BPM MAG - Jul/Aug'12 by BPM Magazine

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PEOPLE

JULY/AUGUST 2012 EDITION 62

• MUSIC

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DJ TIRA - DURBAN KWAITO ROCKS, FACT The man scarcely needs any introduction, but if you’ve been living under a rock for the last decade or so; DJ Tira was one half of the Durban’s Finest duo which helped popularise the Durban Kwaito sound. He’s also the helmsman at Afrotainment Music which has released Bug Nuz, ... STATE OF THE HOUSE NATION ADDRESS: THE PEOPLE NEED SOMEBODY King David was a hoe. Just joking, wanted to make sure you don’t scroll to the next blog before reading mine. Now that that’s out of the way, let us get down to it. When house music first came to South African shores it needed a little help. ...

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EDITORS NOTE & CONTRIBUTORS THE WALL MUSIC NEWS THE LITTLE MISFIT UN-DIPLO-MATIC HARRISON CRUMP AUDIOPHILE 021 EDX SIMIAN MOBILE DISCO PSY VS. PSY: HIYAMYZO PHAROAHE MONCH JOSI CHAVE SHOW US YOUR PARTY FACE THE DEEP END WITH LUO 5 MINS WITH LOLO EVENT REVIEW: SONAR 2012 ALBUM REVIEWS ALBUM REVIEWS ALBUM REVIEWS DOWNLOAD: DJ PICKS DJ TOP TEN CHARTS PARTY INFO & EVENTS ASTROBABBLE - CANCER & LEO

ZAKI IBRAHIM AND EVERY OPPOSITE: SPECIAL ALBUM PREVIEW Last Friday, a small group of Zaki Ibrahim supporters and fans gathered to listen to a special and intimate preview of her latest album Every Opposite at the Red Bull Studio Cape Town. Every Opposite is her second full length album and is ...

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No part of this magazine may be imitated or reproduced in whole / in part or online, without the permission of BPM Magazine. Any views, opinions & visual material expressed in BPM Magazine cc. by contributors are not necessarily shared by the BPM Magazine or its staff. We do not accept responsibility for any omissions or mistakes, as we do everything possible to make sure all information published is accurate.

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ROBOSONIC – TASTY FRESH BERLIN TECH HOUSE Meet Robosonic, the Berlin Tech House DJ/Producer connoisseur duo who dabble in and also deliver a combination of Bass Music, Rave derivatives and only the best in beat thumping Hip Hop. Since their debut in 2006 they ...

MAGAZINE ENQUIRIES: info@bpmmag.co.za BPM Mag is published six times per Annum in SA only DISTRIBUTION: BPM is nationally distributed to over 300 carefully selected outlets ranging from: Retailers of DJ Gear & Musical Instruments, Studios, Colleges & Varsities, selected live music venues and more... To find your nearest outlet email: info@bpmmag.co.za

CONTENTS

MONIKA KRUSE: CAPTURING TRACES OF A BEAUTIFUL SOUND A little chit-chat with Monika Kruse, one of Germany’s finest female Tech House producers/DJ, reveals a few interesting things about her music and her career. We ask her about her latest album release Traces, her early days with the 'Ultraworld Crew', and what can be expected from her ...

EDITOR’S NOTE GOING NOWHERE SLOWLY ometimes I can sit at my desk staring blankly at my laptop screen wondering what to write about. These little Ed notes are not planned; I prefer to simply create a little ‘spontaneous combustion,’ by penning whatever comes to mind. The results can vary though. Occasionally I read my note once the magazine comes out and I cringe at some of the things I’ve said. Actually I cringe way more if I spot a spelling or grammar error. I mean if the Editor can’t write proper English then what hope is there for the rest of the mag right? Here’s the point I wish to make; I read every single word written in BPM Magazine before it goes to print. I also carefully consider what is being said and whilst I do not claim that each and every article is bang on brilliant, I do feel that we have a high standard, one that we continue to strive and improve on. Likewise with my columnists who write the opinion pieces; I don’t profess to agree with everything they say, but what’d be the point if I did? Which brings me to both my Editor’s Note and the Little Misfit column from the May/Jun ’12 Edition 61. I took a bit of stick over saying that DJs are not musicians. Some of you, reading this, took preference claiming that I was knocking the art of DJ’ing or producing. To compound things the Little Misfit’s piece entitled Dance Democracy seemed to push a handful of readers over the edge with claims of us ‘insulting DJs and producers,’ with her ‘unqualified remarks’. A brief (and sometimes brutal) war of words ensued on our Facebook wall about the Misfit’s article, ultimately over a few choice sentences she used. It prompts me to explain briefly to those who didn’t get it what the article is actually all about. Overheard in many DJ/producer circles these days is how the ‘kids’ just aren’t getting it and how the majority have no real appreciation for the artist (i.e. DJ or producer performing ‘live’) and only want the music to be banging or commercial or whatever. The opinion piece (note I said opinion piece - not fact, simply an opinion offered by the writer) attempts to analyse why we make music (specifically electronic or dance music) and what our intentions behind this are. Whether you produce music for an intended audience or simply for yourself and whether it is fair to ‘test’ your tunes on a dancefloor of pundits who have paid to dance and be entertained. It also highlights how technology has empowered everybody and anybody to both produce a beat and publish it online and the consequences of this. So whilst I encourage you all to feel free to express your opinions on anything we write (you can email me directly - dave@bpmmag.co.za or post on our Facebook wall) I do feel obliged to explain the motivation behind this month’s Little Misfit article for those who may miss the point. Misfit explores what it is to ‘Sell Out’ as a music producer and why we’re all so hung up by this concept. You may or may not agree with her acerbic prose and that is a good thing. But please don’t feel insulted if it sounds like we’re talking about you in the article. She isn’t! It’s a generalised opinion piece designed to provoke thought and comment (if you so wish). If we cannot hold a mirror to ourselves and look long and hard at this world of beats, people and music then what’d be the point of putting pen to paper right? Right! Our intention with BPM Magazine is to remain a relevant and interesting read. If all we do is look at the music biz through a rose-tinted lens there’d be no point! This issue is packed with international content - so now there’s something new to complain about if you like. I already hear the murmurs of discontent in the shadows about us not featuring enough local flava. Which brings me to another point; we publish daily news on BPMMAG.co.za pertaining to events, tours, releases - both EPs and albums, new videos and all kinds of other stuff relating to electronic music, but 80% of it these days seems to be international news and not local. Why you may ask? ‘Simple’ I shall answer. Nobody locally gets off their asses and creates a press release about their new releases, tours etc. - it seems that S’effrican producers think a simple wall post saying ‘hey guys my new tunes are on Beatport,’ is enough promo. It isn’t, so make an effort. Otherwise we’ll all just end up going nowhere slowly whilst we moan about how the fans have stopped listening.

DAVE MAC Editor-in-Chief

EDITORIAL CONTRIBUTIONS: FEATURE WRITERS AND COLUMNISTS Mary Honeychild - Mary is a fusion queen, her love for music is defined by her roots of drums, saxophone and deep bass. She discovers the break and combination in genres and takes us on journeys into the origin and amalgamation of scenes such as Jazz, Hip Hop and EDM. The Little Misfit - The Little Misfit is an anonymous observer who has been around the electronic music scene for more years than most. She’s seen it all, done it all and has the tales to tell. Not much surprises her any more although she is still wholly excited by music, dancing and socialising within this scene. It’s with this passion and experience that she casts a slightly jaundiced, feminine eye on the many components that add spice to Cape Town EDM Culture. Tendai Luwo - Recovering blueberry muffin addict, dj, remixer and voice over artist, Luo first firmly sank his teeth into music while working for Rhodes Music Radio (RMR 89.7fm) in 2009 and has never looked back since. Now a loyal disciple of all things deep and soulful, He can be found roaming the streets and alleyways searching for his next dose of good 'ol house music. Nathan Kabingesi – Nathan is a selfconfessed house junkie; you can usually spot him in a corner of the dance floor getting high off the DJ's supply. Appreciating the finely spun mix, he's not shy about calling out the occasional slip of the needle. Expect incisive and considered opinions on everything from the latest album releases to trend developments in the world of EDM. Fletcher Beadon - I am a DJ and music producer based in Cape Town, South Africa. My passion is sound and music technology and sharing my love of sound technology through teaching. I am also interested in non-musical things like herb gardening, meditation, cooking in the kitchen and science fiction. Please feel free to contact me about interesting projects. www.mynameisfletcher.com Jonathan G Shaw – Production Tips – Jon is a professional record producer who has worked with a multitude of artists and record labels in a freelance capacity. Outside this, he lectures music business at the University of the Witwatersrand and provides business consultation to the music industry. jshaw@smstudios.co.za Dave Skinz - DJ, Music Manufacturer, Wordsmith, Record Store owner, Promoter, and gamer par excellence are some of the multi-faceted roles that Skinz has played in his 15 year love affair with dance music. When not indulging himself in MMA footage and band practice, he spends his time waiting for Arsenal to take the treble. www.daveskinz.com

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INTERACT

THE WALL GOT SOMETHING TO SAY? TUBE & BERGER Thanks BPM Mag South Africa for the INTROLUTION report

SABELO MATHABELA I like to say big up guys.

MOSES THAPELO Am lookin @ this mag rightt now n am not planning 2 return it 2 its owner.

PSYMEDIA CAPE TOWN Very cool article/interview on BPM Mag with Biorhythm aka Rubix Qube and Luna from The Village Records.

RALPH GOOD Thanks BPM Mag South Africa for your support on my latest releases!

ALLSTAR BEATARMY Another AWESOME Mag guys! Love the cover! Keep it up!

LUVUYO DEEJAY BEST MAGAGULA Best Mag Ever!!! Team Bpm...... You Guys r amazing *Respect!*!*!

SIPHIWE SPITJO KHUMALO I spotted this man in Sandton and I must say as I saw him I felt like dancing without any music playing, seeing him just brought good times.

WESLEY REDBOT BISSOLATI The winning DDJ Ergo at work :D

BPM Mag: Hi Clinton.We wanted to do one but alas the guys who do the events: i.e. the promoters did not want to shell out the dosh to support it.We couldn't pay for it on our own so we gave up on it. A pity since it's the one music scene we feel has the unity to pull this type of thing of. EUGENE MCARTHUR JOSEPH CAPRIATI (DRUMCODE) mix, great stuff...takes you back in time, with future influence.....cant wait for the live set. JAHN-PIERRE ZIETSMAN Nano was my first Psy Trance CD. I was listing to it this morning... My fave CD of all time. Good luck for another 10 years!!! LESANG MASILO You may say that I am not one for change but thee is nothing that beats the sound of a needle on vinyl. BPM MAG: DURBAN: WIN DOUBLE TICKETS TO THE OFFICIAL DURBAN JULY AFTERPARTY! GLENDELL ROETS I would love to go.

ABONGILE GEORGE MRGDEEP Cant wait 2 grab the new mag. PRODIGY XOLA Received my Bpm mag yesterday :D, currently going through and this is the perfect time. KOKETSO KOKI Bpm is killing me every time I get the mag so keep on killing me, from DJ ngaka SINAYE BUHLE MNTAKA Just got my bpm and loving the DJ Zinhle cover. Thanx 2 the team, my bpm is always on time, thanx guys MARCO LYS Thanks to BPM Mag for their support! NYTXPRESS MOLEFE Thanks guys for creating bpm mag I love this mag, thanks for giving super info.

NEO SEHLABANE Hahahahahaha I got my BPM Mag very late thanks to the post office nxa! Just read the Glenn Underground article by Tendai Luwo. Hmmmm... Sizzling stuff to make tempers flair by Glenn's comment. Nonetheless, I agree that the upcoming producers should pay attention to their quality of production and knowledge of music. Anyone can make a beat but not everyone can make a quality beat. 30th of May is my Birthday and yo'll know I wouldn't mind a software controllert (Traktor S2) *Wink wink* hint! Anyway... I'd LOVE to thank you for the "Guide To Mixing vol.1" ebook! Great stuff guys thank you thank you!!!!!!!!!!!!!! BULELANI NXALA Hey! Yo! Guys I'm a huge fan of your mag thanx a lot. CLINTON JON HATTINGH Aweh BPM. I didn't see a Psytrance South Africa Mag this summer like you had in 2010, are we gonna see one again for next summer season. Really enjoyed every page.

NICOLE BIANCA FERNANDES My cousin flying in from JHB and me from CT and I think with us joining all 3 cities for one night with these tickets would be>> #winning LAYLA MABIDI It (Prog Trance) gives me shivers that slowly move up and down my spine. No other music in the world can do this, it carries the energy that can keep you going all night long he he.

