Digital Soul February 2016

TUNE RAIDER

72

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5 ED’S NOTE

6 HOW TO

Be single on Valentine’s day and LOVE it 10 ASK ANNABELLE

18

Agony Aunt

16 FROM PAROW WITH LOVE

Jack Parow releases new album

18 DANK

Featured artist - Dan Kitchener

34 ALAN RICKMAN

A life celebrated

36 RATROD CATS Interview

42 FOREFRONT Interview

48 FLIPSIDE FEST @ J&B MET Introducing....

56 LANCIFER

58 82

New EP Release

58 SPECTRUM & THE VALLEY OF PSY - HIGH TIDE Review

60 SKUNK ANANSIE Anarchytechture

62 FRANK LATTER VISUALS Interview

82 420

96

What is it and what does it mean?

84 THE SHIFTING PROJECT Interview

90 HARP ON

Instrument of the month

94 MEN OF MOUNTAINS

Release their debut

96 EQUINOX EXPERIENCE

Exclusive, invite-only forest party

Editor

What is

Yolande Gypsychild Jordaan

- Editing, Concept, Content Strategy, Layout design - Advertising/ Marketing - PR Y yolande@digitalsoulmag.co.za

DIGITAL SOUL

Team

Artistic Passion is our Inspiration.

Christelle Scheepers - Sub-Editor, Art, Across the bar Y christelle@digitalsoulmag.co.za

Nicole Nel

- Miss Information ‘The War on Consciousness' Y nicole@digitalsoulmag.co.za

Natalie Mentor

- Freelance contribution Y nataliementor@gmail.com

Danielle Scheepers - Dance Correspondent Y daniellescheepers@gmail.com

DIGITAL SOUL showcases an eclectic appreciation of the Creative Arts.

DS recognises the Artist’s potential to define an entire generation with a single piece of work... Therefore we provide our artists; designers, animators, producers, dancers, DJ’s, photographers, musos and freethinkers with a virtual platform to stand up and say: “Shut up and Listen!”

Annabelle Foster - Agony Aunt - ‘Ask Annabelle’ Y askannabelle@digitalsoulmag.co.za

Benjamin Shepherd

connect

- Music Instruments

Web

Wilbur‘likesmith’ - Creative Logician & all-round Propellerhead Y wilbur@digitalsoulmag.co.za

Cover

Tune Raider Photograph - JASON PAUL HERMAN PHOTOGRAPHY

?

digitalsoulsa

EDITOR’S NOTE It’s the month of love and you are going to love what we have in store for you this month.

We attended the FlipSide Fest at the J&B Met as well as Spectrum and The Valley of Psy’s High Tide.

On our cover this month we feature the beautiful Pamm Legg - aka Tune Raider.

Pamm is one of SA’s top Psy Trance DJ’s and also directed and produced the documentary on the Cape Town Psy Scene called “Under the African Sky”.

Our featured Artist this month is the phenomenal Dan Kitchener - DANK - check out his spread from page 18.

Another feature I am very excited about is my

interview with Frank Latter, the digital artist and brain behind Frank Latter Visuals.

There has been quite a bit of controversy within the psy trance scene since Equinox Experience announced their new “invite only” system. This has caused quite an uproar within parts of the psy community. We felt that this could most definitely be resolved by clearing up a few of the assumptions and rumours around the topic - I spoke to Ryan Martin in an attempt to gain some insight and clarity.

Be Blessed and take it easy.

Yolande

IMAGE BY ALEXANDER NICHOLSON VIA GETTY IMAGES

HOW TO Be single n VALENTINE’S DAY & L VE IT WORDS BY YOLANDE GYPSYCHILD JORDAAN

Treat

Valentine’s Day not as a day to glorify romance, but as a day to celebrate love in general — love for yourself, your friends, your community and for the world. The ideas also work for singles wishing for a life of couple-hood. So go forth and revel, no matter what your relationship status.

4

3. SEND SO

Studies cards t not s No yo m

1 3 2

5

1. GET CHOCOLATE Who says you need someone to buy it for you? Get a box of chocolate and enjoy it. Chocolate releases endorphins in the brain to make you feel good! So a little chocolate will actually improve your mood and make you feel better 2. VEG OUT Do nothing at all. Being single on Valentine’s Day is the one time you’re allowed a “Get Out Of Jail Free” card to spending money on booze and extracurricular activities your nonexistent girlfriend would probably disapprove of. Just stay home, veg out on the couch, and be glad you’re not dropping a couple of bills on overcooked steak and watered-down drinks. You can go out next weekend and rub all the money you saved in your hitched friends’ faces

th Co this the be see the

OME LOVE SOMEONE ELSE’S WAY

s show that kindness spreads, so start an epidemic. Give Valentine’s Day to those close to you, like your co-workers and friends, as well as those so close to you, like the barista who serves you your coffee. ot the Hallmark type? Volunteer locally and help those less fortunate than ou. Seeing a face light up from your small gesture will fill you with love and make the world a better place.

4. INDULGE YOURSELF

6

Since Valentine’s Day is all about love, spend the day loving yourself. It makes perfect sense. Do whatever you want, be it pampering yourself with a lavish mani-pedi or staying home, ordering take out and binge-watching every movie your celeb crush has ever made. Or binge-watch a full season of your favorite TV show. After all, you have no one to please but your own self.

5. CONSIDER THE DAY AFTER VALENTINE’S DAY. Will all those lovers continue whispering sweet nothings in each other’s ears, will they keep surprising one another with candlelit dinners and trips down memory lane? It is to be hoped so. Reality however, suggests otherwise and we all, single or unattached, can fall into a habit of not acknowledging the people who matter in our life. Why not use Valentine’s Day as a reminder to spend the rest of the year letting people know how much they mean to you.

6. KNOW YOU ARE LOVED.

I’m not a very religious person, but I do know hat there is one Source of love that drives us all. onnect to that Source. Whatever you may call it, energy and Source of love is all around us. From eauty of nature, to the beauty of humanity, try and e good and love of all that surrounds you.

I am wondering, if a guy would invest his time for texting almost every hour and everyday only to get sex (my fear)?

I don’t know him in real life, we met online. He’s charming and all that stuff. We’ve been texting about different topics (including sex) for more than a week now.

Yes, it is not only possible but also probable.

Face the music honey - men will do much to get laid and sweet-talking you through sexting is hardly work at all.

Confront.

Ask him what his intentions are and take it from there

What do i do if an old girlfriend insists on texting my bf every week to lend money?

There are a few ways of dealing with this. First, stop reading his texts. It’s his Business (not relationship).

If she quickly repays him no problem. Second if the loans are affecting the time (not money) he can spend with you. Then you can politely ask that he concentrate on you when you are together. If he is not dating you because she is getting all his discretionary money and not paying it back, you have 2 choices. Start paying for the dates, or Find a Boyfriend with better boundaries and money sense.

I’m 32 years old and have just ended my relationship with my partner of 11 months. Recently I have been in contact (via messenger) with a girl whom I met approx 13 months ago, while I was visiting a then current girlfriend, kind of. At that stage I thought she was extremely cute, but I never had the chance to talk to her direct as she was just visiting and was a friend of a friend obviously. This girl, who we will refer to as Jane, has a current boyfriend, and has a previous boyfriend who lives in another city, trying desperately to get her back. “Very full on with me” she says. Over the last 2 weeks we have chatted about different things, and txt even, with the conversations seeming fine, chirpy, and I have even mentioned the occasional “I really like you” line. I know she likes talking to me, she says so. I have even asked her out for a walk, which she accepted, although she said “at a later stage”. She has also told me that she was tempted to go back to this ex-b/f’s motel room recently (he was down for the same course she is doing) but that she swore to herself that she would never cheat. Also, she says that she has told her current b/f she doesn’t know where her head is at the moment, and she says that he said nothing, probably worried she might leave him.

When I am talking to her on messenger, he sometimes turns up and she has to hurry to get off line, but then sends me a txt straight afterwards saying sorry.

My problem is this: I like talking to Jane, very much so, and as I said we seem to communicate well online, but I am unsure where her mind is with everything. She must have so much on her plate so to speak, and I am trying soooo hard not to pressure her for fear of sending her packing before we have even properly met, but every time she mentions her b/f, or her ex-b/f, I cringe, thinking it is hopeless.

Although you’ll probably say that patience is the key element here, I can’t but help think that my chances of seeing her are slim to none. But if we do eventually meet up, it is quite possible she will be hounded by the “other 2”. It is her birthday next week, and she said she will send me an invite (along with everyone else), but I don’t think I will go, for fear I will see her with her b/f. Jane has asked me why didn’t I like her all those months ago, and what was wrong with her then, and when I replied saying it was bad timing etc, she says it could have been totally different now. If only things had turned out differently those 13months ago. I guess I will just have to ride with this and see what happens. Any help or advise would be greatly appreciated, especially soon.

