Bubblegum Club

Tag: South-African

  • 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.”

  • Inxeba (The Wound): protest, culture & a tumultuous gay love story

    Warning: This article contains spoilers from the film, Inxeba (The Wound).

    Set in the scenic mountainous Eastern Cape emerges Inxeba, a powerful, moving and thought-provoking South African work of art directed by John Trengrove. This daring and unsettling film narrates the intersectional story of an uninspired and lonely Xhosa factory worker Xolani (Nakhane Touré) who joins the men of his community to initiate a group of teenage boys into manhood (a process known as ulwaluko). As Xolani embarks on the journey of being a caregiver during the initiation period, he encounters Kwanda (Niza Jay Ncoyini), a sullen yet defiant and disruptive initiate from the city of Johannesburg who urges Xolani to interrogate his queer identity.

    Inxeba is essentially a revolutionary tumultuous gay love story between two caregivers Xolani and Vija (Bongile Mantsai) which takes place in a violent, patriarchal and hyper masculine environment. It explores compelling themes concerning homosexuality, the construct of Xhosa masculinity as well as the colliding juxtaposition of modernity (represented by references made to the city and the effect it has on those that have left their rural homes) and tradition. Unfortunately, we live in a society where most instances of violent behaviour committed by men go unchecked which begs the question of how we should transcend violent masculinity in such spaces.  This film is revolutionary in numerous ways as it protests toxic masculinity and patriarchal cultural norms, it exposes deep-rooted homophobia and it fundamentally opens important and difficult conversations.

    The sublime cinematography manages to beautifully capture pain, love, affection, fear and rage all at once. One of the most mesmerizing moments in the film comes from the scene by the waterfall which showcases the passionate black Xhosa male lovers (Xolani and Vija) embracing one another, kissing, cuddling and being affectionate. This moment proves to be ground-breaking and encapsulating as it defies the rigid social norms and homophobic views that are held by some men.

    Viewers also get to witness the blossoming friendship between the caregiver and initiate. In a strange but organic way the initiate becomes the teacher when he drives his caregiver to confront his truth and sexual identity. The initiate plants the seed of learning and unlearning for his caregiver to which his caregiver rejects and ultimately chooses to return to his former life. The act of silencing is a common theme that reoccurs throughout the film. Kwanda is constantly silenced when he problematizes Xolani’s hypocrisy or even when he calls out Xolani for having an affair with Vija who has a wife and children back home. Kwanda’s opinionated and outspoken nature ends up being his detriment. This sets a strong precedent that being outspoken and fighting for what you believe in can get you killed. In the end, the unsafe environment that Xolani and Vija find themselves does not grant them with the opportunity to truly and freely love each other. They would rather pursue great lengths to protect their secret than taking the risk of being exposed, shunned and ostracized.

    Inxeba is bound to evoke feelings of shock, resentment, despondency and inquisitiveness which will take time to unpack, process as well as have honest and uncomfortable conversations whether it be on the dinner table or on social media. This film is imperative for the representation of the LGBTQ+ communities and that cause should not be derailed by cis-het fragile men. The representation of the queer community and queer issues in infinite versions matters. It also serves a crucial role of dismantling patriarchal cultural norms. We should ultimately never use culture as justification to dehumanise, oppress and subjugate marginalized folk (in this case queer folk) and if culture commits such acts of violence, this desperately needs to be tackled as well as problematized.

  • Orphan Street Clothing Shop – an innovative space defying mainstream retail experiences

    Cape Town’s fashion narrative has expanded to encompass a new phase within the increasingly world class city with the opening of Orphan Street Clothing Shop, on Orphan Street. The store launched on the 2 November attracting lovers of street style and modern-day chic alike. The idea for this new dynamic space came about from husband and wife duo, Matt and Molly Kieser. O.S.C.S houses the Maylee and Sol-Sol brands, designed by the pair individually.

    Progression within the Cape Town fashion landscape has accelerated resulting in a more interwoven aesthetic with a distinct approach to design, textiles and imagined buyers. Features on multiple platforms such as Bubblegum Club, Hyperbeast, and Highsnobiety acts as forms of a testament to the accolades that Sol-Sol has received over the years. Explaining why South-African fashion-centrics and other street style fanatics over the globe regard the label not only as trusted but as one of our nation’s greatest.

    Maylee might not be as widely celebrated as Sol-Sol regardless, but Molly’s designs show an intricate understanding of the need for minimal, quality clothing for women. The small scale of her brand is an indication of personal choice and adds a certain flair to every collection that is produced. Before the launch of O.S.C.S, Sol-Sol and Maylee have operated from the well-known Corner Store shop in Cape Town. A space of their own is not only a suitable step for both brands but also a welcomed decision that can be surmised by simply looking at the turn out at their launch.

    The interior design elements of the new O.S.C.S store makes use of light colours, a few darker areas and earthy elements such as some small sections of marble which was tastefully implemented. All and all a minimal, uncluttered, pristine space prescribing to modern retail design aesthetics. The smaller store set up is removed from fast paced fashion retail that can sometimes be overwhelming. Not being a fan of crowds or packed spaces and an avid admirer of these two labels, I’ll be sure to pop by the shop when I’m in town for what I imagine to be an almost tranquil shopping experience.

    The launch was paired with the release of their Spring/Summer ’18 collections showcasing one-offs, a few collaborative pieces as well as superbly constructed items. The launch factored for all elements that make launches great, progressively different styles for Spring/Summer ’18, Jameson Whiskey kept everyone’s pallets quenched, and DJ’s Luca Williams and Jon Laura took charge of creating steady energy for the event with their beats.

    In O.S.C.S the Kiesers have created a space seamlessly toning their ambitions for these two, praise worthy South African labels. Creating a new frontier that compliments the already fashion swarmed district. I look forward to seeing the growth of this new space on Orphan street and what the future of Maylee and Sol-Sol have in store for its devout wearers.