DROP US A MESSAGE on our Facebook page wall or email us at hello@bpmlife.co.za. We want to know what you’re loving, what you’re hating, and most importantly... What you’re listening to! Let us know what you’d like to see in the next BPM Mag and we could publish your letters here! JOIN OUR FACEBOOK: www.facebook.com/bpmmag FOLLOW US ON TWITTER: www.twitter.com/bpmmag

THE NEWS THE LATEST CLUB AND DANCE MUSIC NEWS FROM SA AND AROUND THE WORLD FOR DAILY NEWS UPDATES CHECKOUT WWW.BPMMAG.CO.ZA OR FOLLOW US ON FACEBOOK OR TWITTER

BEATPORT LAUNCHES MIXES

BEATPORT HAS UNVEILED A NEW SERVICE CALLED MIXES, WHICH OFFERS DJS A WAY TO LEGALLY UPLOAD AND SELL THEIR OWN MIXES.

he service works like this: the DJ makes a mix using songs he or she bought on Beatport, uploads the mix, then manually builds a tracklist from his or her purchase history. The mix will then be available on Beatport for $5.00 / 5.29 Euros. Where this money goes is part of what makes the service interesting: 10% to the DJ, 60% to the labels whose music is included in the mix, and 30% to performing rights organizations, or PROs (BMI, ASCAP, GEMA, etc.). "We're not going to make a lot of money off of this," says Beatport CTO Peter Siciliano. "This is 'Let's find out what it actually takes and what the cost is to do a legal mix, and then carve out the space however it makes sense.'â&#x20AC;? There are a few benefits to this model. First of all, the fact that labels get royalties from the sale of the mixes, something that's made possible by Beatport's pre-existing relationships with so many record labels. Secondly, that the DJs themselves get to pocket a bit of cash. And though surely less compelling to many DJs, the fact that

Beatport takes care of the PROs is significant, as it gives the mix 100% legality, eliminating the possibility of a take-down notice. That possibility might seem farfetched to some, but it's in the PROs' interest to stop mixes from being distributed for free online, and Beatport expects them to do so someday soon. â&#x20AC;&#x153;It's possible PROs will never crack down on anybody else and we will always have free mixes forever, but I don't see that being the true future," says Siciliano. There are a few drawbacks to Mixes, most importantly that it forces DJs to rely almost exclusively on songs purchased on Beatport. While it is possible to include other tracks, they won't be represented in the tracklist, and of course the relevant label won't get any royalties. Additionally, even some Beatport tracks aren't eligible for use in Mixes at this point. Mixes is currently in an invite-only beta stage, but you can find out more about it and leave your comment at http://mixes.beatport.com/

NO MORE CLUB GIGS FOR LARRY HEARD Larry Heard has long been one of the most important figures in House music. A native of Chicago and a lifelong musician, he got his start making club tracks with Ron Wilson and Robert Owens as a member of Fingers, Inc., a group that drew the blueprints of House music with songs like Mystery of Love, Bring Down the Walls and Can You Feel It, all of which still get played in clubs today. Heard proved equally strong as a solo artist, releasing dozens of records over the next two decades under his own name or as Mr. Fingers, including such recent classics as 2007's Sun Can't Compare. By the end of the '90s, Heard was in high demand as a DJ, a role he accepted but never fully embraced. Decades of playing out in clubs has taken its toll on Heard's hearing, he says and by now it seems like the only way to preserve his role as a studio musician is to give up his role as a club DJ.

MUSIC NEWS

DJ Q OPENS THE ARCHIVE he UK bassline producer has announced a collection of his past work for release this month. DJ Q will release an anthology called The Archive on his own Q Recordings. Though most of the attention surrounding the post-garage UK dance genres is usually turned towards Grime and Dubstep, another style emerged around the same time in Sheffield known as "Bassline." Largely the same tempo as Dubstep and Grime, Bassline has a hardedged sound with wobbly LFO Bassline and garage-style chopped vocals. One of its largest proponents over the years has been DJ Q, who since 2006 has held a regular slot on BBC Radio 1Xtra.

CLUB VIBE RELAUNCHES IN CAPE TOWN If you were a Cape Town raver back in the 90's then chances are you may have

stumbled across Club Vibe one LED lit night. Club Vibe had a dominant run in the night life scene from 1993 – 2002 having started from humble beginnings in the Lansdowne Industrial District. They coined the concept of themed events such as the infamous 12 Hour Mega Rave™ parties, 16 Hour New Year’s Eve parties, Earthquake™ Experiences, Red Alert™ and the Code Blue™ Matinees. In 2012, the Club Vibe Legacy has been upgraded. Their official re-launch will take place this Spring, following the 12 Hour format and they have introduced a few fresh twists ‘n tales. Expect an unprecedented artist line-up complete with live show elements and concert-level production design. If you're up for a little déjà vu or keen to check what the fuss is about, be sure not to miss the opening event. Follow them on Facebook for updates. https://www.facebook.com/ClubVibeSa

THE BRAND NEW AVASTAR NIGHTCLUB IN RIVONIA The 'Avatar' movie themed nightclub in Rivonia, Joburg's latest, 'Avastar' launched on 1 June this year, not long after the promo video with owner Mike Basson went viral on YouTube sporting 60 000 plus hits. [Simply search ‘Avastar’ on the video channel and you’ll find it.] Taken off their Facebook fan page “Welcome to a world where our reality takes you far beyond your wildest imagination. A nightclub like no other, Avastar invites you to a secret land where futuristic mid 22nd century meets state of the art technology and you will experience nothing short of an extraterrestrial awaking of the senses.What happens in Avastar stays in Avastar.” If you're into all that check them out in Sandton, (Cnr. 10th and Rivonia

Boulevard) They've also headlined 'Pleasurekraft on Friday 29 June and have some of SA's favourites DJs as residents namely, Roger Goode, DJ Milkshake, Lady Lea, Mark Stent, Vin Deysel and Erica Elle.

MUTHA FM LAUNCHES NEW MEDIA CAMPAIGN MUTHA FM's new partnership with Dizzisit.tv from Amsterdam now means that Mutha FM will also be streaming TV online. The station has always been at the forefront of the music scene in South Africa and was the country’s first internet based radio broadcaster. Now almost eight years later, Mutha FM is the obvious alternative choice to mainstream radio stations. Because of this new Cape Town Amsterdam connection, Mutha FM is able to jump forward and use the technology that will only be available in SA within a few years time. In June Mutha FM launched its brand new IMI (Interactive Media Interface) to You (the listener/ viewer/end user) and this allows anyone to interact with the DJ’s via the real time chat room, leave comments in the comment box and watch the goings on inside the live studio from three fully operational mini TV cameras. The IMI is constantly being developed by the team in Amsterdam which promises fantastic features in the near future with social network compatibility.

THE MOTHER PARTIES MAKE A COMEBACK! Following months of speculation, MOTHER Entertainment has confirmed that it will make a spectacular return to South Africa this December. Two massive events have been confirmed for Friday, 7 December in Cape Town and Saturday, 8 December in Johannesburg - to signal the start of a new era for MOTHER, one of South Africa’s most prolific and revolutionary dance brands. Follow their fan page for updates. https://www.facebook.com/MotherEntertainment

MR BONG DEBUTS WITH BONGVILLE STOMP ON ON A BREAK RECORDS

CANDI ROOTS 2 BOB’EZY, V.UNDERGROUND & MINDGAMES Soul Candi has released Candi Roots 2 - showcasing some of South Africa’s hottest music producers; a clear sign that the stalwart label is determined to launch promising DJs and producers into the limelight. Volume 1 sold more than

eight thousand units proving that it’s more than just a handful of names that can get people buying new music. Candi Roots 2 consists of three CD’s produced by Bob’Ezy, V.Underground and Mindgames. Check out our album review on Pg 38.

29 March 2012 saw Mr Bong present his debut album, Bongville Stomp, through On a Break Records. Bongville Stomp is a concept album, created by Mr Bong with a vision of a utopia with a soundscape of genres close to his heart. Bongville Stomp is an alternate reality where beats, breaks, dubs and bass all live in a peaceful unison, instrumental to the co-existence of their energy that is created by their symbiotic relationship. This multi-genre album features various artists, producers and hero’s to Mr Bong, from around the globe such as Enough Weapons, Crosby, Koldprodukt Trenton and Free Radical , DJ Redwood , DJ Afrowhitie, J Rokka, Blunted Stuntman, Bakaman, bRoTheRmAn, MC Fizzy and Tamanda Walker. Check Mr Bong out on Soundcloud. http://soundcloud.com/mr-bong Checkout Mick’s album review on Pg. 42

FABIO & MOON - SA TOUR ANNOUNCED Both Fabio & Benni Moon are notorious for their excessive passion for a party and a knack for the appropriate bumping music, their joined forces representing a mighty double dose of up-to-date Progressive sounds. They're bringing their fresh interpretation of dance music to SA in August. Dates: CT - Sat 4 Aug 2012 | JHB - Wed 8 Aug 2012

COLUMNIST

By The Little Misfit

The Little Misfit

SOLD! 'THERE IS NO SUCH THING AS SELLING OUT, BECAUSE THERE IS NO ONE TO SELL OUT TO’ e all sell out in one way or another; no matter if you sport natty dreads or naffEd Hardy threads - you’re buying into a culture. It’s the same with music, even though a scene may be ‘under-ground’; you’re still consuming the music, the parties, and the lifestyle. Why then do we crucify our musical heroes when we perceive them to do the same? I’ve got news for you; they’ve been doing it all along, their popularity - aided by you and me - has just made them more noticeable. Music culture wouldn’t exist without supply and demand. Modern society wouldn’t exist without supply and demand - see where am I going here? Author and blogger, David McRaney of You Are Not So Smart, writes that: ‘everything is part of the system; there is no such thing as selling out, because there is no one to sell out to.’

WHEN IS SELLING OUT, SELLING OUT? Way back, when I was an insouciant fairy tripping the light fantastic at trance parties, where the music was psychedelic and the entrance was cheap, we felt as if we were smarter than everyone else, we had found this alternative scene that shouted in the face of the dominating house culture - we were different, special, and we held onto this belief like a commodity. Supporting this idea is an excerpt from You Are Not So Smart: ‘Having a dissenting opinion on movies, music or clothes, or owning clever or obscure possessions is the way middle-class people fight each other for status. They can’t out-consume each other because they can’t afford it, but they can out-taste each other.’ A decade and a half ago nobody but a select few knew about the psytrance scene. This elevated our status, at least in our own minds, above the pop music masses. One lumo explosion later and it’s one of the most popular music genres out

there. These days the crowd’s more trustafarian than Rastafarian, the music is more banging than psychedelic and the entrance has been marked up by 300 per cent. We feel cheated, socially bankrupt. We react with such emotion to an artist who we deem to have sold out essentially we feel as if they’ve robbed us of something intrinsically valuable to our social status. There are so many different types of trance music within the genre itself; dark, progressive, commercial, banging, fluffy, full-on… It’s a constant tugof-war for status supremacy. Infected Mushroom is the most obvious example of a ‘sell out’ psy act. Their debut album The Gathering was the blueprint for true psychedelic. These days with their Electro/Dubstep/House/Rock, erm, sound they’ve gone from headlining the Vortexs of the world to the Ramfests, and they’re been well paid for it too. When is selling out, selling out? The Urban Dictionary’s definition of selling out is: ‘anyone who sacrifices artistic integrity in an effort to become more successful or popular (generally in music); someone who forgets their roots.’

OK. I’ll bite. But how can you tell? Perhaps the style is naturally evolving; it isn’t a crime to change your offering. Besides what makes any individual the arbitrator of taste? Just because you don’t like it, it doesn’t mean they’ve sold out. But with that being said, I will concede that worldwide there is a definite dumbing down of dance music - and America, realm of pop, is mostly to blame. In recent times the EDM scene in the country has exploded, with festivals drawing hundreds of thousands of people, and with mass appeal comes mass mediocrity. The Wall Street Journal (yes it’s got that popular), climbed in saying that: ‘the complex rhythms and synthesized orchestrations are now playing second fiddle to pop and hip-hop vocals’. But, let’s not confuse success with selling out. If your favourite artist is suddenly remixing a Britney Spears track to 145 BPM, then you may be on to something. But if all selling out means is a sold out show, and an endorsement deal then more power to them.

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FEATURE

By Sergio Pereira

UN-DIPLO-MATIC “THE MUSIC WILL KEEP GOING IN THE DIRECTION IT WANTS. IT’S LIKE AN ICEBERG; WHEN THE MAINSTREAM, ON THE TOP, GRADUALLY MELTS AWAY, THE BOTTOM COMES BACK UP. IT’S ALWAYS A CYCLE – AND I ALREADY HEAR THE MAINSTREAM PRODUCERS SOUNDING BORING...” scouting and uncovering South African talent? After all, Diplo is notorious for being a major cultural enthusiast, who theoretically unearths and introduces underground scenes to the world. “It’s so hard to get here and spend quality time, but I’m definitely doing that in the future. Hundred percent promise,” he says, adding that he hopes to bring his dancehall project, Major Lazer, to our shores soon, as well.

“I DO HATE ALL THE HIP HOP PRODUCERS TRYING TO MAKE HOUSE MUSIC…”

homas Wesley Pentz, the superstar DJ/producer better known as Diplo, who is one of the headline acts at this year’s Oppikoppi festival, is a publicist’s worst nightmare. He has no filter and speaks his mind freely, holding nothing back. Ask him what he plans on doing

with his downtime in South Africa, and he frankly replies, “Going to strip clubs or flea markets... maybe [I’ll] sleep on top of Table Mountain and take acid.”

From Diepsloot to Diplo Sounds like a regular Wednesday night on Long Street - right? But what about

Chances are high that Diplo will keep his word, considering that he’s already bosom buddies with local musicians, such as Die Antwoord (whom he worked with on the kiff zef track Evil Boy). “I love Die Antwoord,” Diplo affirms, “and I’ve been friends with a lot of Cape Town artists for years. I really like this broken South African house stuff like Cndo and [DJ] Cleo.” Nonetheless, even if Diplo does decide to take our indigenous sounds to the global stage (as he did with Jamaican dancehall), he’ll probably still receive a mouthful from his critics, who’ll cry that he’s profiting and taking advantage of world music for his own personal gain. Why does he think he receives this sort of burning criticism? “I dunno. This question is boring.” Uh-oh. It seems like this topic has gotten under his skin and annoyed him. “No one asked Timbaland if he was taking advantage of Indian or Japanese music 10 years ago. Why is it relevant now? My style has always been about mixing; that’s what a DJ does. It’s the same process since Afrika Bambaataa sampled Germany’s Kraftwerk.”

Celebrity Culture Pissing on the celebrity culture, Diplo has also said that he doesn't care about Grammys or any other awards - yet, he's constantly working with artists who are consistently aiming for these honours with each effort he produces. Testing his brutal honesty (and patience), I ask if this isn't a bit of a contradiction. Diplo sidesteps the question with quick wit. “I can't speak for the artists I work with - but, [for] me, I just want to take polaroids of really cute girls and eat the best fried rice in China.” Speaking of photos, Diplo has also

been the subject of a book titled 128 Beats per Minute: Diplo's Visual Guide to Music, Culture and Everything in Between, which is the visual guide to his insane musical journey, photographed by Shane McCauley. So, not only is he a beat master legend - but he's been immortalised in paperback, too.