Sincerely Down and unhappy Dear D.a.u.

It is tempting to suggest that you are ‘32 going on 13’! Life is certainly full of ‘if onlys and what ifs’ along with regrets and missed opportunities. It grieves me that you are so confused and this comes through so forcibly. On the one hand Jane says that she wants to remain faithful yet she is carrying on a clandestine on-line relationship with you. I think you must ask yourself what you see in this lady and why she is carrying on her side of the ‘relationship’. She may be as confused as you are or else she may be enjoying having 3 men on her string. I’m sorry, but I can’t work this out for you. You will have to do that for yourself. Take a long hard objective look at things; you may find it best to move on. Have a look at some of the subsequent answers about meeting people - there may be something there that helps. I hope you will soon be ‘UP AND HAPPY’

IMAGE BY ALLISTER CHRISTIE

From

parow With

lrve

PRESS RELEASE BY LOUISE CROUSE

JACK PAROW garnered massive success when he dropped his “Nag van die Lang Pette” double album in The Netherlands and Belgium in 2014. Our Afrikaans rapper made his mark on this territory by appearing and performing on the biggest TV shows and radio stations there. He made thousands of new fans with two sold out club tours in 2014 and a super successful summer tour in 2015.

It was during these regular visits that Jack Parow met likeminded Dutch artists which resulted in inevitable next-level collaborations. During his European summer tour in 2015, Parow worked with a few Dutch and Belgian artists to create the “From Parow with Love” EP. This EP became available on Friday, 29th January 2016.

“Kattenkwaad” with De Kraaien is the first offering from this release.

Watch De Kraaien and Jack Parow’s “Kattenkwaad” Music Video here: https://www.youtube.com/watch?v=q4xQkL4Liw&feature=youtu.be “From Parow with Love” is an epic collection of JACK PAROW collaborations with various European artists. Collaborators include: De Kraaien (NL), SKIP&DIE (NL), De Likt (NL), Ertebrekers (BE) and South African super group Freshlyground.

Website: jackparow.co.za Twitter: @JackParow Facebook: facebook.com/jack.parow Instagram: Instagram.com/jackparow iTunes: Nag Van Die Lang Pette

IMAGE FROM YOUTUBE

d

da

dank

an kitchener ARTISTBIO

My name’s Dan Kitchener and I am an painter,artist and illustrator living in Essex and working all over London and the South East. My work has a gritty urban theme, taken from everyday life and the surroundings and environment I experience daily.

I love to find beauty in the most mundane of scenes and particularly love the relationship with light, shadow and composition.

I try to fill my work with a tangible mood, a sense of being there. I work using a variety of mediums, spray paint, paint markers, stencils and paint for my canvases. I also produce a lot of digital paintings and illustrations which again follow similar themes, lonely urban landscapes punctuated by flickering, faulty street lights, high rise flats rising from misty horizons over concrete grey skies....

Having worked for some major clients, including Sir Paul McCartney, Kylie, Calvin Harris, Il Divo, Carlsberg, MTV, ITV and Ministry Of Sound to name a few, exhibited artwork all over the world and sold to a growing body of avid collectors from Australia, Japan, America, and all over Europe!

Painting at Leake Street - Battle Of Waterloo 2015

Brick Lane piece for 5th Base Gallery Photo by d7606

‘Assassin’ - High above the bustle of the streets of Future Tokyo, she sits, waiting patiently.

The city glowing below, neon signs flickering in the night, rain, steam and fire, the buzz of the city below...

Everything starts as a sketch in my sketch book!

Pure drawing pleasure, not finished or polished sketchbook illustrations, but quickly scribbled ideas, small sparks of inspiration, noted down to not lose the energy of the idea, an endless library of ideas to dip into, spanning countless sketchbooks from over the years,

'The Dead Man's Arms' Whilst everyone sleeps, I like to get up early everyday, sitting in my studio in the dark, silence all around, with just the lights if the computer monitors illuminating the room, I can immerse myself in these dark fantasy worlds of London Dark, ancient creatures, ghostly figures and eerie deserted streets inhabited only by the dead fill my sketchbooks and allow me to choose where I want to go to in this alternate reality.

I am particularly happy with this illustration, the multiple light sources are a challenge that I relish, they allow a real sense of form and depth as well as tangible light and shadow…always fascinated by light and these really allow me to explore the way light reacts with stone, bone and slimy flesh and tentacles!

The added bioluminescence of the ancient god also adds another dimension to the light effects!

‘Roof Tops’ - My latest digital future tokyo painting, and another wall visual, hopefully that will be coming to a wall soon! Based on my photography with model Thalya Hill !

ALAN RICKMAN WORDS BY CHRISTELLE SCHEEPERS

The

Grim Reaper was a busy man in the week of the 10th of January.

First he yanks trendsetting, muso legend David Bowie from the land of the living (the scythe carrying bastard), then he makes a return trip no less than 4 days later to collect fellow pommie veteran actor Alan Rickman.

Most of you will probably recognise Rickman from his role as Severus Snape in the Harry Potter film series, but Snape was one of only dozens of characters that Rickman portrayed during his decades long career. Hailing from a working class family, Rickman’s work career started as a graphic designers at a community newspaper, he had done watercolour painting whilst at school and deemed his job at the newspaper considerably more stable than acting at age 18.

It did not, however, take long before destiny came a calling. He worked as a dresser for two well-established actors as a facet of the start to his illustrious career. His schooling took place at the Latymer Upper School, where he was introduced to drama, he then went on to the Chelsea College of Art and Designed followed by the Royal College of Art. Three years after starting a graphic design studio

with a few of his college mates, he decided to take up acting professionally. He subsequently applied, auditioned for and was accepted to Royal Academy of Dramatic Art and the rest… well you know how the saying goes.

Throughout his career Rickman received critical acclaim for a myriad of the roles that he portrayed, but he was probably best known for villains that he played. The role that could be considered as his Hollywood big break was that of Hans Gruber in the action blockbuster, Die Hard, starring opposite Bruce Willis. The role earned him the 46th spot on the AFI’s 100 Years… 100 Heroes and Villains list. Not bad, considering that he actually considered turning down the part. Another famous portrayal of an antagonist was that of the Sherriff of Nottingham in the smash hit film Robin Hood: Prince of Thieves, co-starring Kevin Costner. It was, however, the portrayal of Emma Thompson’s awkwardly “wayward” husband in the romance film Love Actually that stole my heart.

But Rickman was not merely a star of the silver screen, he was also a celebrated stage actor, who worked with the Royal Shakespeare Company. He played a number of roles, which in 1987 resulted in a Tony and Drama Desk

Award nomination for the role of Vicomte de Valmont in the adaptation of Les Liaisons Dangereuses. In addition to his stage work, Rickman was an equally celebrated voice over artist, so much so that an amalgamation of his voice and that of Jeremy Irons was named the perfect male voice out of 50 samples studied. He was responsible for giving voice to a number of popular/ lovable movie characters. Included on the list are: Absolem the Caterpillar in Alice in Wonderland Noel Idell in The Wildest Dream and Marvin the Paranoid Android in The Hitchhikers’ Guide to the Galaxy.

posthumous Life Time Achievement is on the cards? I most certainly hope so.

Considering all the romantic leads he was cast in, and seeing how we are entering the month of love, it was his own love story that could undoubtedly compete with any of the love stories he told through his art.

He met Rima Horton, a would be politician, in 1965 when they were respectively 19 and 18 years old. The two lived together from 1977 until the day he died. Yes, they were together for more than 50 years. Strangely (and sensibly enough) the pair were only wedded in 2012. How’s that for a heartOf awards and nominations received there warming tale of love and happily everwere, needless to say, several nods that afters? came Rickman’s way. The list includes an Emmy nomination for HBO’s Something After having suffered a minor stroke in The Lord Made, The Theatre Goers’ Choice August last year, Rickman was diagnosed Award for Best Director and the James with pancreatic cancer by his doctors.

Joyce Award. The portrayal of Severus Sadly the disease took its toll on him and Snape also garnered him a few awards less than a year later, on 14 January 2016, including a People’s Choice and MTV Movie he lost his battle with cancer. He passed Awards. Surprisingly though, he never did away in a London hospital to the shock and receive an Academy Award. Perhaps a dismay of fans and contemporaries alike.

the

ratrod

d

cats

WORDS BY NATALIE MENTOR IMAGES PROVIDED BY RATROD CATS

With

a-rocking and a-rolling and a-swinging and a-jiving, Ratdrot Cats pours their music into our heads and hearts and beats through our bodies with their care-free sounds from their 50’s, New Orleansy tunes, with a slightly punk edge. “Ratrod Boogie” just immediately brings Elvis to mind, crowds of people on the dance floor twisting and turning to the thumping of the very old and dusky sounds of old classic rock.

