, another Ep titled “The Flight of The WU”.

    The way Lean sees it, his projects so far have been “experiments”, which may be the reason why each track feels so introspective like a moment of truth and self discovery. On tracks like “The Gords Introduction”, “Experience in Falls” and “The Invite (Fire On The Mountain outro)” Lean flexes his talent for combining minimal drums with atmospheric soundscapes and visceral cries.

    The emotion Lean transmits through sound is just as powerful in his paintings, prints and videos. Even before he started making music he operated in a space between art and popular culture, between the physical and the spiritual. It is the elusive nature of his practice that is partly the reason why he has, rather than slotting in, had to boldly carve out a space in Johannesburg’s cultural landscape.

    Listen to Agord Leans latest EP “The Flight of The WU”

    https://soundcloud.com/agord-lean/sets/the-flight-of-the-wu