The Future of EDM With every musician and their dog going electronic nowadays, you have to question the future of electronic dance music with all this bandwagon hopping and overkill. Will it harm EDM in the long run? Diplo weighs in with his opinion. “The music will keep going in the direction it wants. It’s like an iceberg; when the mainstream, on the top, gradually melts away, the bottom comes back up. It’s always a cycle - and I already hear the mainstream producers sounding boring. You know... I always have people telling me that so-and-so [is] biting my style and I need to capitalise - but I say, if you’re patient and you’re good, things will come back to you. I think with Usher’s Climax, that’s me doing something totally different than the rest, and making a bona fide hit and making the critics happy. Real fans know who the copycats are and who really has the ingenuity to do something different. I do hate all the hip hop producers trying to make house music, though; they just don’t get it. Armand van Helden told me some great stories about the way the New York scene changed, and how all the guys who were making money on the pop/R&B world had to rethink what they were doing; and it’s good to shake things up.” In terms of his own future, Diplo has already started planning his next step, even though he’s just released his latest EP, Express Yourself. “I have a split 12"... some cool house type of stuff. One with

Photo: Shane McCauley

ven Bieber has Diplo Fever

Critics aside, the hotshot music industry players have a hard-on for Diplo and in a big Peter North sort of way. Megastar names, such as Usher, Chris Brown, Bruno Mars, Snoop Dogg and Beyoncé are queuing anxiously outside his control room, ready for him to wave his synth wand and sprinkle loop magic over their glistening tunes. Whether he's producing a Billboard hit for Usher (Climax), giving Beyoncé a much needed edge (End of Time), or fusing Dutch house and hip-hop for Chris Brown's Grammy-nominated track Look At Me Now, Diplo is the one figure who has managed to bridge the gap between mainstream and underground. His dynamism and disregard for “music rules” are what sets him apart from the rest. Most recently, the prince of pop, Justin Bieber, roped in the in-demand producer to work on his new album, Believe. With such a mad-busy schedule, has there ever been a time when he's just said no for the sake of it? “All I want to do is make music, and everyone I've worked with has been a great experience,” Diplo states. “I had a chance to make a pop song with the biggest pop star in the world [Bieber], so of course I wanted to; [and] I did it and I'm proud of it and that's how I approach every song. I've never been a person to be constricted by genres or underground or mainstream; I really don't care. All I care about is music.” Alright, he loves music before genre or commercial standing - we get it - but are there any artists he will point-blank refuse to work with? “I mean, I'll meet anyone. Sometimes, I just won't call back, if there's no chemistry. Some people might get the refusal... like the Prime Minister of Syria or George W. Bush, I guess,” he humours.

Laidback Luke and Ms. Dynamite, and one that’s like a crazy, psych-rock-house joint. Then, some more avant-garde music in 2013... and the Major Lazer album; it’s a killer!” So, no breaks from music, then? “Just getting through this summer, man. So many deadlines. This Snoop Dogg album I’m doing is gonna blow people’s minds... and Major Lazer. I’m excited; it’s such a good time for music right now,” he says.

Freshening Up Wrapping things up, and with the Oppikoppi gig in mind, we just have to know what Diplo’s secret is to keeping his sets fresh, especially since he’s performing close to 300 shows a year. “I think that’s the key [keeping it fresh]. I’m always out there listening to new music, meeting new people, hearing the different sounds. It’s my friends and collaborators keeping me fresh - the mad decent crew.” For more information on Diplo, visit www.maddecent.com

DIPLO SA Tour: 8th August - JHB: Venue to be announced 10th August - CPT: Discotheque @ The Assembly 11th August - Northam: Red Bull Studio Stage @ Oppikoppi

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FEATURE

By Nathan Kabingesi

HARRISON CRUMP NATHAN KABINGESI SITS DOWN WITH HOUSE MUSIC LEGEND HARRISON CRUMP TO CHAT ABOUT MUSIC PASSION, HISTORY AND HIS NEWFOUND LOVE FOR SOUTH AFRICA... t’s a brisk but sunny winter afternoon, I’m about to have a sit down with Harrison Crump and the man waving at me from the other side of the fountain couldn’t be closer to what I expected. Rocking a powder blue shirt over a white tee, jeans and sneakers, he cuts a nonchalant figure as he saunters around the waterworks. Converging on our destination, a café on the square in Sandton, I’m struck by just how charismatic the guy is; he smoothly introduces me to his local go-to guy as we negotiate our way between patrons and waiters to get a spot in the sun.

“I GOT A REQUEST FOR A TRACK I DIDN’T HAVE WITH ME, AND THE GUY OFFERED TO RUN HOME AND GET THE RECORD!” Immediately cracking a joke about how Joburg winter “Ain’t got nothing on Chicago, man”, Harrison lets out one of those deep, infectious belly laughs that I’m pretty sure he also uses as a form of punctuation. So drawn in by the guy’s good-humouredness, I can’t help but open with the line, “So what brings you to town, my man?” He launches into a description of the reality TV show he’s shooting, tentatively titled The Secret of Harrison Crump, all delivered in animated yet mellowed out, Illinois drawl. I ask him how it is that a musician from the Chi’ finds himself having an interview in South Africa, talking about making a TV show “Man,” he responds with a huge grin, “Let me take you back to the beginning…” Born and raised in the South side of Chicago, Harrison Crump started hosting parties as a 15-year-old in his back yard, “Mom was cool about it, as long as I cleaned up afterwards” he quips with a wry smile. He started writing his own music and tinkering with the keys at around the same age, but his transition into spinning didn’t

come until he left high school, just as House Music was exploding in the city of its birth, “Man, it was a whole culture you know? We were all about baggy parachute pants that flared out when you danced, wild Mohawk

do’s. I remember nights at the McCormick Place in Chicago. There was this fresh, new music, good people; it was an atmosphere you couldn’t help but get caught up in.”

17 t wasn’t long after enrolling at Columbia College (School of Arts) that his singing and song writing skills caught the attention of producer Felix da Housecat, as Harrison remembers, “Felix was looking for guys to start a group, we met and he was like, ‘Aye man, I heard you can sing, let’s make something happen.’ I guess he didn’t need nobody (sic) else after that.” The two were soon collaborating on tracks like Work That (Chicago Underground) which led to Crump releasing his first selfproduced work, a five track EP titled The Underground through Scottish label HubbaHubba. Steady work with labels like Groove On Records and Felix’s Radikal Fear lead to interest from Play It Again Sound (PIAS), who called him up to do an album. This project saw him receive his first substantial income from music, which he immediately used to invest in his music, “I got that cheque, and the first thing I bought was a Roland RS7; I wanted to improve my production, so I started getting equipment together to build a studio” he recalls. Harrison worked as a waiter for a time while he honed his skills, “Man, I used to jack burgers for supper just so I could save money for equipment.” Putting together his own studio wasn’t without other pitfalls though; in one particular incident, Crump found himself at the end of a .45 while trying to take advantage of a sweet deal to buy a former partner’s equipment, “Those shots went off and for a while I thought I was dead. But when I didn’t feel any pain, I realised just how far I was willing to go for my music.” So he went home, shut himself in his apartment for three weeks and came out with Get Boogie, which he quickly sold to Erick Morillo from Subliminal Records. Follow ups like One Way and Stomp Your Feet were quickly snapped up by Subliminal, and that, as they say, was that, “I’ve been making a living from this music ever since.” Distribution deals were forthcoming after that, seeing Harrison hook up with Red Devil Distributing who helped bring the hit Gone to local ears. Run Away Dreamer, another of his big local successes, was actually originally written over Felix’s music, which he remade and released with the help of Philip Cheeseman from Strictly Rhythm. He partnered up with PIAS once more to release I Need Your Love, a veritable classic. But his affair with South Africa, which is now as good a second home to Harrison, didn’t blossom until he ran into our very own DJ Mbuso at the Miami Winter Music Conference, "I had no idea how popular my

music was over here until he came up to me and told me how big Stomp Your Feet had become.” An invitation to tour the country soon followed, culminating in a party at the iconic Carfax that he describes as, “One of the best gigs I’ve ever been to. I mean, I got a request for a track I didn’t have with me and the guy offered to run home and get the record!” When asked about Glenn Underground’s scathing observations in reference to the local house scene, Harrison lets out another rolling laugh before remarking, “Glenn’s a vocal guy and doesn’t care much about what anyone thinks; he’s also been in hot water with the older cats in the House establishment like Vick Lavender for basically saying the originators of the sound should give the game up and retire, so you should take his

comments with a grain of salt. He’s never been out here as far as I know; he hasn’t seen for himself some of the quality productions being put together in South Africa, so his opinion really can’t count for much as far as that goes. Some of the best gigs I’ve ever played have been in SA.” Subsequent trips have only cemented that relationship, resulting in the licensing of the mammoth hit Once Again (Soul Candi), partnerships with his HUMP Records, collaborations with Mbuso on his landmark Reconstruction album as well the release of Crumpster’s latest full length album, House on Fire (Universal) which features the popular No, No, No. Find his album in all good record stores and follow him online: Search ‘Harrison Crump’ on Facebook.

Available in August 2012

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Q ‘n A

By Jason Geland

AUDIOPHILE 021 “YOU CAN'T FORCE CREATIVITY, SO IF I'M REALLY FEELING SOMETHING I DO WHAT I CAN BEFORE MOVING ON.” udiophile 021 is a bona fide stalwart of Cape Town’s electronic scene. The prolificacy of his output is unmatched, his genre-splicing sound unparalleled. An accomplished producer, sound engineer and DJ, there’s very little, sonically speaking, that he hasn’t done. Here’s what he had to tell us about his life so far as an unabashed tune junky.

Pretend we have a time machine. Pretend you're already strapped in. Take us back to when Steve Elsworth first became the entity known as Audiophile 021? It was a gradual progression. I played for many years just using Steve, but I never really felt that it was what I wanted to convey. I grew up in a home where there were always records playing and I spent many hours in record shops searching for tracks. One day the guy at the store said to me "You’re quite the audiophile." I moved to Cape Town in 2003 and signed a mixed tape Audiophile 021 and the name stuck.

“... THERE WERE THOUSANDS OF PEOPLE EVERYWHERE, SMILING AND JAMMING. IT WAS AN AMAZING NIGHT.“ Your current music is a maelstrom of textures. Genres like Glitch and Dubstep are introduced to each other and before long they coalesce to form something new. What music did you grow up on? I listened to lots of classical music and 60's Rock and Folk like the Beatles and Jim Croce. Later I started listening to alternate music and Hip Hop. In high school I was listening to House and Detroit techno and from then on it was all about electronic music. You've studied at Cape Audio College. Did this improve your understanding of your craft and do you advise aspiring electronic music producers to study? Cape Audio College was a real stepping stone for me. I was at Wits before, studying Dramatic Arts. I was already producing, but it wasn't until CAC that I really began to graft. I fell in love with Sound Engineering, making it my mission to learn everything I could. I think studying is essential. You need people to help point you in the right direction and teach you techniques; this

allows your music to progress. That is the key, stagnancy leads to loss of focus. Aside from your music, you’re also the head sound engineer of Red Bull Studios Cape Town. What's like it balancing your own output with that of the artists you work with? It’s really hard. I try to balance it out. You can't force creativity, so if I’m really feeling something I do what I can before moving on. I get to be creative all the time. So whether I’m working on my own stuff or other people’s, I push myself creatively to invent unique solutions. You're a remix specialist, delivering your own spin on everything from hits by the likes of Adele, to local acts like The Frown. Could you describe the process of placing your own stamp on other artist’s songs? It’s about how a certain track has affected me. Remixes are an organic process. I find the parts I like in the work and then only use those elements. So, for example in The Frown remix I only used Eve's vocals, the same as the Adele remix. This gives me freedom to create my own elements to combine into the remix, allowing me to feel closer to the work. The Cape Town electro scene has made colossal strides in recent times. What would you attribute this to? An interest in electro reaching its peak? Unprecedented access to production software? Both? I think that it’s a bit of both. Gone are the days when you had to search for electronic music or have access to multimillion rand studios. Electronic music is everywhere; you cannot help but find styles that you like. This has allowed new vistas of people access to the industry. It has become so easy for anyone to create electronic music. From GarageBand to the internet you can do and get anything.

This is both a blessing and a curse. Ultimately, I think it’ll only strengthen the scene. Those in it for the right reasons will grow, others will fade away. What's your all-time favourite gig memory? Last year’s Oppikoppi festival. I remember being really nervous, then I relaxed and started doing my thing. I remember looking out properly for the first time during my set; there were thousands of people everywhere, smiling and jamming. It was an amazing night. We've entered the latter half of 2012, how do you envision the rest of the year unfolding? I’m going to make a concerted effort to really push on the production side. I’m also working on a live show of my work; hopefully it’ll be ready by December. Other than that just working hard, DJ'ing hard and enjoying this thing we call Music... Become a fan: facebook.com/AP021

ARTIST Q 'n A

By Mary Honeychild

ON THE EDGE WITH EDX “MUSICALITY IS SUPER IMPORTANT BECAUSE THAT'S WHERE THE FEELING COMES FROM. BUT THERE IS NO MUSICALITY UNLESS THE PRODUCTION IS GOOD.” ith the release of his debut album - On The Edge - 2012 looks like it is going to be a big year for Swiss born producer and DJ, EDX. Having been involved in the music industry from an early age, 2011 was perhaps his busiest thus far with gigs at some of the world’s finest clubs and biggest festivals everywhere from Miami to Los Angeles, Las Vegas, New York, São Paolo, Rio de Janeiro, Seoul, Taipei, all the way to Melbourne and Sydney as well as holding a weekly summer residency at the world’s number one club - Space, Ibiza. An acclaimed producer and remixer he has worked with the likes of Axwell, Benny Benassi, Kelis, Deadmau5, Armand Van Helden, Bob Sinclar, Kool & The Gang, Kaskade, Armin Van Buuren, Steve Angello of the Swedish House Mafia, Dubfire and many others. Mary cyber-chats to Maurizio Colella about his debut album, his remixes and some of his favourite events... Your album - On the Edge has just been released – it has a happy uplifting Progressive House feel. How much of your own personality do you bring forward in your work? It's super important to always bring your personality and feelings into the productions. I believe that fans can see and feel when an artist has put a lot of heart into a production, and enjoys playing that track. I like to give happiness to my fans. I try to always put something innovative without losing the EDX progressive soul. Back in 1994 you had a reputation as a cassette mixer for the famous Club Tarot. What was your purpose with this? I used to record world famous DJs in the clubs and then sell the tapes the day after. That way it would already be on the streets and in between I added my own mixes as well. I did like one mix a month. You've done remixes for a long list of artists such as Sebastian Ingrosso, Laidback Luke and Kaskade to name a few. Do you have any favourites that stand out amongst that list?