The contrast between the lyrics and the sound makes your mind go off in one direction and your body in another. They are a good recipe for loads of fun and dancing till you drop.

The Ratrod Cats are influenced by rock legends from the 50’s and 60’s. From the time of hot-rods, childlike and care free summer days and eating ice cream in the park. It seems like the feel-good factor is one of the most important trademarks of this band and they like to take their fans on a journey to way back when. They perform all over SA and especially It’s interesting to hear how they can sing about like to part-take at music festivals. zombies killing your boyfriend or girlfriend and I was fortunate enough to steal some time make it sound fun to dance to, and also how they from KC’s schedule for a sneak peek into the delightfully urge you to be bad for them tonight. lives of Ratrod Cats.

almost 6 years.

DS: Besides playing music, do you guys have any day-jobs or do you solely rely on the band for an income?

RC: Alas, we all work and have careers other than music.

DS: What would you say is your target market and how does the crowd normally respond to your music?

RC: We are very fortunate that our market is pretty broad, once people hear the music.

Rockabilly has a habit of getting peoples feet tapping, and we find that once people hear the tunes they seem to love the vibe and the energy of it all. So we are fortunate for a broad market.

DS: Do you think it is important to treat your band as a business and why?

RC: Absolutely. The band is an entity on its own. We thoroughly believe in keeping a record of band money, letting the band funds pay for band expenses and the band fund taking a cut of any performance fee we get. It helps when expenses come up and we don’t need to pay for it out of our own pockets.

DS: Do any of you rockers have any musical background? Howlong haveyou been playing?

RC: All Ratrod Cats members have a long history in the music industry. Be it learning instruments at a young age, playing in bands and gigging since being teenagers, to working at local music stores. We’ve been around the block DS: Ratrod Cats sounds very unusual. How did you guys come up with the name of your band? ​ RC: All the members love old school rock n roll and the culture that goes with it. That includes the hotrods and muscle cars. We love old school rides and decided to take our love for V8s and incorporate it in our name, hence Ratrod Cats.

DS: How long have you guys been together as a band now and who are the key players in your band and instruments you play?

RC: KC Royal on guitar and vocals, Rick-abilly on drums and Double Dave on, well, double bass – play rockabilly with psychobilly/dirty south infused lyrics. We’ve been around for

DS: Who are or has been your personal role models throughout your life?

RC: I think each member has someone special in their corner that always supports them. We are very fortunate to have the support of family and loved ones.

DS: How about musical influences?

Who did you listen to when you grew up and more currently?

RC: Well, we all have a love for the old rockers from the 40’s and 50’s. We also love the 80’s and 90’s rock. We all grew up with the old rockabilly guys like Elvis, Jerry Lee Lewis etc, but we also have a deep love for punk, hair metal and modern rock.

DS: At Digital Soul one of our aims is to create a platform that brings forth more exposure for South African artists and a greater sense of appreciation amongst the audience. How do you contribute instilling this idea in the minds of our South African population?

RC: We truly encourage people to get out to shows and watch local acts. People don’t hesitate to pay over R1000 for an international act playing at a local stadium, but often have an issue of paying R40 to watch a local band.

We support and encourage people to get out, experience and support local artists.

crosses over into the hotrod culture, the pin-up culture and more. We tend to all stick together and support each other, so there is a sense of fandom that goes across all those areas, and we tend to all support each other.

DS: What image do you wish to convey to the public?

RC: An image of care free, happy-go-lucky, hotrod driving, pub crawling, good time boys.

It’s less about conveying it, as we actually do tend to live it.

DS: Anything new you’re working on at the DS: Please describe your sound? moment which you’d care to share?

RC: Foot tapping, hip swinging, greased up, RC: We are always working on something, original rockabilly music with a hint of tongue and look forward to playing some local in cheek naughtiness. festivals coming up in the next few months, as well as lots of new material.

DS: Can you tell us what your songs are mostly about? What inspires you?

DS: Upcoming events in the near future?

RC: Cars, women, bars and good care free times! RC: The local rockabilly festivals (Dusty Rebels and the Bombshells) in Cape Town is a big one.

DS: Do you have a specific group of followers We always love playing that festival and always in SA or how would you describe your fan have a blast. We are stoked that Ratrod Cats base here? will be performing at the Cave King Fest 2016.

RC: South Africa has a small but loyal Hope you’re ready to get your Rockabilly on! rockabilly/psychobilly scene and culture that

WORDS BY CHRISTELLE SCHEEPERS

IMAGE BY ROBIN TAYLOR

One

of my favourite parts of this job has certainly become interviews, whilst this was only interview number three for me I thoroughly enjoyed it. I had a sit down with the gentlemen from Forefront at the ever popular Truth Café in Buitenkant Street and I was as impressed by them as lads as I was with their music. They have performed at Rocking the Daisies and have even appeared on Expresso.

The band is comprised of high school mates Taylor Jackson (TJ) (guitar and vocals), Nick Andrews (NA) (guitar and vocals), Nicolas Rous (NR) (bass and backing vocals) and Jason Dionysolpoulos (JD) (drums and synth).

Without further a due let’s get to the Q&A.

given to us by one of our teachers. Our music was a tad heavier than what we are doing now.

We entered a battle of the bands in 2011 and with the change of music style a name change was needed too. We chose Forefront as we are 4 members, who love music, and to be on the forefront of something is to be ‘the leader of the pack.’

DS: When I met Nick he mentioned something about changing your music style. What brought it about?

FF: Our previous band sound was very heavy and emotional as we were dealing with teen angst first and foremost. After high school we changed to a more upbeat tempo and sound, it was simply a natural progression.

Our hormones had straightened out and we have become life loving people. We now make music to portray who we are as people.

DS: Tell us a bit more about Forefront. How did you guys get started and were you mates before?

FF: Taylor joined us a bit later, but we were DS: 2015 was a pretty big year for you guys. mates in high school and played in a high school How is 2016 looking for you? band called the ‘Village Idiots’, a name lovingly

IMAGE BY ROBIN TAYLOR

Zula Bar they made all sorts of promises none of which were delivered on. They still owe us money and the promotional material that they recorded, i.e. photos and videos. Then at River Republic we had a fan that was tripping balls on acid. He was dancing all over place, kept changing his outfits while everyone else was rustig. It was quite strange. At Rocking the Daisies, the biggest gig of our careers to date, I (NA) got Carpal Tunnel and had to explain to DS : You’ve played at some really big venues/ crowd what was happening while having to play pretty much the entire set with limited events. What is on your band bucket list?

FF: We achieved everything that was on hand and finger movement. We played at the our original band bucket list in 2015. On our Hermanus Whale Festival on the same day, by modified list, however, we have Coachella, the time we got there, my hand was fine.

Kirstenbosch Summer Concerts (NR) Milton Keynes in England (JD), The Roxy in LA (TJ) and DS: You’re running late for a gig and see the Viper Room (NA). TJ even though we know someone in need of help. What do you do?

FF: We’ll stop, pick them up and take them we might lose Nick in there, forever. with them us to gig. BTW bring everyone to DS: What was the naffest (kak) gig that you our gigs, we are family friendly and everyone, including Grandma is welcome. ever played?

FF: We played a gig at this place called the Jolly Roger, in Obz, it was just us and the other DS: Any titbits of advice for bands and bands on the line up for night. We were each managers to get them to where you are? other’s audience as no one else came. Also FF: Everyone should work together on a FF: We are planning on working on new material and trying out new styles of music.

We would like to do more shows and festivals, perhaps Splashy Fen, and hope to be introduced to new crowds too, but nothing too big though.

We will be working on a new video, a tangible album, for the fans, as well as a small SA tour, possibly. We also have international tours in the longer term pipeline (2017?).

IMAGE BY ROBIN TAYLOR

common goal(s). Go to other bands’ gigs and support those who are trying to make it in the industry too. Be persistent and do not give up.

DS: What is the most remarkable thing about music for you?

FF: (NR) I came across a trap rapper on YouTube called Keith Ape and even though I could not understand what he was saying, I felt an emotional connection what he was rapping. It is not always about the lyrics.

Humans didn’t invent music, music was discovered and we love the huge input it makes on who we are and how we feel.

DS: As we are building up to the Legalise Weed march, taking place in May, with a series of Marijuana related articles, what is your take on 420?

FF: 4:20 is the best time of the day, but Marijuana is not for everyone. So use it, as long as it doesn’t make you a mampara.

Hemp has a huge number of uses and applications and is way less harmful than alcohol. By regulating it will make it a lot safer, as there’ll be no longer be the risk of it getting it spiked by malicious dealers. It will also help to decrease unemployment as the Hemp sector, a blessing in disguise, is a massive untapped one. The war on drugs is also a waste of resources. 420, however, is not a part of our band image.

All in all my sit down with the lads was as entertaining an afternoon as attending one of their gigs. I hope to be able to see them again soon and trust that you, our loyal DS fans, will checks the guys out and give them the love they deserve. For those of you who have yet to hear any of their tracks, check out Happiest In Water on YouTube and take it from there. I guarantee you a feel good 5-er of note!

WORDS BY YOLANDE GYPSYCHILD JORDAAN

The

J&B Met after party is known as the hottest Cape Town calendar event of each year and this year, newbies, FlipSide Productions along with MegaPro and Chattels hosted what is said to have been “the hottest new lifestyle festival at the infield at the J&B Met” While Christelle attended FlipSide Fest and got her “rare blend” on, I asked Matthew, organiser and driving force of FlipSide Productions a few questions prior to the event.

DS: What other Flipside Productions event(s) are you associated with and what is your role?

M: This is FlipSide Productions’ first event.

We are a new company that formed to find a balance between something fresh for party revellers and brand sponsors alike. Previously we produced the Pop Bottles (Reloaded) music video by Speedy, feat. Stoan, Lection, Nadia Nakai, King Jay and Bass.

informed on every process but do realise that specialists in certain fields need the freedom to do what they do best.

DS: What is the most difficult part of your roll in producing the event?

M: There are some difficulties in handling the plethora of suppliers and getting the order of getting things into place, but with a great team and partners working together this does mitigate any difficulties.

DS: What do you perceive to be the biggest technological improvement to the future of events?

M: The way it is marketed to the youth. Abovethe-line marketing is so 1990’s and to generate hype the future has to be word of mouth generated by a great previous experience and good brand associations of those involved. I.e.

MTV in this year’s case.

DS: Running an event like this takes a lot of work, organization and support. Who are the key individuals on your team, and what industry support do you have locked in?

M: Our partners Chattels and Megapro are specialists in the eventing field so the DS: What was your motivation to first get partnership in strategic terms is an obvious one.

To make sure we lock into the local flavour and involved with the Met? M: The MET has such a rich heritage and it target market we have utilised on the line up was always high on the social calendar when side Dean Fuel and Chris de Vos and on the PR I was a student- so it’s a great honour to be side Amplicon. involved this year. We will be creating a festival atmosphere that we are sure the crowds will DS: Many festivals include in their programs appreciate and we will be back for years to come. fashion shows or photo exhibitions. Have you included / considered including something DS: What is the process for selecting like that to the program?

M: FlipsSide Fest @ the J&B MET in 2017 does performers/DJs? M: “Cape Town’s finest” was the brief. With the have that prospect as we have a major fashion addition of the nationally know headliners that label lined up and willing to be involved as a headline sponsor. are great in a live performance.

DS: What was your most difficult task in promoting the event? What made it difficult?

M: None. Whatsoever. We brought on board a highly capable local PR and social media DS: “The J&B Met after party is known as the company on board, and they have delivered hottest Cape Town calendar event of each year, and in 2016 the hosts, FlipSide, will ensure that 110% on all expectations so far. the experience beats any to date.”

DS: What would you do if a DJ has not shown Would you care to elaborate on this statement?

What will set FlipSide Fest’s take on the up and doesn’t answer his phone?

M: There is no ways this will happen. All our after party apart from those presented by performers are very excited to be a part of this previous hosts? event. The only possible hurdle could be those M: We have a couple of “secrets” up our artists flying from JHB - however we have sleeve as with all future FlipSide events. We will booked reputable airlines to hopefully avoid try and make this memorable for all, focussing on better equipped bars, tighter (and friendlier any flight delays security),high focus on the visual impact of DS: Do you take an editorial role in the the production all the while making the ticket business or are you involved in every step of price low so party goers get real value for their money. All while making sure we clinch the creative process?

M: As part of creative team I like to hear as the niche electro market of Cape Town and many opinions as possible, I take suggestions hopefully are chief instigators to a mass Cape and criticism equally well. Our aim is to satisfy Town hangover on Sunday. a varied target market. But I do like to be

Donning

my first designer outfit, attending my first Met, betting on my first race (even though I lost, damn you Smart Call) it only made it even more special that my maiden voyage to the auspicious Met happened to coincide with the very first FlipSide Fest. While this piece is a review on the FlipSide I must first make a mention of the Met and give you a wee glimpse in the history that comprises fashion, prestige and race day glory.

The J&B Met has a time honoured tradition as South Africa’s oldest sponsored event, with this years’ event marking year 39 of the partnership. It was originally known as the Metropolitan Mile, which was first hosted in 1883 with Sir Hercules being the inaugural winner. With a few ‘false starts’ over the years by the time the 1960s rolled around, the Metropolitan Mile had become one of SA’s three premier racing fixtures. It was, however, with the partnering with J&B in 1978 that the now celebrated J&B Met (as in Metropolitan) was born.

According to the website I consulted for this history lesson, the same year a beast of a four year entered the racing scene. This majestic horse won that year’s event by 3.25 lengths, the horse was Politician (of course.)

As if this impressive victory was not enough, the following year Politician returned and

posted a never to be repeated comeback. After having been boxed in with 200m of the race remaining, the chestnut managed to make his way through the other horses and to beat the race leader by half a length. Status achieved: Legend.

This performance has only been improved upon

by Pocket Power, who holds three successive victories.

THE FLIPSIDE F

FEST EXPERIENCE

WORDS BY CHRISTELLE SCHEEPERS

IMAGES BY DARREN STEWART

IMAGES BY DARREN STEWART

While we are on the subject of legends, the Met has become synonymous with hosting epic after parties, which until last year took place in the J&B Met Lifestyle Village.

From what I can deduce from my research, The FlipSide Fest and The Village are in essence the same thing with a slightly new approach being taken. Situated on the inside of the racetrack (FYI) is where you’ll find the corporate and VIP Bedouins/ marquees as well as a beautifully set up general area consisting of lounge areas, munch benches close to the food court, totes and even a selection of portable ATMs. The organisers literally thought of everything necessary to make the lives of attendees as enjoyable as possible. As a penny pinching student, most of the people that I spoke to prior to my attending told me that the Met is expensive (Veuve is expensive everywhere), thanks to my experience at the FlipSide Fest, I beg to differ. The package offered is easily one of the best value for money deals that I have come across in ages. Never mind that you receive three Brandhouse complimentary drinks, a great selection of food trucks and every convenience that you may need the FlipSide Fest throws in an excellent selection of stellar performers while giving you the opportunity to have a chat and a grab a selfie with some of your favourite local celebs. It is simply the most full day fun that one could get for R500.

I would like to spare a moment to talk about that food court though… as an amateur foodie I am not only capable of producing some on point food but, in spite of my tiny frame, I am rather adept at eating my way through just about anything, from 500g steaks to pizzas, I leave no plate with content not even the garnish survives. The food truck selection at the FlipSide Fest had my mouth watering and chewing my lips off.

From killer burgers to authentic Italian desserts and treats it was a fat kid delight that would make even Bruce Bogtrotter grin from ear to ear. My personal favourite though was the “Table Tent”, who’s owner happens to be from Tunisia.

Here I had the pleasure of enjoying one of the tastiest chicken wraps ever and

the spread offered by the gentleman and his team could take you from starters to desserts in one easy outing. Overall the quality of food available at the price tag offered was definitely delicious.

Saving best part of the FlipSide Fest for last though, I am left with feeling of insatiable longing for the awesome after party that concluded the #JBMet2016.

All through the day the DJs at the Fest cranked out some sick beats, but when the races were complete and the winning tickets (and in my case placing tickets, damn you Smart Call) were cashed in we were treated to a celebration of the culmination of a successful Met: fine fashion, food and drink, gorgeous stallions and mares (not only talking about the horses ;-)) With a line up comprising of some of SA’s brightest stars in term of party including Dean Fuel, GoodLuck and Pascal & Pearce no matter how tired your legs or feet may have been, it was simply impossible to sit your ass down. A dance floor that started with a few scattered peeps soon filled up and the energy exuded by those on stage was mirrored and bounced back by those of us in the crowd. I have had the pleasure of attending some spectacular concerts, gigs and festivals in my days, but the inaugural FlipSide Fest will undoubtedly remain on my favourites list for years to come.

PRESS RELEASE BY LOUISE CROUSE

Lancifer

’s 4th record, “Go Big or Go Homeless”, was th released on the 15 of January 2016 and Tuesday, the 26th marked the album’s official launch in South Africa.

The album is produced and written by Lancifer with collaborations from co-producer Stuart Bullard (Dr. Dre) to co-mix engineer Andrew Law from Owsla Records (Skrillex).

“Go Big or Go Homeless” ranges from funky RnB meets EDM to electro swing to hard hip-hop, all under a radio pop umbrella. The first single and music video from this album is “Freak in Me Out”.