Photo by: Gio Alma

I LIKE TO GIVE HAPPINESS TO MY FANS. I TRY TO ALWAYS PUT SOMETHING INNOVATIVE WITHOUT LOSING THE EDX PROGRESSIVE SOUL.

I like them all to be honest; each one represents a different stage in my life. I like the one I did for Dubfire, or to name a more commercial one it would be the EDX remix of Kaskade's Angel On My Shoulder. I don't really think much when I am remixing. I go with the flow and vibe that the track gives, and then after a little bit I just make minor retouches. You've played to huge festival crowds and also in clubs to smaller floors. DJs often say that a small intimate club is in fact more difficult than a big festival. What’s your take on that and which do you prefer? It's amazing to have a huge crowd of people dancing and jumping while I play, but small clubs are also very nice and intimate. I try to create a connection with the audience no matter how many people I am playing for and that gives me so much happiness back. Your production quality is extremely good. An obvious reflection of this is

your incessant success on the Beatport charts. Which do you think DJ’s respond to most when previewing music; production quality or musicality? Musicality is super important because that's where the feeling comes from. But there is no musicality unless the production is good. The more outstanding the production is, the closer you will get to the feeling a producer wants to transmit. An Ibiza residency is no doubt a highlight on any DJs annual roster; what other events this year (past or future) will go down as a strong memory? I would love to name them all. I think it's worth it to remember my past and first Australia tour for Stereosonic, which was an amazing festival experience. Electric Zoo in New York in 2011 was amazing too. I got so much love from the fans over there. As for the future, the highlights are of course festivals held by the Insomniac Events, for example EDC, and obviously all my gigs in clubs such as Marquee in Las Vegas, or my No Xcuses night in my home town Zurich at Kaufleuten Club. For any and all Progressive House lovers, his latest album On the Edge is out now. Find EDX - facebook.com/EDXmusic Read our album reviews on Pg 38

FEATURE

By Heather Mennell

SIMIAN MOBILE DISCO: RESET YOUR EXPECTATIONS as Shaw and James Ford are among the most in-demand producers, DJs and remixers operating in the UK today. Simian Mobile Disco made their name when the new wave of indie and electro exploded in the mid2000s - but the pair has turned their backs on the sound that is largely responsible for their success. In a recent interview Jas Shaw told BPM that SMD no longer identified with the ‘noisy’ electro scene; that they’d fallen out of love with the sound that was largely responsible for their early success. Their new album, Unpatterns - with its stripped back techno and deep house sounds is a sharp departure from their previous artist album, Temporary Pleasures - which was driven by a star-studded cast of indie vocalists including Gossip’s Beth Ditto, Hot Chip’s Alexis Taylor, Gruff Rhys from the Super Furry Animals - amongst many others. It must have seemed like a good idea at the time after all, both Jas and James have co-production/co-writing credits for a long list of artists as varied as Florence & The Machine, The Arctic Monkeys and The Klaxons. But what sounds good in theory doesn’t always sound good and positive reception was not unanimous. “The vocals took control of the record”, admits Shaw “I feel we learnt a lesson on that, not to be disparaging about it.” he continues, “When we’re making music we always look for that point where we lose control of it and it starts to do its own thing. Having a vocalist come in is an element of losing control - and in each of those cases, the way you lose control is tied to that individual person. There’s a lack of cohesion in that, and Temporary Pleasures felt quite fragmented, in retrospect.” Simian Mobile Disco are best known for a sound which is intrinsically tied to hardware. Old hardware. They are bonafide synthesizer fetishists who have a deep relationship with the idiosyncrasies of analogue production techniques. He talks me through the intricacies of their process using words and phrases like “mathematical elegance”, “symmetry” and “feedback loops”. When I use the word

experimentation Shaw corrects me. “Experimentation is perhaps a slightly grand word for our process. We just treat it as mucking about,” he takes the idea further - “experimentation in its proper form should be: you have an idea of what you want and you’re testing whether that is the case. But with this record we knew there were a load of things that we didn’t want. We didn’t want to use vocals in the same way we did on Temporary Pleasures and we knew

“...MOST PEOPLE MAKE MUSIC QUITE INTUITIVELY AND IF WE DIDN'T IT WOULD JUST FEEL LIKE A JOB.” that we didn’t want to make an entirely instrumental album either - so we had a scope to explore. A constrained scope.” he says. I recall my first encounter with SMD- an ‘End of Year Rave Up’ (which I peeled off the cover of a UK dance music magazine - circa December 2007) - and bring up the massive departure they’ve made. “I think we’ve definitely pissed a few people off by doing that” he admits, “but it just wasn’t for us.” he explains. “At the start that sound was fresh and exciting but after playing gigs around the world we felt that some DJs were taking it a step too far. They showed us a side

that we were not comfortable with. At all. Very noisy electro, very aggressive, very distorted. We just thought ‘this isn’t what we signed up for’. We felt that the scene ended up in a cul-de-sac and we were getting into different stuff... so we just sort of wandered off.” SMD’s new sound hasn’t come out of the blue. Hints that they’d be releasing a more ‘atonal’, techno-based album had come in the form of singles (or ‘Delicacies’) which the pair released on their new imprint Delicatessen. But let’s be honest - it takes guts to change direction. Many producers stick to pleasing their existing fan base instead of being true to themselves as artists. But for SMD this simply wasn’t an option. “I can’t imagine doing it any other way,” says Shaw “most people make music quite intuitively and if we didn’t it would just feel like a job. I can’t imagine how that wouldn’t be evident in the music. It sounds like a trap.” What becomes clear is that superficiality and crowd-pleasing is not on SMD’s agenda. First and foremost they want to make music that they like. Their new album, much like Shaw - displays their maturity as producers and the energy and cohesion that the pair felt was missing. This is a new chapter. Think you know Simian Mobile Disco? Think again.

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24 FEATURE By Malu Lambert

PSY

VS. PSY

BANGING NIGHT-TIME PSY ACT HIYAMYZO IS THE COLLABORATION BETWEEN MARRIED DJS HIYARANT AND DJANE MYZO; OTHERWISE KNOWN AS STUART AND LILI VERMAAK. t’s a tale as old as time itself, well, not quite: South African boy DJ goes to Portugal to play at the Quest4Goa outdoor festival and meets Portuguese girl DJ by a crystal lake. “There was this beautiful lake with transparent water,” says Lili, describing the moment she and Stuart met. “Stu told me he couldn't imagine a better place to be. It’s one of the most extraordinary venues in the world. We just connected from the beginning.” Stuart is less poetic, but to the point: “We met at a party in Portugal, and it was love at first sight, simple really.” Fast forward to a sunset proposal on the beach, then an intimate wedding, and the pair are happily married and living in the coastal town of Fish Hoek, Cape Town. Lili, or Djane Myzo, is known for playing pounding psychedelia. The petite blonde is an energetic presence behind the decks, and has signed with a number of labels that covet her ‘full on’ style. She’s also recently started producing with Stuart for their joint live act, Hiyamyzo. Stuart describes his style as ‘over the top’ and aside from his solo project, Hiyarant, he also collaborates with Frozen Ghost as psy act Dirty Motion and has a breaks project [with Dave Love] called Enough Weapons. To top it off he’s a co-owner of Disasterpeace Records.

Is there some competition between the two of you when it comes to bookings? Lili: We don’t fight, the money gets spent by me anyway [laughs]. It doesn't interfere with our relationship, when Stu plays, I party. I loved his music before I even met him. Stuart: The way I see it, it’s cash either way, and whether I’m playing or not I’ll be at the gig to hear the tunes. I catch all of Lili’s shows pretty much; she’s an awesome DJ. This one’s just for Lili. Will you also be producing, or is your focus on Djing? Lili: I produce alongside Stu for Hiyamyzo. For my solo project I only work when Stu isn’t around - I’m too shy to show to anyone, especially him. I need much more

“WE MET AT A PARTY IN PORTUGAL, AND IT WAS LOVE AT FIRST SIGHT, SIMPLE REALLY.” time in the studio until I’m ready. But expect music for the body and mind: big breaks and fat bass that’ll get people jumping in the air. Stu is my mentor. He's taught me most of what I know about music production. Although our ideas are completely different we always find a balance. We have very different energies, but they complement each other—that’s why I think Hiyamyzo is so unique. You make night-time music, would you characterise it is as dark psy? Stuart: I’m not insulted…just surprised! I thought you had to be close to 160 bpm to qualify as dark psy. My music is my perception of psychedelic, organic textures and powerful emotions, it’s thought provoking - an experiment that’s open to perception. It’s not dark psy in the broad sense, but still dark I suppose, just not as fast. What do you think the future holds for this kind of music in South Africa, ‘dark psy’ or ‘night-time’? Lili: I think the style of music we play is the

most loved in South Africa. It’s the only place I know of in the world that the crowd goes through a party with only night-time psy from the beginning to the end and loves it. Globally I think daytime music has got a bigger number of fans. But quantity doesn't always mean quality. Stuart: In South Africa our music is cooking! The scene is as cool as any I’ve seen, the future’s looking good. Globally, our style is well supported, but not really on a commercial level. There are more mainstream artists who are doing really well on the daytime scene globally. Our aim with Hiyamyzo is to bring the energy levels of the night-time into the day. To finish off, let’s do a quick couple’s test. Stuart’s favourite piece of musical equipment is… Lili: Either his Mac or synths. His guitar and bass come second. Stuart: My Apple Mac. That looks like a pass to me. Keep your ear to the stomping ground: the pair says they’ll be releasing a Hiyamyzo album in the near future. In the meantime, follow them on Facebook for upcoming gigs. Simply search ‘Hiyamyzo.’

EXCLUSIVE INTERVIEW

By Mary Honeychild

PHAROAHE MONCH: A MODERN DAY HIP HOP SOLDIER noonday call to respected New York Underground Hip Hop Rap artist, Pharoahe Monch, well known for his hit track Simon Says, and also for his work with Talib Kweli, Mos Def, Mobb Deep, Nate Dogg and Jean Grae amongst others, proves to be an intriguing chat. Our conversation reveals a few things about his growth since being one half of the duo ‘Organized Konfusion’, the artistry and message behind his body of work, and what performing for the first time in South Africa was like, at this year’s Cape Town International Jazz Festival.

He opens up… “The biggest change as an artist happens when you start to tour and touring becomes the mainstay thing you do. When you tour you have to consider what will translate live on stage, versus when you‘re starting out. At first, all you really think about is expressing yourself.” Monch is known and loved for his level of self-expression. In 2003 he released a single titled Agent Orange, a war inspired track. Who or what exactly is ‘Agent Orange’ I ask? “It’s [Agent Orange] a chemical used in the ‘Vietnam War’ and orange is also my favourite colour. It was first used as a pesticide to cut down shrubbery and grass when they were in the jungle. It ended up having mental side effects on the soldiers. I was frustrated with American politics, and that we were going into war again and I used ‘Agent Orange’ to express myself.” This wavelength of thinking is a common thread in his music. His latest album release W.A.R (We Are Renegades) reflects a man who takes on a soldier figure in Hip Hop. He also wears a gas mask in the album cover picture. “There are a lot of layers to what I do.The gas mask is a statement about the environment and my asthma problem.The pollution is in the country, it’s a war on health. Also it’s a war within me to grow. As people we are meant to grow and evolve. War… [he pauses] it’s a battle to remain in control of your thoughts and mind.”