Watch “Freak in Me Out” here: https://www.youtube.com/watch?v=2PvNP2Qqquk “Freak in Me Out” was written and produced by Lancifer late 2015 in a small trailer in the woods of Washington State, USA. Lyrics were written from the idea of meeting someone who brings the crazy part out of you and fun dating experiences like sneaking into rooftop swimming pools and playing hide and seek at grocery stores.

The single was mixed by Lancifer in Los Angeles and mastered by Randy Merrill at Sterling Sound NYC. Get “Go Big or Go Homeless” on iTunes: https://itunes.apple.com/album/ id1069031682?ls=1&app=itunes **Watch this space for more news about Lancifer’s visit to South Africa.** LINKS: www.Lancifer.net www.Twitter.com/Lancifer www.Facebook.com/LanciferMusic www.Instagram.com/LanciferMusic Videos: www.Youtube.com/Lancifer Youtube playlist of music videos: https://www.youtube.com/ playlist?list=PL17D5DB24A2A8A20F Youtube playlist of international music videos: www.youtube.com/ playlist?list=PLOZeFvbZgbQGHCOahKv7D7PO4naJDR3EN

Spec What is a trance event without hula hoops and fire dancers?

All we were missing was the

The legendary Archive’s set carried us into the sunrise from 04:00 - 05:00. Always on-point, dark and hard never failing to please his audience

WORDS BY YOLANDE GYP

Sci Mantis (SciLab Vs Psy Mantis) played their set from 22:00 - 23:00, warming up the dancefloor for the debauchery to come

ctrum&the Valley of Psy

PSYCHILD

HIGH TIDE

Zone7

,

van Schoorsdrift Road, Vissershok, was venue to an evening of debaucherous proportions on January 16, 2016.

On the facebook event page, Spectrum and Valley of Psy promised “good energy, good music, good vibes” and it brings me utmost pleasure to report that they did indeed deliver. Not that it comes as a major surprise - Spectrum is, afterall, the brainchild of none other than Craig “Psy Lab” and Jeffery Marsh - the same brothers who brought us Mungus Fungus who have subsequently joined forces with Lili “Myzo” Vermaak and Stuart “Hiyarant” Vermaak from Valley of Psy in a (very successful) effort to bring you monthly indoor-outdoor events at Zone 7.

High Tide featured an epic line-up which included, but was not limited to: Myzo, Archive, Hiyarant and Zion Linguist. Rubix Qube and Dyce played a VS set in celebration of their birthdays and the international legend, Gonzi, took the experience to the next level!

FOMO? RELAX. Stay in the loop with Spectrum & The Valley of Psy events by liking their facebook page: facebook.com/Spectrum1TheValleyofPsy1/?fref=ts

Myzo - Spectrum & The Valley of Psy’s Mistress of Mayhem.

Much more than a pretty face as her involvement is not limited to featuring as a DJ on the line-up, but she is also one of the event organizers

IMAGES BY LLEWELLYN DREDGE ©LLEWELLYN DREDGE PHOTOGRAPHY

Skunk

Anansie are back with their sixth studio album, ‘Anarchytecture’: a collection of hard-hitting alternative rock anthems, brimming with punchy riffs and the sort of fire that can only burn from the heart and soul of vocal powerhouse, Skin.

Regarded as one of the best live bands in the world, Skunk Anansie have toured SA a vast number of times, with their most recent tour to SA in October 2013 for Rocking The Daisies (Cape Town) and In The City (Johannesburg) as one of the international headliners alongside The Hives, alt-J and Boys Noize.

‘Anarchytecture’ is the follow-up to 2012’s ‘Black Traffic’, and features the group’s regular line-up of Skin, guitarist Ace, bassist Cass & drummer Mark Richardson.

The title, like so many of Skin’s lyrics, mines those fractious “grey areas” of human endeavour. While ‘Black Traffic’ delved into the seedy underbelly of technology, the dark web and hidden currencies, ‘Anarchytecture’ concerns itself with more intangible structures — the ones we build for ourselves and the ones that are built for us, by unseen hands.

The title means different things to each band member, but for Skin, ‘Anarchytecture’ names that fraught intersection between structure and chaos, boundaries and freedom.

It’s not a break-up album, says Skin (“I’ve vowed I’ll never write one of those again”) but the emotional detritus from a slew of “explosions” in her personal life this year have bled into the lyrics — most of which were barebone constructs fleshed out under pressure, last minute-style in the studio. What emerged were propulsive, nocturnal rhythms, songs rich with lust, damage, desire, manipulation, power, loss and complex characters (drawn from real life) driven by dark, intense and volatile desires.

In “Death To The Lovers”, Skin captures the euphoria that suicides are purported to experience just before they depart (“Darkness comes, I feel magnificent”) while the gargantuan guitars and military drums in “We Are The Flames” offer up a refusal, aimed squarely at the propaganda machines and state-controlled architecture of modern-day life: politics, social media, surveillance.

They’re responsible for some of the ‘90s most

PRESS RELEASE BY MELISSA CONRADIE

definitive anthems, but Skunk Anansie’s vision is trained on the now, says Ace. “The intention was to make something new again, to draw on the things around us in the present.”

As such, the bedrock for their early sound have shifted, giving way to a streamlined, melody-driven breed of rock, stewarded with speed and precision by producer Tom Dalgety [Royal Blood, Band of Skulls] and augmented with deft electronic currents — a direction they began in earnest on “Black Traffic”.

“We’re definitely still a rock band,” laughs Skin.

“We’ve not gone dubstep or anything. But it’s certainly the grooviest album we’ve ever done.”

Those grooves come through loud and clear

on the pumping, disco rhythm of “In The Back Room”, and the deep, throbbing bassline anchoring Victim’s serpentine guitars. What hasn’t changed in Skunk Anansie’s armoury is Skin’s inimitable falsetto, which soars with the same gritty, supernatural potency that made s “Charity” and “Weak” so unforgettable.

‘Anarchytecture’ is intense, hewn more from the dark than the light, but there’s a healthy energy on this record, says Cass — the kind that only bands with true mileage can create.

“It’s unusual to be in a band for 20 odd years, and not only still play together but also feel like family. There’s a lot of love here.”

‘Anarchytecture’ is out now in South Africa and available on CD and Download.

FRANK LATTER V I S U A L S WORDS BY YOLANDE GYPSYCHILD JORDAAN

Who

is the artistic genius that brings us video mapping - the amazing visuals which are projected onto the stage or DJ Box at multiple festivals - which undoubtedly blow our minds timeand-time again? My interest was tweaked by the concept and it got my hamster wheel spinning at an incredible speed.... Where do the ideas come from? How do they do it?

Who is responsible for creating these magnificent displays?

This is how I discovered Frank Latter, VJ extraordinaire; and cornered him with a few questions

Noisia at Cape Town Electronic Music Festival 2014.

IMAGE BY JOHN-HENRY BARTLETT

Christian Tiger School at Sonar Cape Town 2015.

PHOTOGRAPH BY JONX PILLEMER

c DS: In short, how do you describe what you do to people who have no reference of video mapping/motion graphics?

FL: The label I most commonly wear is VJ (Video Jockey), or live visual performer. Just as a good DJ will seamlessly mix songs or tracks together to take the listener on a carefully constructed journey, the VJ mixes video clips and visual effects to extend the concert or party-goers experience from being an audio one to an audio-visual experience. As audiences demand better production value

and more sensory impacting experiences the VJ’s role in festivals and events is becoming increasingly important.

Projection mapping refers to manipulating projections onto non-uniform surfaces (basically breaking out of “the rectangle”). This includes custom stages as well as real world objects such as buildings and cars. Projection mapping grew out of VJing and VJ culture, but has since gained huge popularity in both the art and corporate advertising worlds.

DS: You studied fine art at UCT. When or where did you first encounter the video mapping concept and what made you decide that this was what you wanted to do?

FL: Like many art school graduates, upon completing my degree I had absolutely no idea what I wanted to do with my life. So looking for adventure, I packed my bags and headed to South Korea, the land of Starcraft and Kimchi, to teach English. One night while I was out partying in Seoul, I noticed a guy setup in the corner of the club with a laptop and controller and saw that he was controlling what was going up on the big screens in the club. Now that in itself may not be amazing, but what struck me was the degree of control he had - I could see what he was doing,

how he had complete control over what was going on the screens, how he was following the music - essentially how he was playing with the visuals in the same way one would a musical instrument!

Now I’d probably been exposed to VJing before that, been at a club or party with a VJ, but it wasn’t until that moment that I was opened to the possibilities of live visuals – an art form combining music, video, cutting edge technology and performance! The next day I bought a controller, downloaded some VJing software, and started exploring the world of live visuals. By the time I returned to Cape Town, I was ready to expose my new hobby to the world. 7 years later and I’m still as passionate as ever about it!

DS: When putting it all together, how much of it requires hardware/physical work opposed to digital media and how do you bring the two together to deliver the mind blowing visual displays that we see at Psy trance events?

FL: Personally, my focus is almost entirely on software and content, the visuals themselves.

While I do have a working knowledge of the equipment in place, be it projectors or LED, in the context of an event the equipment and setup will be handled by the AV suppliers and technicians, and I will plug into their setup as a performer. To go back to the DJ analogy, a DJ doesn’t bring his own sound rig to an event, he brings the music, and similarly, I bring the visuals!

DS: So you obviously have to work closely with the respective décor design teams of each event?

FL: To be honest it depends on the event.

Sometimes we’ll work towards a shared design or idea, but more often than not I’m happy to let the décor artists do their thing, and I’ll design my visuals around the “canvas” they present me with. When it comes to events, people end up doing what they’re doing because they’re good at it. I trust the décor artists to do their job (and generally they’ll blow me away), and I trust that they’ll be happy to let me take their creations and push them further with my visuals.

c

The Cat Empire at Rocking the Daisies 2015.

PHOTOGRAPH BY JONX PILLEMER

c

DS: Other than Psy Trance festivals, are there other events that make use of your services?

FL: Rock shows, art events, corporates, private functions, club gigs and large festivals, I do all sorts of events and tailor my visuals to many different styles and genres! Outside of freelance VJ work, a major focus is my band, Original Swimming Party, an audio visual experimental Electronica act with a tightly synchronised live performance.

Rezonance Festival 2014 / 2015.

PHOTOGRAPH BY BRENT VERCUIEL

DS: Would you talk us through your typical work process, from conception to execution?

FL: Although it varies from project to project, typically the work can be divided into preproduction and performance. Preproduction involves curating my set, selecting which clips and effects to include that will fit the theme or style. It can also involve creating custom content, especially if it’s to a specific stage design or template. Performance is generally live and organic – you’re following the music and lighting, it’s in the moment and it has its own magic. Preproduction will inform and prepare you for the performance, but when it comes down to it, what makes VJing such a thrill is the moment to moment nature of it!

DS: Which was the first event you did video mapping for? Was it successful?

FL: The first mapping concept I executed was with my old VJing act, Visual Contraband, while we were resident VJs at Assembly Night Club. It was a giant cube suspended next to the DJ with different layers of content wrapping each side of the cube. At the time not many people in Cape Town had seen mapped visuals and many were puzzled about how it worked. I think we blew a few minds that night.

DS: And the biggest event?

FL: I’ve worked a number of big events including Oppikoppi, Earthdance, Rezonance, Alien Safari, Synergy, and Sonar, but two really stand out in my career so far.

The first is Cape Town Electronic Music Festival 2014, where I got the headlining timeslot on the Saturday night to do visuals for drum ‘n bass legends Noisia. And then more recently I ran the main stage for Rocking the Daisies 2015, where I got to do visuals for Milky Chance and Cat Empire to a crowd of 20 000 people!

Alien Safari Masqued Ball 2013.

IMAGE BY BRENT VERCUIEL

c

PROJECTION MAPPED CUBE AT ASSEMBLY NIGHTCLUB

DS: What is your biggest challenge in your line of work and how do you overcome it?

FL: The hours can be tough. VJing is still very niche, and with only a handful of people who provide this service at a high level in Cape Town, it’s not rare for one VJ to handle visuals for an entire festival. At Rezonance 2014/2015 for example, I ran the main stage visuals for three nights straight, sunset to sunrise, and heading back to Cape Town each day to rest and recover for the night ahead. Worked out to around 27 hours of VJing. That’s a long time to keep things fresh and interesting, to remain focussed and creative. It takes a certain level of discipline and practise to pull something like that off.

DS: And what do you enjoy the most about your job?

FL: It’s creative, it’s fun, it takes me to interesting places, and introduces me to exciting and dynamic people, and to top it off, the view from the “office” is always amazing!

WORDS BY YOLANDE GYPSYCHILD JORDAAN

IMAGE BY IMOGEN TAPPSCOTT

“Beautiful

, Inspirational, Legendary, multi-talented, enchanting, that sexy tief...” Just a few adjectives which are used to describe Pamm Legg a.k.a Tune Raider, when she comes up in conversation.

Pamm has been involved in the Cape Town Psychedelic Trance scene since 2000 and is not only one of SA’s top female DJs but one of SA’s top DJs - period.

She has played at every major festival in SA, and barely landed back home a week ago from Brazil where she played at Universo Parallelo Festival.

Pamm is truly the embodiment of what Psytrance represents, with a personality as beautiful as her exterior.

I caught up with Tune Raider while she was still abroad and talked production, the “scene” and trippy flamingos

DS: How would you describe your sound to someone who has no frame of reference of what Psy Trance sounds like?

TR: Its like doof doof music.. no kidding…

Psychedelic trance music, is a form of electronic dance music, it is created to take the listener on a journey of sounds driven by a bouncing bass lines that builds and drops and plays with you. In a nut shell for me, psy trance is like electronic classical music – its intention is interpreted by the listener and not driven by lyrics that the writer steers with their intention.

Psy trance melodies and sounds are very creative and can take your mind on a journey and gets your body moving. Through an entranced state we truly let go.

DS: When considering that you became immersed in the scene in 2000 and actively involved by working the bar, gate or even décor in 2001 before establishing yourself as a DJ and then directing and producing the documentary “Under the African Sky”, one could say that you are undoubtedly part of the colourful fibres woven into this beautiful tapestry that is the Cape Town Psy Trance scene. So when people talk about “the good old days”, what would you say was “so good” about them and how has the scene changed over the years?

TR: Well I personally think that over the past decade the world has become more open and accepting of everything freaky and weird, back then to be a part of the psy scene, you were almost a rebel against the system, and there were less parties to choose from, so one would have to wait a few weeks in between events. The suspense [would] build everyone’s excitement for the next one. Also technology today is more accessible as well as Laptop programs assist DJs so almost everyone is a DJ nowadays. Back then equipment and access to music was really a challenge, so it truly was a commitment to DJ or produce.

I also feel social media has a lot to do with a perceived change in our scene, photographs and videos, online promotion, it all adds to the growth of our scene. Lastly I feel productions and festivals are massive productions nowadays, gone are the simple back drops with UV and a VJ screen, today we have visual mapping and really amazing décor and shading.

IMAGE BY FREEDOM SEEKERS

n “‘I

love the fact that we all come together through music.o

o IMAGE BY LEE-ANNE VIGUS LV STAR PHOTOGRAPHY

IMAGE BY IMOGEN TAPPSCOTT ALICE VEGAS PHOTOGRAPHY

DS: And from an artist/DJ’s perspective? Which challenges would you say emerging DJ’s face now that weren’t a concern 10-or-so years ago (or vice versa)?

TR: Nowadays anyone can be a DJ, and I feel that some club /party promoters don’t really care if DJs can actually mix or not, when Facebook “Likes” determine how popular you are, and not about what a DJ can do to a dance floor, I feel that a lot of the newbies aren’t learning what it truly means to be a DJ. [For them] it’s all about what’s the latest big hit track and watch the dance floor go nuts to the latest build up or drop one after the next, no one wants to work hard on their skill or creating a journey for a dance floor to have moments of ecstasy. I still believe in quality over quantity, before one prints stickers with your DJ name on it, become a DJ 1st. No laptop or quick route will ever be the same as becoming a good DJ, you can’t just learn the technique of Djing without growing into what you’re meant to be - do you know what I mean? It takes years to develop, and skill [is essential] when things go wrong – e.g.: a broken que button, or faulty CDJs, heaven forbid your laptop crashes and you don’t know how to use good old CDJS, DS: You told Psymedia during an interview in 2012 that “the boys just wanna see that you have got the balls to play the game, if you fu*k up or don’t get your way, tears and drama get you nowhere and neither does screwing the crew to get to where you want to be.” How do you respond to those who maintain that the industry is “cliquee” and one’s chance at success depends on “who you know”?

TR: I think this applies to all industries, one needs to be vouched for by people who have seen your work or you are friends with, a lot depends on your skill I would think. But yes knowing someone definitely helps.

DS: Do you pre-plan sets before gigs?

TR: I do for big sets, I get really nervous

and sometimes I blank out because I get overwhelmed by the size of the stage, my routine is to make a list of all the tracks I think will work for the set time then I know what to choose from, that way I cut half the stress out, I also get to know the tracks, so I know what goes well with what. I also have the habit of playing the same track twice, I can be a bit of a blonde sometimes. {laughs} one can only laugh at one self.

DS: Have you considered trying your hand at producing or is there a particular reason we have not had the pleasure of stomping to an original Tune Raider production?

TR: I have what you call “cheerleaded” a couple of tracks that were released a few years back, lately I want to get in the studio with some of my producer friends, I feel lately I am more inspired by music and the scene, so lets see what the future holds ;) DS: You recently played at Universo Parallelo Festival in Brazil, please share the experience with us? Were you well received by the Brazilian audience? How would you say the festival experience relates or differs from that which we have back home?