“WAR… [HE PAUSES] IT’S A BATTLE TO REMAIN IN CONTROL OF YOUR THOUGHTS AND MIND.” It’s interesting to learn about his concepts on what the real battles in life and the heart are about. Desire is his 2007 album release; this offering leaned a lot less to the grittier, more pronounced essence of his music. Desire showed his fans a more ‘lifted’ side to his personality, a side mirroring his soulful and Gospel roots. “I was coming out of a lot of legal battles with labels. I really had to persevere. It was a time in my life that reflected a lot of personal challenges. ‘Desire’ turned out be an album that proved the value of push, desire and family.” Monch is highly respected for his intelligent rhyme scheme and writing abilities; so much so that Hip Hop mogul P. Diddy hired him as a ghost writer on his Press Play album - something Pharoahe insists he’ll never do again. “I never want to do that shit again. I always put so much of my own creativity into my work and then to just give it away sucks. I was immensely happy though to witness the brutal work ethic of Sean [Combs]. It’s interesting to see how someone stays

abreast of Pop culture. He knows exactly what’s going on in the music industry. As an artist you have to see the positive in art.” … And what has he learned about himself, through his own many years in the music industry, I ask? “I’m empathetic to what people feel and also to what’s going on in the world. I’m sensitive to the plight of others and I‘m selfish as an artist.” His performance at this year’s Cape Town International Jazz Festival was as historic for him as it was for SA Hip Hop fans. “The Cape Jazz Fest and performing there was so huge for me. It was my first time in South Africa and it’s always been my lifetime dream to perform in Africa. It was amazing just taking in the emotion and considering the history and politics.” Pharoahe’s honesty and global message responds to his fans all across the world. As humble and down to earth as he is, he knows this and owns it. Yet he is immune to an overblown sense of self-importance. Rappers, take note! Follow Pharoahe Monch here: www.facebook.com/pharoahemonch

FEATURE

By Tendai Luwo

“I DON'T SIGN ARTISTS, I SIGN MUSIC. I BELIEVE ARTISTS SHOULD BE GIVEN THEIR SPACE.” f you party in Johannesburg chances are you’ve probably brushed shoulders with Josi Chave. He may have been that guy who entered the club just before you, or even the man buying bread and milk this morning at your local supermarket, but you may not have noticed; which means chances are you had no idea you were standing next an amazing individual. To the commercial world, the name Josi Chave may only be starting to

become a household name, but to the underground house scene, it’s a name that we’ve known for years as we continue to wonder what he will do next. Josi Chave has steadily grown from house music producer to DJ to record label owner then onto intern at YFM which subsequently led to him becoming their music publishing manager. He now also cohosts a house music show, The Warehouse, on Saturday afternoons on the same station. When I walk into the ever vibrant YFM studios to meet Josi, I “I'VE ALWAYS BELIEVED IN have no idea what to PUSHING THE MUSIC NOT ME. “ expect. He isn’t that DJ you see at every party or all over your daily tabloids, and for good reason. As he ushers me past the security gate, I can’t help but notice how calm he is and the aura of humility that he carries. I have to know why and the answer surprises me. “I’ve always believed in pushing the music not me. If people hear the song enough and they like it, they’ll want to hear you perform it live and eventually they’ll get to know your face,” he says with a subtle hint of pride. Of course he also notes though that it comes with its challenges. Namely the DJ aspect of his career generates income through gigs, and in order to get lucrative gigs you need to be well known and have a strong fan base but people only tend to take notice once a big brand picks you and screams your name on the mountain. But that hasn’t deterred him from sticking to his philosophy. As a producer and owner of Blacknoize Records, Josi has another

interesting approach to how he chooses to run that particular aspect of his career. “I don’t sign artists, I sign music. I believe artists should be given their space. I don’t want for an artist to be under me and then when they have the opportunity to work with someone else he/she first has to come and talk to me and ask for my permission. That’s almost a form of exploitation and it limits the artist’s freedom. If I listen to a song, I’ll help publish it for the artist and push the song, but it pretty much ends there.” Being so adamant on swimming against the tide, I can’t help but wonder how he manages to make such a cut throat industry financially viable especially when even those who are ‘playing by the rules’ are finding themselves falling upon trying times. “Know your worth. Of course YFM also helps, but guys just wanna be busy. They want to say I’m playing here and there and there but most of the time it’s not even beneficial to them. Make clever choices. Womisa! (Stand your ground) [laughs].” At this point it is more than evident that there is a fountain of wisdom that dwells within this humble man and there is clearly no stopping him in his endeavour to get his music out there to the masses. With a little bit of reluctance towards disclosing the finer details, he mentions that he’ll be releasing a new compilation under his record label later this year. But as we wrap up the interview and he walks out the building with me, he hands me his latest compilation, Black Frequency. I say my thank you and goodbyes, then quickly pop the CD into my car stereo. Driving away in sync with the tunes coming out my speakers I happily remember why a wise man once said, “I push the music not myself.” Whether Josi Chave becomes a household name or not seems almost immaterial now, having met the man. What I do know; whatever the future holds for him musically, no one is in more control of that than himself. Become a fan: www.facebook.com/josi.chave

SHOW US YOUR FACE

Bow chica bow, this crew stood in the corner kicking 'freestyles' to electro beats.

The Adidas commercial extras took a well deserved break and did some fashionable wall leaning.

Ah the Rave Halo, only true Unts Unts Unts angels get them.

Any bets that Richard just tasted something really good there? PHOTOS BY:

Brought to you by www.bpmlife.co.za facebook.com/thefreedomseekers

Where the beat lives on...

Disclaimer: All names and comments made are purely fictitious and in no way are meant to be taken seriously.

I'm so freaking awesome cos my buddy's rocking snake eyes. BOOM!

MARK KNIGHT @ TRUTH

School's out and Lyle rang that lil' bell so all the ravers know.

Nothing like a little a love from your cuzzie, guns essential for a nice grip! Rainbow Raving, Mzansi fo sho'

We all checked, and it was this big bru! It's official, Boy Bands are cool again.

32 COLUMNIST

By Tendai Luwo

THE DEEP END WITH LUO THE EFFECT OF EFFECTS AND OTHER ANNOYING THINGS DJ’S DO ave you ever heard the saying, “No one judges quite like church folk?” Well the same is applicable to DJs. When I’m in the club listening to another DJ play you can almost see my eyes watering as my mind races to fill in my mental do’s and don’ts list. Most of the time the DJs score about as high as Julius Malema did for his Matric and on some very rare occasions you get the Asian boy wonder, but those aren’t the people I’m here to talk about. I’m not even here to point fingers and laugh at the poor guys who haven’t yet grasped the concept of beat matching (but I really want to), I’m here to toyi toyi against the DJs who do everything in the booth except play music. There’s a lot a DJ can do to annoy you, but there is no bigger culprit than the effects button. That little orange button and its knob of a neighbor are being fondled more than big bums on the dance floor, and much like the unwelcome gesture, nothing good can come out of it. See most of the time when we play with the delay or echo effect, we are doing it to show off to the other DJs in the booth. It’s our chance to flex our technical muscle to the others guys and prove that we can juggle EQ frequencies or loops like Shimza or Black Coffee. And even if that’s not the case, the reality is 98% of the dance floor has no clue what’s going on. If anything, to them your CD is scratched or the equipment is bugging out. The majority of the effects we love to use make no sense whatsoever to the people that would just like to dance. The use of effects should be subtle and complimentary not rude and in your face… well in your ear in this case. But it gets worse. Much worse. Once the DJ is done abusing the effects button he systematically moves to the microphone. Now DJ’ing and adding some personal vocal flavour to the mix is not a crime. I’ve heard Oskido do it and he does it pretty well, but it’s not for

I’M HERE TO TOYI TOYI AGAINST THE DJS WHO DO EVERYTHING IN THE BOOTH EXCEPT PLAY MUSIC. everyone. For one, there is only so much you can say that’s worth cutting the music for, i.e. “Guest DJ is in the building,” “last call for alcohol”, “can the guy who parked his Corsa in front of the entrance please move it.” Nothing more, nothing less. But alas, my plea falls on deaf ears. It’s truly a test of will power and my stress beads when a DJ with a voice like Mike Tyson decides to entertain us with his vocal prowess when he has a bag full of CDs that are dying to be played. If it was up to me, there would be an application process for using the microphone during your sets, and I’d make it harder to get the permit than having a second child in China. Then comes the DJ who, for reasons only known to himself, believes the faster he switches between tracks the better it will make his set seem. For the love of sweet baby Ivy Blue Carter, I can’t fathom

how one sees fit to switch into the next song before the first chorus has even played. It really kills the mood when time and time again people don’t get the chance to sing along to that one verse that takes them to the next realm of euphoria. Us DJs need to understand that it’s not a competition, just do what you do and take it easy, the crowd loves and appreciates that more than you know. I think the best way to look at it is like this; every taxi driver in Joburg knows how to pull handbrake turns or do doughnuts but when they are driving passengers around they don’t. It’s not a matter of safety or rules, those don’t apply to them anyway, it’s a matter of it’s not required of them so why do it? The same applies to DJs; a lot of us can do some really fancy tricks but let’s save it for the competitions. And if you agree with me, come and let’s march in solidarity against this tomfoolery, but best believe if I see my fellow DJs in the crowd, I'm going to claim The Little Misfit wrote this article and run away. I still need gigs!

FUN STUFF

5 MINS WITH... LOLO WE GRAB 5 MINUTES WITH SOME OF OUR FAVOURITE DJ'S & ARTISTS AND ASK THEM... WELL... JUST ABOUT ANYTHING WE FEEL LIKE!!! oweto born, Lolo Vilakazi is the lady vocalist behind some of Soul Candi's hit singles such as, Masingita by DJ Fresh [which is what first got her noticed], Happiness and Loving You by Kentphonik, the SAMA Award winning We Were Meant To Be by DJ Kent and Vuma by DJ

Euphonik. Aside from being a Mzansi songstress, Lolo is a firm believer in education and has completed her BA Degree in Corporate Communications at the University of Johannesburg where she is currently doing her MBA. She is also affectionately known as the 'Ghetto Diva' and carries

1. If you could be any super hero character, you would definitely be...I would be the Invisible Girl from the Incredible 4.

16. Being natural means... Letting go 17. What has been your most absolute favourite studio time memory? Recording with international Pasta Boys; they speak very little English, we were doing a song trying our best to understand each other. Eventually we used the music to make sense of things. The end product was a great track!

2.Your worst habit is... Biting my nails 3. What do you think is the most overrated virtue? Patience 4. If you were an MC what would your aka name be? Lolo-licious

18. Going to war means? Letting innocent people suffer for nothing

5.You enjoy it most when people... Laugh really loudly

19.Your biggest regret purchase ever? A pair of Jimmy Choo heels. I can't walk in them! They're beautiful but all I can do is stare at them.

6.Your favourite thing to do when you know nobody's watching... Dance like Beyonce, well I try to!

20. Being a singer in modern society is all about... Self expression.

7. The first thing you thought of when you woke up this morning? I'm starving!

21. The one song on your iPod that would surprise friends if they found it while scrolling through your playlist? Zombie, by some band.

8. What is the best single piece of advice your parents gave you that has never left you? Knowledge is power; gain as much knowledge as you can! 9. What was your part time job while you were in high school/ at college? I used to iron my neighbour’s laundry and on weekends I was a cellphone promoter.

herself with her own brand of style and confidence that comes from truly knowing who you are, and where you come from. Her solo debut album Breathe was released on Soul Candi Records earlier this year. We grab five minutes with this local success story and ask her just about anything we like...

22. Being the first lady of Soul Candi is like... Wow.

“I WOULD BE THE INVISIBLE GIRL FROM THE ‘INCREDIBLE 4'.”

10.You take approximately how long to get ready in the morning? 45 minutes

13.Your definition of House is... Universal music

11. One thing you have learned about yourself recently that has surprised you? I'm stronger than I thought.

14. What makes a man sexy in your opinion? Smile, laugh, a mad sense of humour and a pair of strong legs and arms!

12. In two words describe the experience of being part of the Soul Candi family. Hectic. Crazy!

15. What is the best thing about being a female vocalist in the House music scene? I have the freedom to express myself and sing about anything, to groovy beats.

23. Performing live is all about... Living your Dream 24. What should the rest of SA know about Joburg House music? It's progressive, dynamic and just when you think you know what's hot, we come up with something else. 25. The South African Dance scene needs more... Real creativity, real African elements and real talent.

EVENT REVIEW

By Heather Mennell

SONAR 2012 “...THE LACK OF ANY MAJOR DANCE FESTIVALS IN SOUTH AFRICA CAN MAKE YOU FEEL LIKE A STARVING CHILD AT A BUFFET WHEN YOU GET THERE.” AH, SONAR. WHAT IS THERE NOT TO LIKE? he festival is officially described as Sónar Barcelona International Festival of Advanced Music and New Media Art. The annual Barcelona-based event is now in its nineteenth year and from Thursday 14th through to Saturday 16th June the city is overflowing with people who are eager to soak up the sunshine, cerveza and phenomenal line-up of bands, DJs, artists and art. The festival prides itself on bringing together electronic music and multimedia art, therefore Sonar by Night tends to feature artists who have impressive visual elements in their shows. This year was particularly impressive in that regard. The line-up is over-whelming and, not to be unappreciative of our own local heroes the lack of any major dance festivals in South Africa can make you feel like a starving child at a buffet when you get there. Disappointingly, it’s not possible to be omnipresent, so the best way to enjoy the festival is to a) be prepared, know who’s playing when and where and b) banish FOMO and be open to both disappointment and pleasant surprises both of which were had this year. Even though last year’s theme satirised the economic crisis with its ‘Sonar Is For Sale’ imagery, the first thing that I noticed about Sonar 2012 was the reduced line-up and several DJs playing double sets. This hinted that Sonar 2012 was going to be a recession session. And if so the organisers were smiling all the way to the bank because the second thing I noticed was that 2012 was much fuller than last year. California-based experimental artist Flying Lotus and his colleague Thundercat were a highlight at Sonar Village on Day

One - and to make things better, the pair joined forces on stage for an impromptu jam session. The resulting hip hop/broken beat chaos had the ‘By Day’ crowd reeling. Japan’s Yosi Horika rocked the Sonar Dome with his pensive instrumental hip hop and beats. Later Dubstep warrior Om Unit annihilated the Sonar Dome with a killer Dubstep set. The opening concert took place at a secret occasion, required a separate ticket and featured pioneers New Order. My crew and I, however, were waylaid by Derrick Carter’s disco set at Classic’s OFF Sonar event. Day Two lowlights included poor sound engineering which compromised sets from electro act Austra and Russian sensation Nina Kravis - who hopped around the stage singing words no one could hear. We missed Spain’s John Talabot because there were 300 people waiting outside the entrance to Sonar Hall, but the closing set from Brazil’s Dago ended the day on a good note. The first three performances of the evening were phenomenal - Amon Tobin’s ISAM installation was mind-blowing (Google it, seriously) - it overlapped Nicolas Jaar who played a beautiful, poignant set accompanied by live guitar and sax. Richie Hawtin devastated Sonar’s biggest venue with his crystal clear, pounding techno. As expected, Squarepusher played a visceral, nerve-wrenching set which was just as enthralling visually. Biggest surprise of the evening came from Fatboy Slim, who rocked the crowd with his effervescent, up-for-it energy, hilarious visuals and trademark blend of underground and mainstream beats. We hobbled in late on Day Three

just in time to catch the man, the myth DJ Harvey. He looked just like The Dude, with his long hair and grey beard and played a magnificent set - releasing gems on the crowd one by one. A new favourite for me. The acts on Night 3 were nothing short of phenomenal highlights being New Order, Hot Chip, Maya Jane Coles and Modeselektor - but getting to them was unbearable at times. This brings me to my biggest criticism of Sonar 2012: too many people. The full Sonar passes were sold out a week before the event and tickets for the final day and night were also sold out. The place was heaving - which makes the paradox of a festival blindingly obvious. At a festival programmed to believe that we’re supposed to throw all boundaries out of the window; bend the rules and feel free. At best you’ll experience your favourite artists and be changed by that experience - hopefully in the presence of your best friends and a couple of new ones. But in an overcrowded space even walking and the general ability to move can be limited and this means that if you aren’t prepared to have someone else’s sweaty armpit embrace your face - seeing your favourite DJ or artist is not going to be a pleasurable experience. In an overcrowded space, the majority of your time can be spent getting a drink, moving to another stage and looking for a friend who is also searching for you in an ocean of people. If organisers over-estimate the venue’s capacity the entire experience is diminished for everyone. All in all, Sonar 2012 was great. The line-up, crowd and were brilliant - but we won’t be going back unless festival organisers either limit the numbers or find a bigger venue. For all images from the event go to BPMlife.co.za and select the ‘Sonar 2012’ Menu Option.