TR: Universo Paralleo UP – is a universe onto its own. It was so amazing, can’t wait to go back in 2017! It is a huge festival, and so much happening to see and experience, the music was great, to hear all the different producers that make the music that creates our scene, and to party amongst so many different people, was so epic. My set was great, I played the sunrise set on the 31st and I had to put a strong psychedelic set together, as I was placed between two hard psychedelic acts.

I think I have been well received in Brazil.

All the scenes around the world are different and each has its own energy. I love the fact that we all come together through music. Our parties back home are modelled on these massive festivals, but obviously a smaller scale. Do yourself a favour and experience at least one in your life!

DS: From all the festivals which you have played at, both abroad and locally, are you able to single out a favourite?

TR: I don’t have a favourite hey, I have just had many beautiful experiences. Its too hard to single any out.

For me the most memorable would be the biggest dance floors I have played and so far that has been in Cape Town. I actually remind myself to be conscious of this moment because it’s so amazing, wish I could bottle that feeling – to be one with a huge crowd of people, One love xx DS: Can you recall the first piece of music / musical experience that moved you?

TR: When I was 15 I was given a cassette tape with Goa Ambient sounds, it was full on trippy shit, have no idea who or what music it was, but I was so intrigued by it. I guess a few years later when I found the parties in Cape Town, I was hooked – I guess it was always my destiny – this trance life.

DS: What inspires you?

TR: Life, and the psy trance scene, this lifestyle we live – it’s always an adventure. It’s my life’s mission – make every day an adventure.

DS: I would like you to imagine for a moment that our conversation is interrupted when a flamingo wearing a sombrero walks into the room.

Why is he here? What does he say?

TR: Well if that happened he would probably say to me, “Did you drink the wrong water again?” And then I would ask you what’s in my drink?

Soundcloud: http://www.soundcloud.com/djtuneraider Facebook: .facebook.com/profile.php?id=611231830

IMAGE BY LLOYD MARTINEZ NEWKIRK

It’s

probably difficult to find a marijuana user who does not consider 420 to be a sacred time and date. But it is certainly more difficult to find anyone who has a certain answer of what 420 means and where its use originated.

Sure there are plenty of people who are positive that they know this information, but if you ask 5 people the same question, you are likely to get 5 different 100% positive responses—there are just too many 420 truths floating around.

420—Don’t Mind if I Do Instead of forcing you to spend hours searching the web for answers, I figured I’d do the work for you and put it all here in one nice and easy place. But hold on, it’s 4:20 here and I’ve got to step outside quick.

All right— lots of folks seem to think that 420 was used as police code for “marijuana smoking in progress”. Guess what—that’s not it.

4/20 is also not the death anniversary of Bob Marley or Jimi Hendrix, but it is the birthday of one evil S.O.B.—I’ll give you a hint, his name rhymes with Shitler. The use of the term 420, 4/20, or 4:20 began in the early 1970’s in the town of San Rafael, California.

The Waldos There was a group of 5 San Rafael high school students who called themselves the “Waldo’s”.

The nickname came from their favourite hangout spot, a wall nearby the high school.

The Waldo’s heard of a marijuana crop that was hidden in the nearby San Reyes peninsula and they agreed to meet at a statue of Louis Pasteur near the school to seek out the buds.

The group would meet week after week in the

same spot at the same time, they would pile into their car and smoke joint after joint on their way to search for the mystical marijuana crop.

Originally, the group would say “420-Louis” as their code as their code to schedule a meeting.

Eventually, they dropped the “Louis” because they found themselves using the term “420” to describe anything marijuana related.

SOURCED - http://www.thestonerscookbook.com/2016/01/19/what-is-420-and-where-did-it-come-from/

The Grateful Dead The Waldo’s may have connected 420 and marijuana in their high school days, but it was the Grateful Dead that helped it catch on in American counter-culture. After the Haight Ashbury scene was overrun with “speed freaks”, “thugs” and “artists”, the Grateful Dead packed up and headed to Marin County hills, just a few blocks from the Waldo’s high school. Mark Gravitch, another original Waldo, recalled that his father managed real estate for the Dead, so the group often knew where the band would be. Dave Reddix’s (also an original Waldo) brother managed a Grateful Dead cover band and was friends with Phil Lesh, the band’s bassist.

The Waldo’s remembered often hanging outside of the band’s rehearsals, they would smoke joints and listen to the band practice.

Dave Reddix said, “The Band had this rehearsal hall on Front Street, San Rafael, California, and they used to practice there. So we used to go

hang out and listen to them play music and get high while they’re practicing for gigs. But I think it’s possible my brother Patrick might have spread it (420) through Phil Lesh. And me, too, because I was hanging out with Lesh and his band [as a roadie] when they were doing a summer tour my brother was managing.”

The Waldo’s managed to get the term 420 stuck in the band member’s heads and as they began using it 420 was solidified in history.

The group was often invited to Dead parties and they would use the term in those crowds, further spreading the popularity of 420.

Phil Lesh admitted that Dave Reddix is an old friend of his and that it is likely that he and his friends coined the term—adding to the validity of the Waldo’s claim to fame. High Times eventually picked up the term, in the early 90’s, and published it throughout their magazine.

Many believe this is how/when the term went global.

THE WORDS BY DANIELLE SCHEEPERS

IMAGE BY LEILAH KIRSTEN

SHIFTING PROJECT DISCIPLINE BRINGS FREEDOM

According

to Tamryn and Iesu Escalante; founders of YAOTL Physical Art Company - Fear is an illusion that we create to distance ourselves from a challenge... I experienced this first hand when attending an audition/ workshop lead by Iesu. A small group tentatively gathered at the Zip Zap Circus tent on a Saturday morning for one of the most memorable processes of our lives. I was challenged with a movement vocabulary with which I had no previous experience and had to confront my own mental and emotional blocks. I am very glad to say that I left exhausted, but emancipated!

Iesu’s philosophical approach to movement is deeply rooted in his Martial Arts background, having trained in his native country Mexico as well as China, later returning to run his own Martial Arts Academy and performing team. He also trained in dance theatre and circus in Barcelona as well as at the Centre National des Arts du Cirque (CNAC), along with his equally talented wife Tamryn. Joining the Zip Zap Circus school from a young age, Tamryn went on to complete a three year training program in contemporary dance as well as graduating from CNAC specialising in Single trapeze. Originally founded under a different name, YAOTL Physical Art Company began in France in 2011 and has run various projects internationally. The multi-disciplinary approach they have has moved the company out of the stereotype held by “dance” and created a hybrid where the vocabulary is constantly adapting. The Shifting Project is a workshop initiated

by YAOTL in collaboration with Leilah Kirsten- a dancer and movement coach in her own right who has recently been involved in collaborating on “LUKAS”, a powerful

piece commenting on people’s search for perfection outside of themselves, when really it lies within.

When watching a demonstration of the shifting method, there is a very real sense of gravity as well as weightlessness. It is as though you are watching a sculptor create a masterpiece with clay, but the difference is that the raw element is the air that occupies the space around the artist. It is a dialogue between them and their surroundings, allowing malleability but with very real energy and dynamics. The tension inside the mover is almost tangible, but rather than setting the viewer on

edge, you are made aware of the energy present and drawn in deeper. One is reminded of the ability of a body of water to be serene one moment and overwhelmingly powerful the next. To be involved in this you can sign up for The Shifting Project; I had the opportunity to ask Tamryn more about it and their work.

DS: YAOTL by definition means warrior... What are you fighting for?

TE: There is nothing to fight for, to be a warrior is a way of life, honour, sacrifice and discipline will bring you freedom.

DS: Is there any type of movement that causes you to fear? If so, do you work through it and use it to your advantage, or is it healthy to be cautious?

TE: Of course it is healthy to be cautious, but as humans we are incredibly capable to adapt to the current situation and react to circumstances, Fear in fact is an illusion...However if we see it in the same light as any other emotion or feeling, it can just be adapted and transformed rather than avoided. In the shifting method we work to control and apply our emotions.

DS: I have been privileged enough to see a snippet or two of YAOTL’s work online as well as Iesu’s solo’s and Leilah’s dancing live. There is a sense of mindfulness, as though time and gravity are not

a factor, stillness and movement are given equal floor time and this makes for incredible moments... How does one get to this place? Is it a personal journey? Can it be taught?

TE: You have noticed and commented on some very strong points, good observation! Thank you for your words and appreciation. We experiment with all of the elements you have mentioned, and more. And it is definitely a process...

Iesu simply facilitates the process with each individual and allows them to find their own approach to the movement...There is no vocabulary or method so to speak that is taught, but rather encouraging and guiding each individual to explore their own capabilities to create the best version of themselves. These methods of facilitation are aimed to be applied in all the aspects of one’s life and not only for stage or movement purposes. more aware of your body as well as your surroundings. We aim to try new things and test your limits so that you can ultimately fly! Inspired by the spirit of investigation, the shifting method is a training method that Iesu Escalante has been developing.