ALBUM REVIEWS 1. Tiësto – Club Life Volume Two Miami (Shelter Music) 1.

<Club Trance> This is the much loved Tiësto's seventh mixed compilation release and the second for his Club Life series. The first featured Las Vegas as the theme, this time around he tributes the Miami nightlife, known for its strong electronic scene. Chasing Summers starts out predictably, with that effervescent lift we've come to expect from club trance. It does something interesting though, it gets a bit gritty (the synths) in a throwback Rave sweep then booms back to the stadium style sound this genre is famous for. Fun. The single We Own The Night ft. the vocals of Luciana is probably the most disappointing track on the album, with its TV game sound samples and hints of Jacking House. Perhaps I'm biased against the cheesy trance pop vocals because every album has to have a tune like this it seems. What We Can Do gets it right though with its prominent 90's feel and accompanying vocals. Tiësto's remix of Coldplay's Paradise should go down as a fave with many of his fans. Arena plays off sleepily only to be woken up by stretching grime house and muzzled synth pads as though it is being coaxed into an awakened state. Club Life Volume Two Miami makes me think of a futuristic era with air cars and bridge-less highways; the concept is interesting but the question remains on how viable it would be. Reviewed by Mary Honeychild

2. EDX – On the Edge (Just Music)

<Vocal House> Big room dance music still seems to have its place firmly entrenched in clubland worldwide, illustrated firmly by EDX on this, his debut album release. Maurizio Colella is no stranger to some of the biggest dancefloors and clubs worldwide and it shows on this competently produced 13-tracker. Opening tune, Everything feat. Hadley signals his intent early on with ethereal voices and a solid, tried and tested set of synth chords. Uplifting and super dancefloor friendly is the order of the day, but thankfully with a healthy dose of variation from straight up vocal house, to trance-house and dollops of massive electro drops to send the listener (or should that be raver?) over the top. On the Edge is a high energy release that only takes its foot of the dance pedal on track 7, Warped Minds, before reverting to up-for-it vocal house once again. In this age of hybrid genres in dance music EDX successfully incorporates enough elements of tech, electro and trance to his essentially vocal house footprint to sound both current and accomplished, so whilst he breaks no real new boundaries, he has the big, uplifting vocal house sound down to a tee. Reviewed by Damon Albetto

3. Crazy White Boy - Zoma (Soulcandi Records) <House> Crazy White Boy have carved themselves a niche in the global house market that works well on both local and international dancefloors. The duo’s self-dubbed ghetto tech sound appeals to such a wide variety of audiences mainly because of their very astute use of electro-techy synths, edgy vocals and dirty, driving basslines as well as a faint but persistent kwaito element. Zoma is their first studio album and features some of the hit tracks that have made them a household name in SA; including original cuts of Ntokozo, Love You Better & What You Do To

&LIGHT C I T Y

Me as well as a great Chris Sen remix of the latter. Their new material, including the title track, all serve to reinforce the strong connection the Boys have to the club scene, each track delivering something so raw and irrefutable, it compels you to hit the floor and boogie like it was 19… 2 Steps Behind, Luma and You Make Me are all quality productions infused with unique Crazy rhythms from the very first kick. This very cleverly packaged release should help keep you warm through the chilly winter months. Reviewed by Nathan Kabingesi

4. ZAR - Sushi Mix - Joburg - Cape Town Mixed by Kenny Kunene (Soulcandi Records) <House> ZAR Sushi Mix is probably the most unexpected release of the year so far. I mean, since when is Kenny Kunene a DJ? I guess the idea of a branded compilation shouldn’t be that much of a surprise, but the idea of the Sushi King actually sitting in a studio mixing up an album is just a little too incongruous to comprehend. That aside, the double disc release does feature some quality local productions that you probably won’t hear on any other release very soon, for which it must be given some brownie points, one of the standouts among them being Ecstasy by Lil Soul. The guys at Baainar feature a few times, as do the Infinite Boys and DJ Morisky. Interspersed among these home brewed jams are some notable imports like Walk in Paris by Osunlade and Glory by Halo ft. Maiya (Abicah Soul Remix). The problem with this album, as albums go, is that it doesn’t seem to be aimed at any audience in particular, ironic considering how strong the ZAR brand is otherwise; there’s no discernible flow to the tracks and neither of the discs has any defining or counterbalancing characteristics (local vs. int., home vs. away). So despite notable inclusions of some quality tunes it is ultimately a poorly put together album. Reviewed by Nathan Kabingesi

5. Candi Roots Vol. 2 (Soulcandi Records) <House> Candi Roots is an in-house release from Soul Candi Records that started as a vehicle for talented local producers to get their music to fresh ears. The second volume in the series is again a triple disc affair and features original productions and remixes from V. Underground, Bob’Ezy and the trio known simply as Mindgames. You might be forgiven for thinking V.Underground was an international producer before the release of this album, simply because of the smooth melodies and complex instrumental arrangement he incorporates into his music. Leaning always to the jazzier side of things, but with an undeniable warmth, his sound lends itself to both purist deep house ideals as well as popular appeal. Bob’Ezy shows some versatility on his disc, being better known for producing commercial hits like Smallz’ Money Maker, with a Durban kwaito sounding AwuSuka ft. Khadaffi on one end of the spectrum and the more soulful Rise ft. Bevan Godden and Livingstone on the other. Mindgames completely defy categorisation; their brilliant remix of Sybil’s Don’t Give Up contrasts sharply with a nearly tribal collaboration with Dark Angelz entitled Interpretation of Dance on a collection of very well produced, dance floor friendly offerings that bodes well for the future of fresh, talented producers. Reviewed by Nathan Kabingesi

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42 ALBUM REVIEWS 6. Monika Kruse - Traces (Terminal M)

<Tech House> Miss Kruse offers up her fourth artist album titled Traces which upon listening to, takes your ears on a voyage of music delight that in its essence, traces her experiences before and during producing this wholesome piece of work. Cycle Of Trust followed by Playa Dust both very beautifully introduce an album that is light and of the softer love. The first half of the album announces an esoteric/futuristic feeling that translates into music sounding as though it came straight from the depths of mother earth. Exhale has to be my favourite on the album, a simple rhythmic kick drum that evolves into a fully formed calming track that isn't demanding and is in itself so rewarding, echoing, like it came straight from the jungle. Traces does lift though and gets more traditional with that House steez we love her so much for. Robot Heart of which there are three versions (I like the original) is a DJ set must! Listening to this beauty puts me back on the beach with the sand in my toes and a caipirihna in my hand, with its melodious grinding beat pumping out of the speakers. Yes! Reviewed by Mary Honeychild

7. Mr. Bong - Bongville Stomp (-)

<Electronica> Bongville Stomp kicks off with appropriately beat-heavy chill tunes - all ‘Midnight at the Dance tent of a festival’ stuff (all ‘tired but happy arms waving in tune at the moon’ stylee). By track three, technotronic fast-forward rhythms are introduced, as if the Sunrise took an upper to rejuvenate the soundscapes, "We need a change of pace..." the oddly Robert Smithian vocalist confirms. In fact, the Bong arc of Bongville Stomp succeeds in evoking an entire music fest featuring Mr. Bong’s variations of style and tempo (all the tune titles feature the word ‘Bong’, just so you geddit). Which is cute, and works, but gets a tad boring. Luckily tracks like Brother Bong offer crisp complement to the woozy flow of slow-step Dub and trip-hop beats, leading listeners on a jaunty forest hike by the phat, jiggy bass line which assumes Trail Master duties. And then, outro Enough Bong, defeats possibly cynical readings of said title (ala: "Yes, enough already") by introducing, as coda, bright splashes of reverbed guitar and funky Ragga vocals, reminding us not to judge an album by its track titles. Strike it up! Reviewed by Mickdotcom

8. Zaki Ibrahim - Every Opposite (Motif Records) 10.

<Electronica/World Soul> Zaki Ibrahim returns with her second studio album Every Opposite - undeniably, a piece of art. The opening track Draw The Line is my pick on the album, delivered with the fresh, ambient vocals of this talented singer and speaks poetically on the matter of figuring out what you want from the life you living, and the strength in forming your own opinions. Something In The Water is the kind of bumping multi-layered song that is in every way dancefloor ready. Another one of my favourites, Conjure produced by Richard The Third also made it to the album. Conjure is a beautiful piece of music that finds a space in your heart, sits there and then grows seeds of inspiration. Heartbeat mixed by Nick Holder has that distinct SA squeeze with its lovely afro stomping beat layered with a jive encrusted house sound. Delicious. Every Opposite encompasses the sort of pioneering music that

isn’t afraid of exuding genuine creative expression, developed by some of SA’s most musically intelligent producers. This is classy electronica that remains undefined and makes no effort to either forcefully be different to the status quo or to confine to it. Reviewed by Mary Honeychild

9. Grimes - Visions (Just Music) <Indie Electro> Claire Boucher, the flesh behind the ghostlike alias that is Grimes and sweetheart of the synthetic internet music scene, released her fourth album earlier this year, the futuristic, synth-pop record, Visions. This is her most sincere shot at cutting her metallic teeth on production. With its carelessly upbeat collection that is as much a visual world as it is a listening piece. It's a strange and fickle fusion of visceral layers mixed with Claire's vapour of a voice which is, for the most part, veiled in reverb and synth. Visions literally seems to be spun out of thin air, yet somehow, it manages to grab a hold of your addictive personality, taking you to a place where robots who can't remember the words are all you can imagine listening to. She is a product of the internet, voicing with her vapid yet colourful composition, her all-access online inspirations that are about as focused as an ADD kid singing into a seashell sampled over super-catchy beats. Yet the songs ebb and flow to make this album an overall masterpiece born out of a place that can easily fall prey to a lot of crappily flung together attempts; the lo-fi internet art scene. Visions is a successful language barrier breaker that has been intrinsic in rupturing the nature of making and listing to music in the 21st century. One of the best things you can hope to get a hold of this year. Reviewed by Eliza Day

10. Simian Mobile Disco - Unpatterns (Sheer Music) <House> There aren’t any celebrity appearances on this album. The vocals supplement the music, rather than the other way around. Simian Mobile Disco have been seduced by house and techno, they’ve left the noisy world of electro behind them and crafted an album that stunned me with its mind-bending beauty and layered complexity. Of course the signs had been there for a while - the dark, incisive techno Delicacies released on their label Delicatessen pointed to the new direction they were taking. You’ll find slamming, atmospheric tunes on Unpatterns, an album that represents a breakthrough for the London-based duo. They’ve been labelled as “walking encyclopaedias of dance music” and this is evident in the way that they twist and fold sonic references to past and present without sounding contrived at all. What’s even more impressive is that these tracks are created using analogue synthesizers and sequencers. There is a bit of noise on tracks like Interference, which missed the mark for me; oddball electronic fiddling on Dream of the Fisherman’s Wife - but altogether the hits overshadow the misses. Four highlights were the epic opener I Waited For You, the euphoric first single Seraphim, the retro-inspired Put Your Hands Together and my personal favourite - the key-driven, bass heavy Cerulean. Unpatterns made my heart beat faster. It’s a keeper. Reviewed by Heather Mennell

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ALBUM REVIEWS 11. Transmission Vol. 1 -V/A - compiled by Zen Mechanics - (Sourcecode) 11.

12.

13.

<Progressive Psytrance> Keen proponents of progressive psytrance will take one look at the line-up on this Various Artists compilation and quite likely start salivating in anticipation. If it’s not enough that this new label, Sourcecode, is the brainchild of one Wouter Thomassen, yes the psychedelic stalwart known as Zen Mechanics, who has personally selected the tracks, then one listen will affirm one’s expectations. Zen Mechanics has built a reputation for massive, expansive tunes that breathe life into a daytime dancefloor, but this sees him further his vision by drawing from artists, both well established and newer, that all have that stamp of quality. Artists better known for their full-on sound such as Zen himself, Earthling and Dickster mix things up seamlessly with the likes of established progressive acts Ace Ventura, E-Clip and Egorythmia alongside newer, fresh producers Vertical Mode (a prog artist who has made an immediate impact on the scene) as well as Mental Broadcast, Liftshift and Future Frequency, all of whom cut their teeth on faster, more fullon productions before. The result is nine large progressive monsters all grooving with broodiness in the 135-138 BPM range. Transmission Vol. 1 dispels the notion that progressive trance has to be fluffy or overly melodic with a serious edge that will no doubt please purveyors of daytime psychedelia irrespective of whether you are partial to prog or full-on. Quality is quality and this disc is all that with deep, meaningful productions. Reviewed by Dave Mac

12. Killerwatts - Blow Your Mind (Nano)

14.

15.

<Psytrance> Blow Your Mind is the debut album by Killerwatts (Tristan and Avalon). These Nano artists have come together to bring us this magnificent album of full-on, blasting tracks that will leave many a trancer smiling. Wake Up is a collaboration with Waio and will have the dancefloors of the world heaving. Psy Liberation is a really cool name for a tune that makes you throw your hands in the air and embrace the big sound. Spirit Drop starts off like a spaceship taking off and then continues at great velocity; Battlestars follows in the same path and had me feeling, like the female voice said, “High as a fucking kite”. Killerwatts attack the speakers with Live Forever with a super build-up and banging bass, it is really a pity that it is such a short tune. Another Planet is a fast paced tune that doesn’t hold back. When these guys hit town again, I want to be first on the dance floor to receive their musical onslaught, because it will no doubt be epic. Fly Thru The Universe (a space theme here) is the last track but hardly sounds like it when you try and keep up with the rapid tempo. Recommended. Reviewed by sevenR

13. Loud – No More X (Nano Records) <Psytrance> I was totally blown away by the new sound of Loud (Eitan Reiter and Kobi Toledano). They were doing no wrong with their previous banging stuff but a change like this is very refreshing. I love it. The album starts off on a chilled note, with a stunning collaboration with the brilliant Shulman, and continues that way throughout. The superb mixture of beats, violin and deep vox on the Shulman composition is mind blowing. I had to listen to it a number of times before I continued with the rest of the album. The second track has a very nice tribal sound and Solid has a

warm analog-synth musicality. The whole album is relaxed and many of the sounds remind me of the Carl Sagan documentary, Cosmos. This album firstly takes one on a journey of discovery and then dance comes as second thought. This is music for the mind and spirit, close your eyes and drift off into the ionosphere. The final and longest track, Station 42 has the noises and voices of a busy station, mixed with delicate synth sounds that softly embrace your being and creates the feeling of space travel. Recommended. Reviewed by sevenR

14. Vertex - Earth (TesseractStudio) <Progressive> VERTEX is a collaboration project between Nikola Kozic (aka Zyce) and Slobodan Gacesa (aka DJ Merlin); Earth is their second album. This tight progressive release continues in the wake of previous successful acts delivered by TesseractStudio. The tunes are so clean and perfect it can almost be described as clinical, but not in a cold way, just something to be admired and enjoyed. The opening track is yet another collaboration, this time with Solar Kid and the vox is angelic, melody sweet and beats gentle. On Surface the repeated pattern produced on the synth is very hypnotic. I could imagine the white snow and bright sunshine while listening to the clinical but beautiful Avalanche. Welcome to Serbia has a wonderful echo of a jazzy trumpet that periodically appears between the sweet melodies and deep beats. Faith and Enlightenment both have that uplifting sound that awakens the mood to dance. Out of Orbit by Vertex & Vice contains space docking and hissing sounds amongst the cool beats. Northern Lights by Vertex feat. Float is another groovy hypnotic track with nice steady build-ups. The Joy of Silence is an ode to tranquillity and closes the album on a perfect note of meditation. Highly recommended. Reviewed by sevenR

15. Various Artists - Carrots & Stick Vol.2 (Iono) <Progressive Psytrance> Carrots & Stick Vol.2 compiled by Cubixx (aka Matthias Sperlich - founder of Iono) is a yummy double album from Iono. These progressive psytrance tunes are from some of the cream of the prog producers in the world (e.g. Perfect Stranger, Sonic Sense, E-Clip, Ace Ventura, Osher, Static Movement and Mindwave amongst others). The album starts with a wonderful track by Perfect Stranger which was remixed by Motion Drive. Moonsight by E-Clip has a really eerie night time sound, which I prefer, and CD1 seems to be more geared towards this type of music. The E-Clip remixed Ace Ventura track, Dark Matter is also on CD1 and sounds like it wants to break free and let loose on a big rig. This is followed by the banging track, Voices In My Head by Side Effects. The epic Midnight Blue, a perfect creation by Timeless, took me on a journey to the heavens. CD2 seems to be aimed at the day time sound with its light hearted dance orientated tracks and First Light by Sonic Entity confidently lightens the mood. Strangers in Paradise by Impact is also a very good example of this. Recommended. Reviewed by sevenR

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ARTIST | TRACK | STYLE SIDE EFFECTS - THE SECOND LSDEEP EP - PSYPROG Tesseract Studio just keeps on releasing brilliant tracks and the two on this EP do not waver from this path. The Second LSDeep by Side Effects is an awesome psychedelic dance tune and L’apstraction by Zyce (Side Effects remix) is light and melodic. Picked by sevenR COPYCAT - SPIRIT WORLD - PSYPROG Spirit World by Copycat is one of those tunes that frees your mind of everyday worries and sets you off on a journey of discovery. It is a beautifully crafted track that chugs along nicely. The beautiful and more serious sounding track, Karma is a collaboration with Nerso. Picked by sevenR AEROSPACE - OFF BITCH EP - PSYPROG The laidback and crunchy sound of Off Bitch by Aerospace fits somewhere between progressive psytrance and Techno. The second track is a very chilled collaboration with Timeless. Major Tease has a club feel with its slow build ups and breakdowns and old school melodies. Picked by sevenR TIMELESS - IMPERFECTION EP - PSYPROG All three of the progressive tracks on this EP are 136 bpm and Playground by Day Dream has been remixed by Timeless (Tal Aouday). The title track, Imperfection is only so in name but not in nature, it is in fact a delightful proggy tune that will have you reaching for the repeat button. Picked by sevenR SPINNEY LAINEY & ZYCE - FLUTING - PSYPROG As it says on the box, Fluting is by Spinney Lainey and the rest by the talented progressive trance producer Zyce. These tight beats and psychedelic squelches mixed with flute create an ambience of tranquility. Flegma joins this chilled party on the final track with its serene and organic sound. Picked by sevenR FOREVER - JOE GARSTON - ELECTRO HOUSE 19 Years old... Joe Garston is signed to Plasmapool and creates quite a stir on the Beatport top 10 Electro charts! If anything this should be an inspiration to all young producers that age doesn’t matter, as Laidback Luke always says; 'Concentrate on making tracks ONLY''. This is not one of those tracks that grows on one, listen once and you’re hooked. Picked by Beatarmy GOSPEL - TIGER STRIPES - DEEP HOUSE Mikael Nordgren is Tiger Stripes, and the first time you may have seen his alias ‘Tiger Stripes’ was in 2004 when he released the afro-tastic piano driven house stomper Dingo. With Deep undertones and a good gospel sounding vocal this track is awesome to get party people in the mood to PARTY! Picked by Beatarmy LYME - MOQUAI - ELECTRO HOUSE Starting in early 2010, he became one of few people to release music on Deadmau5's record label, Mau5trap. On April 13, 2010, he released his first album, We Ar Lyve, on Mau5trap. This album featured singles released in the months prior to the album's release, including Lyve / Imperial and Nyce / Blau. Another great track to check out from Moquai is Mpire. Picked by Beatarmy OUT THE BLUE - SUBFOCUS - DRUM N BASS Love is a potion... and it takes two, right out of the blue. Beautiful words from this beautiful track, a must for any DnB101- (also written as drum 'n' bass and commonly abbreviated to D&B, D+B or DnB) fan. Since then a few artists have really stuck out from the rest, Sub Focus being one of the big guns. Picked by Beatarmy NOMAD - G FUNK AND TISTA - PROGRESSIVE HOUSE G Funk a good mate of the Beatarmy, based in the centre of bad ass Jozi. Maybe that’s where he gets his inspiration, who knows... His latest offering Nomad is one big build up to 2:29 mins, where it breaks into simple sexy keys and a rhythm of epic proportions. I really rate this track; lookout for

his tracks on his latest album release House Anthems 11 alongside Justin Vee and Kevin Grenfell. Picked by Beatarmy MAHOOTA VS.VETKUK FT OSKIDO N PROFESSOR - STOKVEL AFRO HOUSE DJ Vetkuk vs. Mahoota is back again with another slamming release entitled Stokvel featuring Professor and Oskido and is already huge on radio so make sure you don't miss out on this one. Coming from Kalawa Jazmee Records and taken off DJ Vetkuk vs. Mahoota’s forthcoming album. Picked by Afrodesiamp3 INFINITE BOYS FT COCO - TEKA TEKA - AFRO DEEP These guys need no introduction, and the local house community knows without a doubt that when they drop a track, it is insane and will automatically send the masses into a rhythmic frenzy. I'm talking the fantastic duo Infinite Boys and their latest banger Teka Teka featuring Coco. This track has the afro dance sound that is synonymous with Infinite Boys, and the beat is instantaneously catchy, so the only option you have is to dance like the world is about to end and Africa decided to throw a major celebration bash Picked by Afrodesiamp3 TELLAMAN FT NAINA - BOOM BOOM - HOUSE DEEP This song has a hyped up kind of feel but with soulful vocals by a young talented lady called Naina. Essentially a love song commenting on people who like to change other people. Already drawing massive attention from DJs all over the world with 5FM playlist potential, this track is for all House bangers to rock the floor and swoon the ladies. Picked by Afrodesiamp3 MASHABELA GALANE - PAPAGO - AFRO HOUSE It has been over a year since the last release from Bomba Records but the label is back and here to stay. Now owned by Guelord Mbolela (G’Sparks) and Jason Beukes (Jaso), Papago by Mashabela Gelane, produced by Moko Mashabela brings a new and unique flavour to House Music, mixing comedy with dance. Papago combines an exceptional line up of remixes by Dj Whiskey (SoulCandi), Africa Soul (Kalawa) and Bomba Record’s very own G’Sparks and Jaso. Picked by Afrodesiamp3 DJ CHRISTOS - WEEKEND SPECIAL (REMIXES) - AFRO HOUSE House Afrika reveals another angle to the South African sound with this sizzling remake of Brenda Fassie’s legendary 1980's township pop anthem Weekend Special, by scene don and House Afrika stalwart, DJ Christos. Includes remixes by Nastee Nev, Nativeroots (aka Essential I and Mindlo), Soulbay, Keys Snow, Lilac Jeans and Infinite Boys, as well as Peng’s Andy Compton and the Martin East Project. Picked by Afrodesiamp3 DJ BULLET - KALIMBA DANCE EP - AFRO DEEP DJ Bullet is back with a bang. This release kick starts 2012 experimenting with a lot of instruments and coming up with a new sound on this EP titled Kalimba Dance. Features the Main Mix, Deeper Mix and the Reprise Mix all produced by himself with the Main Mix climbing up the charts. Picked by Afrodesiamp3 DJ HYPNOSIS FT NICKSON - I BELIEVE I CAN (INCL REMIXES) AFRO DEEP Mo-Funk Records has all the ingredients for a good label, now presenting this remix package with the usual and new suspects (DJ Producers). I Believe I Can with the potential of being major hits with their Afro Deep elements to give you that truly African vibe. It looks like this label has their eyes glued on hit material for the global dance floors. Enjoy! Picked by Afrodesiamp3 PROLURV CHARM FT LEZA BOYLAND – ICE CREAM DREAMS HOUSE DEEP Ice Cream Dreams is a project with moods swinging from deep vocal house to lounge, club and Afro. A must have for all music lovers, DJ’s etc. this project has the very best blend of tunes to set your soul free on and off the dance floor. Picked by Afrodesiamp3

DJ CHARTS

JULY/AUG’12

JOSI CHAVE (YFM|Blacknoize Records / JHB / House|Local Dance) 1. DJ Clock - Commitment (AM PM) • 2. DJ Tira 4000 (Afrotainment) • 3. Ntsiki Mazwai - Exs Cherry (Blacknoize Recordsords) • 4. Ralf Gum ft. Oluhle - Linda (Go Go Music) • 5. DJ Clock Abantu Benzani (AM PM) • 6. Pex Africah - Wrong Turn (Kalawa) • 7. Staffroom Maniacs - Spiritual Dance (Blacknoize Recordsords) • 8. Baadman ft. Jahseed - Balloon (Blacknoize Recordsords) • 9. Josi Chave - The Hunger (Blacknoize Recordsords) • 10. Mash O - Angekhe Vume (Herbal 3)

HYARANT (Disasterpeace Records / CPT / Psytrance) 1. Ram - Cereal Killer (Yabai Records) • 2. Multistate - Press Any Key (MMD Records) • 3. Artifakt - Nosferatu (Multistate RMX) (Timecode Records) •4. Artifakt - Doom Doom Doom (Timecode Records) • 5. Sinful Reactions - Why Don’t They Stop It? - Unreleased • 6. Frozen Ghost - Global Thermal Nuclear War (Disasterpeace Records) • 7. Terror Mental - Orchesterror (Disasterpeace Records) • 8. Dirty Motion Smoking (Disasterpeace Records) • 9. Hiyamyzo Soaring (Disasterpeace Records) • 10. Rob Zombie - Demon Speeding (Rubix Cube RMX) (Spectral Records)

MTOFFY (BBB Music / New Castle / Deepsoulful House) 1. Adam & Game ft. Lifford Shillingford - Hang On In There (Ultra Tone Mix) (Barcode) • 2. Chymamusique - Soul & Mind (Saxed Mix) (Chymamusiq Rec) • 3. Mpeshnyk ft. Infinix - Dream Chaser (Unrl) • 4. Gmos - Keep It Jazzy (DNH Rec) • 5. M & J Brothers Vicmren - Reach out (Benny Mellow Mix) (Perception Music) • 6.Josh Milan Stay With Me (Muthafunkaz Mix) (K-DopeMusic) • 7. Distant People ft. Nickson - My Love Song (Zehepherin Saint Tribe Mix) (Solid Ground Rec) • 8. Djeff & Silyvi ft. Cef - MWINI (N'Dinga Gaba Remix) (Offering Rec) • 9. Pablo Fierro - Al Andalus (Edmund Jazzy Vibe Mix) (NuLu Music) • 10. GMBOS - Blue sky (DNH Rec)

DJ MIGGS (Soulcandi / JHB / House) 1. Giantsteps - Like A Phoenix (notsubmitted) • 2. S Jam - Deep in my Forest (Deepforest) • 3. KB Playmaster - When Jazz Calls (Nev Rec) • 4. Miggs ft. Mizz Dee - Better Days (Foreal Rec) • 5. Miggs Paradise next door (Foreal Rec) • 6. Two Amardillos - These Feelings (Two Armardillos) • 7. Manuel Tur Maybe In The Next Lifetime (King Britt Dub) (Free Range) • 8. Deep Xcape - After Da Rain (Sophisticado) • 9. Moti Brothers - Tight Bass (Original Mix) (Tokyo Red) • 10. Admin - Whatever You Want (Glasgow Underground)

DJ ADZEY & DJ AUX (Pincode Concepts / JHB / House) B-TYPE (Brendon Geary) (Hello Techno / CPT / Tech House|Techno) 1. Kore, Khainze - Borracho Y No Bebe (Original Mix) (Echoes Records) • 2. Koolfunk, Klelight Fuckin Hands (Mike Vale Remix) (Viva) • 3. Zenbi Double Trouble (Stefano Noferini Remix) (KNM) • 4. Stefano Noferini - Buhstyle (Original Mix) (iComplications) • 5. Soneec, Belocca Chupakarma (Original Mix) (Mainground Music) • 6. Max Brett - Shmok (Original Mix) (Animal Instinct) • 7. Miguel Bastida - Darkoutside (Original Mix) (Darkside Digital) • 8. Simon Doty - Ladders (Jerome Robins Mix) (MAR186) • 9. Umek Unclear Mechanics (Original Club Mix) (Toolroom Records) • 10. Jorgensen & Riddim Junkies - Who Needs Who (Blacksoul)

DUB VADER (Rubadub / CPT / Dubstep) 1. Eptic & Habstrakt - Ninja Challenge (Never Say Die Records) • 2. Rave Review - SKisM (Dodge & Fuski Remix) (Never Say Die Records) • 3. Dread at the Controls - Freq Nasty (Culprate Remix) (Muti Music) • 4. Detonate - Dismantle (Black Gold Records) • 5. Get Funky - Habstrakt (Never Say Die Records) • 6. I Make Bass - High Rankin (Suicide Dub) • 7. We Are the Sun - Savoy, Heather Bright (Spinnin Records) • 8. Mobillized VIP - Ajapai (Rottun Recordings) • 9. Jump Back Feat. Foreign Beggars - SKisM, Flux Pavillion (Circus) • 10. Turn

1. Leroyal (Promise To Love You Forever) - Ndinga Gaba Rmx (Code Red) • 2. Athenai - Life (D'oke Smile Rmx) (Offering Rec) • 3. Lars Behrenroth & Sinan Baymak - I Miss The Things (Stephen Rigmaiden Rmx) (Deeper Shades) • 4. Cathy Battistessa - Une Nouvelle Humanite (Da Capo Touch Rmx) (Peng Rec) • 5. Tonkproject - Long Drive (Original Mix) (Behaviours Rec) • 6. Bob'Ezy ft. Deepconsoul and Mzukisi - Nguwe (Soulcandi) • 7. Gregory Porter - 1960 What (Opolopo Remix) (Motema Rec) • 8. Ralf Gum - Fly Free (Ralf Gum Main Mix) (Gogo Music) • 9. Fast Vision Soul & 60 Hertz Project - Tapta Beach (Manoo Socamix) (Gogo Music) • 10. Sai & Ribatone - Dream Avenue ft. Thiwe (Soulistic)

DJ ENOSOUL (Engineers of House / JHB - Soulful House) 1. DJ Marcuis, The Antidotes - Everybodys Dancing (Afrika House Rec) • 2. The Realm ft. Tony Momrelle - Time (Frankie Feliciano Vocal Mix) (Papa) • 3. Argy feat Bajka - Upon Ourselves (Osunlade Soul Mix) (Ibadan) • 4. Marco Bocatto - Luxury (Drum Mode) • 5. Chymamusique ft. Botshelo - Hands Of Time (Soulcandi) • 6. Monodeluxe ft. Annae Jordan Time Remix Project (Disclosure Vocal Mix) (Vibe Boutique) • 7. Harley & Muscle - Internal Auditor (Soulstar) • 8. Evren Furtuna - My Miracle Baby (Plastic City) • 9. Andre Harris - Feel This (Nteeze & Andy Mix) (Innate Soul Digital) • 10. Karol XVII & MB Valence - The Rusty Piano (Shur-i-kan Rmx) (Loco)

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Fri 6 Jul | Discotheque | CPT @ The Assembly | www.theassembly.co.za Fri 6 Jul | Metro FM Durban July Pre Party | DBN @ Moyo | Dj's: Glen Lewis, TBO Touch, Naves, Sphe, Siyanda, Ismail Abrahams, Adil, Nutty, Naked DJ, Lulo Cafe, Sentle and Miza | 20h00 | R150 | www.computicket.com Fri 6 Jul | Official Vodacom Durban July Pre-Party | DBN @ Empyre Nightclub | Host: Deep Absurdum | Dj's: Andre Lodemann & Trickski (Berlin) & Sahin Meyer, Roger Goode, Ryan Dent | 20h00 | R70 | www.facebook.com/events/391439880912400 Fri 6 Jul | The Big Bang! | DBN @ Plush Ultra Lounge | Dj's: Fresh, Euphonik and Durban finest DJs | 20h00 | R150-R250 | www.computicket.com Fri 6 Jul | We are one! 1st Anniversary | JHB @ Vacca Matta - Monte Casino | Dj's: Kent (5fm),Vatos on Deck, Shimza (Yfm), Major Legue, E4, Keenan O, Uphoria | 21h00 | R80 before 10pm & R100 thereafter | www.cafevaccamatta.co.za Sat 7 Jul | {psy.ology} records launch | CPT @ The Side Show (Former Fez) | Dj's: SubZero (Portugal), PoiZon (Portugal), Zezia, Headroom, SwiTcHcaChe vs Up-Psy-Down, and more | 2 Dancefloors, Psychedelic décor and lighting, massive sound | 21h00 | Presale:R60, Before 10pm:R80 & Thereafter:R100 | www.computicket.com

Sat 4 Aug | Teknotribe 9th Bday Bash | JHB @ Townhall & The Woods | Hosts: Teknotribe and psy.ology | Dj's: Absolum (3D Vision), Nick Grater, Deadbeat FM, Deliriant, Bionic, SwiThcasHse, Dre’ama, Killer B vs Digital Dream, Sebotage, Manifesto, Thalia, Senjo | International live act, 2 Dance floors, massive sound and lighting, mesmerizing visuals, décor that takes you into another dimension | 20h00 | R120 @ Door or R100 presale @ www.strictlytickets.co.za | www.teknotribe.co.za Sat 8 Aug | Slippery & Wet: Live & Dj: FABIO & MOON and friends | JHB - ESP Club 84 Oxford Street, Ferndale - www.esp.co.za Wed 8 Aug | Frost-Bite 3D – PsynOpticz & MMD | CPT @ The Side Show (Former Fez) | Dj's: Absolum (Spain), Lost & Found (SA/Germany), Zezia, EMP, Super Evil, Shift vs Deliriant, SwiTcHcaChe vs Archive, Humerous, Gokon Rave, Deadbeat FM, Tune Raider, Deep Filth | 2 Dancefloors, Psychedelic décor and lighting, massive sound | Next day public holiday | 20h00 | Presale: R70, Before 10pm: R100, Therafter: R130 | www.computicket.com Fri 8 Aug | Diplo (USA) | JHB - Venue to be announced, watch press for details and Facebook

Thurs 9-11 Aug | Oppikoppi - Sweet/Thing | Red Bull Studio Stage @ OppiKoppi Farm, West-Northam, Limpopo Province | Dj's: DIPLO, Pascal & Pearce, HAEZER, SIBOT, P.H.fat, Toby2shoes, DJ Danger Ingozi, Babaganoush, Ma'original, Hopa Banda, Les Doigts de l'Homme, King SkaSA, Tattoo Level 9, Satori, Mole'cule, The Gravity regulators feat. Levi Pon The Mic, DUB RUI, Thierry Arnold, 340ml | Camping & Stalls | R750 @ www.ticketbreak.co.za. | www.oppikoppi.co.za Fri 10 Aug | Discotheque Presents: Diplo (USA) | CPT @ The Assembly | www.theassembly.co.za

By Lois Siddhu

54 ASTROBABBLE

CANCER 21 JUNE - 21 JULY ARIES | 21 Mar - 20 Apr | FIRE It is very necessary to establish a definite personality and values so that you don't get caught up in others' ideas of who or what you are as it is through relating to others that you grow. You are an individual. TAURUS | 21 Apr - 20 May | EARTH You need to initiate social activities and values as you are also the peacemaker which points to the fact that rather than ignoring areas of conflict, disharmony or injustice, you should realize that this is where your skills are most needed. GEMINI | 21 May - 21 Jun | AIR You are inclined to live too much in your head and forget sometimes that there is a big difference between knowledge and experience. This can make you too critical of others that have lesser mental powers than your own CANCER | 20 Jun | 22 Jul | WATER You need a vision of a better life for one and all that not only will act as a focus for all your compassion, imagination and sensitivity but will also be practically attainable. You are inclined to live life as a concept rather than as a living event. Remember that it is alright to make mistakes.

LEO 22 JULY - 22 AUGUST

JULY 2012 WINTER SOLSTICE - 21ST OF JUNE @ 1.10 AM. LEO | 23 Jul - 22 Aug | FIRE Deep down you are afraid of failure. You need to see what is failure in your life - to understand it and where it comes from - and see where this fear of not being good enough and acceptable to others, originates from.

SAGITTARIUS | 22 Nov - 21 Dec | FIRE Your quest in life is seeking Truth but the more you seek the more elusive and ethereal it becomes until you realize that the only Truth is what is within yourself. Realize your own truth and how capable you are in being truthful within yourself.

VIRGO | 23 Aug - 22 Sept | EARTH You tend to get fixated on a particular outcome of events and failing this expectation you relegate the experience to the dustbin as 'bad' or negative. Life is an experience and sometimes it goes smooth and other times not and those are the times you learn.

CAPRICORN | 22 Dec - 19 Jan | EARTH Abstruse anger and partnership issues will surface and you'll be compelled to bend your head to understand the sometimes more emotional and sensitive feelings of those you are dealing with. It is not about who is right or wrong but rather the inclusion of other's sensitivities.

LIBRA | 23 Sept - 22 Oct | AIR You may be tired of the inconsistency you perceive in others and will use any capitulation as ammunition to win an argument. It is in the acceptance and understanding of yourself that will enable you to cope with the changes in yourself. SCORPIO | 23 Oct - 21 Nov | WATER You can know things and see things that are not apparent to others and have the ability to pick up very accurately on others feelings. The downside of this is that you often mistake their emotions for your own and carry the weight of this.

AQUARIUS | 20 Jan - 18 Feb | AIR Your thinking patterns get stuck in a groove of repetitive design that you no longer see the real world around you, but only what is going around in your head. Be cautious in expressing your underlying irritabilities as sparks fly quickly. PISCES | 19 Feb - 20 Mar | WATER Although there will be new opportunities on offer it will depend on you consolidating issues of the past. It is no use carrying your old baggage with you wherever you go, hence the emphasis on completion in order to bring closure.

AUGUST 2012 VENUS MOVES INTO CANCER AND NURTURING IS THE FOCUS.

ARIES | 21 Mar - 20 Apr | FIRE You can discover aspects of yourself that have been dormant and un-used and find creative ways to give voice and expression to them. It is time to clean up your act around the home and attend to fixing all those broken things. TAURUS | 21 Apr - 20 May | EARTH If you could glimpse the vastness of the possibilities available to you, you would shift your way of thinking, to include what you have always relegated to the attic of your subconscious and therefore not paid attention to. GEMINI | 21 May - 21 Jun | AIR Like a crystal with many facets you will find that truth has many different interpretations and not only your viewpoint. Allow for others to also have their own interpretation of things. CANCER | 20 Jun | 22 Jul | WATER Water can sound like an incessant drip or it can bubble away in merry abandon. Likewise with your emotions. You can enjoy the feelings of pleasure and joy or you can get locked in the incessant dripping of dissatisfaction.

LEO | 23 Jul - 22 Aug | FIRE Compulsive and excessive behaviour is prone to stir up deep-seated fears that lead to anger. You need to address these fears and find their root cause to heal and release them.

SAGITTARIUS | 22 Nov - 21 Dec | FIRE You need to eradicate your avarice, which is fearbased and this can only be done by alleviating the emotional as well as mental imbalances that create this feeling of lack.

VIRGO | 23 Aug - 22 Sept | EARTH Without any challenges in life you will become static and there will be no growth or forward motion. The challenge is to be yourself and to have the courage to be independent and individualistic as well as accepting.

CAPRICORN | 22 Dec - 19 Jan | EARTH If you have not yet realized your capacity to create abundance then this year will push you in that direction and opportunities will come your way but it will not come easily and flowing without you putting in the work involved.

LIBRA | 23 Sept - 22 Oct | AIR Your lessons of abundance and expansion come to you through healing your relationship/s, which have never been very easy for you as this is where you learn many valuable lessons, through others. SCORPIO | 23 Oct - 21 Nov | WATER It is a time when you are tightly squeezed to walk your talk and make changes if your lifestyle is based on consumer greed. The earth can only sustain you to the extent that you are taking care of it.

AQUARIUS | 20 Jan - 18 Feb | AIR Look with honesty and integrity at your buried fears that are often conjured up by your imagination. Through looking at them and realizing the truth of them, your fears can help you access the hidden agendas that you have suppressed, PISCES | 19 Feb - 20 Mar | WATER As you are basically intent on achieving stability, the secret lies in you establishing what truly constitutes stability for yourself, rather than blindly conforming to an overly materialistic society's idea of it.

Lois Siddhu lives in a circle of mountains in the Baviaanskloof. For professional Astrological Counseling CALL 049 839-1178 or Email: masonwaspstudio@telkomsa.net