Research has come specifically from the world of Chinese martial arts, dance/movement, acrobatics and circus arts; Learn how to use the body in the most efficient way.

Access the power of the simple human motions and mobility.

Manage stressful situations to develop reactiveness, softness and fluidity.

DS: Talk us through “The Shifting By experiencing the shifting method Project� process? we cultivate adaptability. We become TE: The Shifting Project aims creative, developing a more organic to broaden your perspective of movement that is instinctive and that movement and your own capabilities, explores the understanding of the not just physically but mentally. We flow/circulation of energy. aim to empower you to become DS: Is this project in response to a need you have recognised in movement/dance? Or was there another reason that it was initiated?

TE: The Shifting Project - it is not a response to a need necessarily, it is purely a method and way of training that Iesu has created over many years of continuous training and research as a way to share and extend movement to a larger group of people. His vision and passion is to help people in finding their own freedom...Which in turn brings him happiness. We have however noticed that the shifting method enriches the movement and arts scene.

By removing movement patterns and gaining mobility, we learn to find truth in the body and allow it to discover its own personality and way of moving.

Through physicality and pushing the body to its limit, we discover our inner animal. Iesu believes that simplicity allows the creation of complexity. The shifting method and The Shifting Project is nourished by collaborations and the continued learning process.

DS: When a dancer walks away from the process after the rigorous 2 day training; what will they leave with?

TE: This project is aimed at ALL movers; anyone who wants to learn to use their body in the most efficient way! As mentioned above, the shifting method aims to give you the skills to apply the lessons into your daily life as we believe in a process...not a result... When you put expectation on something, you set yourself up for disappointment. Each person is different and will leave with what they need from the experience.

“Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash.

Be water, my friend.�

Bruce Lee

IMAG BY KLAUS WARSCHKOW

Ha WORDS BY WORDS BY BENJAMIN SHEPHERD BENJAMIN SHEPHERD

PHOTOSFORCLASS.COM

arp on

As

St. Valentine’s Day is the romantic equivalent to D-day in the month of February I thought it cheesily fitting to have an instrument that could be considered the musical symbol of love, except of course when it is in the hands of Cacophonix (yes, I know, he plays a lyre.) Often seen in the hands of cherubs (chubby baby angels with potbellies, halos and wings), undoubtedly the international mascot of St. Valentine’s Day and known for its soothing sounds if you still haven’t guessed by now that I am talking about the Harp then you will make a shite 30 Seconds partner. In hindsight that’s probably not a very loving thing to say… Well Jingle Bells anyway.

Back to the Harp… for those of you who do not know what a harp is, it is simply put a “framed” string instrument. The harp has been a key instrument of humanity for millennia and it has even been in a fairy tale in the form of the harp that a young Jack stole from the giant after he had ascended his infamous Beanstalk. Coming in various sizes ranging from those that can be played in the musician’s lap all the way up to models that gargantuan that it has to stand on the floor. The variations available on the instrument are numerous as there are models that are. These include: open ended harps, others that are fully framed, some that are hollow bodied and even electric new age models. There are also related instruments, i.e. deviations from the harp such as the yazh, lyre and zither.

The instrument, in the form of the concert harp, itself consists of: the base, the column (which helps to support the weight of the neck), the neck (to which the strings are attached), the sound box

and the tuning pegs which, unlike other style harps where a string could only produce one note or pitch, are used for retuning notes produced.

The mechanism which is operated by the pedals is housed inside the sound box, travels up the column and joins up with the tuning pegs.

Concert harps, as mentioned above, have pedals that are used by the harpist to manipulate the pitch of the harp’s strings, further expanding on the note range that the instrument is capable of creating. These pedals were finally perfected

by Parisian Sebastian Erard, after a lengthy struggle with being able to create additions to the instrument that will enable it to emit more complex sounds. By having the harpist stepping on or adjusting the pedals the instrument becomes fully chromatic, by altering the pitch of a string, the technologically advanced instrument is therefore capable of delivering a greater classical repertoire. Due to said stepping on the pedals the musician can change the pitch of each string by simply shifting the pedal into one of three slots. By so doing it can change the pitch from natural to flat or sharp.

The final and probably the most important structural component of the harp is without

PHOTOSFORCLASS.COM

question the strings, without which players would be playing air harp, which is simply not nearly as cool as air the guitar fact. The harp is played by means of the harpist plucking the strings and scale variations are produced by said plucking taking place on different sections on the strings of which there 47 on a modern concert harp. Strings can be made from gut or metal, but it is in modern times more commonly found to be made of nylon.

While there are different opinions regarding the oldest record of a harp, some say it is 2600 BCE, some say 3500BCE, all we know is it’s called the harp and it has been in musical Top Gear for ages and none the less these records are indicative of just how long the harp has played (pun intended) a role in the story of humanity. Harps and its variations have literally been found in four corners of the globe which each continent and in some cases even countries adding its own modifications to meet the need that the instrument needed to fulfil. Such fundamental a role did the harp play in ancient societies that there are even recorded instances of royals being buried with harps in their caskets as well as harps being found in burial tombs. Talk about loving your music to death.

As a symbol of great significance, the harp has been used in a myriad of different applications.

It is included in the Irish coat of arms and can even be found on another national symbol of Irish pride‌ the Guinness logo. The harp finds itself in the good book too, I cannot quote the exact verse, but you are more than welcome to check it out for yourself.

I find myself listen to Lana Del Rey’s Video Games, which coincidently happens to use the harp as part of the melody. It simply drives home the understated (at least in my life) role that it still plays in our daily lives. Thanks to harp ensembles performing in chambers or at weddings, angels playing harp in heaven and harp holding cherub statues we will still be harping along about harps for a long time to come.

PRESS RELEASE BY MELISSA CONRADIE MELISSA CONRADIE AGENCY PUBLICITY & BOOKING AGENT REVIEW BY YOLANDE GYPYCHILD JORDAAN

Gauteng-based alternative rock band, Men Of Mountains, release their debut single ‘Big Sleep’ to radio this week.

Men of Mountains are one of SA’s newest rising bands and ‘Big Sleep’ showcases the incredible song writing talent from this new group along with frontman Conor’s powerful vocals. The single also gives voice to a talented band who is ready to be heard.

‘Big Sleep’ is the lead single from Men of Mountains’ forthcoming Debut EP, ‘Songs For The Ocean’ and the single is set for digital release on Friday 12th February through Sony Music in South Africa.

“Big Sleep is a song about coming to terms with a dying relationship and the lengths someone will go to keep it afloat. It’s a story that fits into the theme of contemplating the effects that love and affection have on people. That is essentially what our new EP ‘Songs For The Ocean’ is about. It’s an in-depth analysis on my personal struggles with failed love and relationships and coming to terms on how to deal with it,” comments frontman Conor Fathe-Aazam.

Their ‘Song For The Ocean’ EP was created as a collaborative effort between Dave Grevler at Antimotion Studios and Jacques Du Plessis at High Seas Studios.

Tracks were recorded and mixed locally, and then mastered in the US. Men Of Mountains take pride in their live show, making sure fans are entertained at every gig and have opened for local greats such as aKing. The group are also very close friends with local band Made For Broadway supporting them on various shows.

Make sure to see them live and follow

o MEN them online to stay in the loop on where they’ll be performing next.

Facebook: https://www.facebook. com/Men-Of-Mountains165392913621947/?fref=ts&ref=br_tf Instagram: https://www.instagram.com/ menofmountains/ Twitter: https://twitter.com/ menofmountains

mountains of N Release their debut single ‘Big Sleep’

Our review: “Alternative rock band’ - based on this debut single “Big Sleep”, I don’t think I would refer to Men of Mountains as an alternative rock band, but rather as a boy- band.

I cant seem to shake the feeling that way too much thought and consideration has gone into this group and their marketing while very little has come naturally. But I suppose that’s just me.

Getting back to “Big Sleep”: Definitely a radio-friendly track and I can almost guarantee that this debut will make it to number 1 on some chart, somewhere in the country.

The track makes for easy listening and/ or easy-singing if you prefer. Hints of the 1980’s can be heard every now and again when a keyboard so synonymous with that era in music production strikes a few keys; makes one almost nostalgic.

As for those who were born after 1990, and who would most probably (by my guess at least) be the bigger fans of Men of Mountains, might appreciate the “retro approach” taken by the band.

All-in-all a well-produced single which is performed by a band with much potential.

If you enjoy commercial pop music, definitely one to check out.

Listen to “Big Sleep” here: h t t p s : //s o u n d c l o u d . c o m /m e n - o fmountains/big-sleep

EXCLUSIVE EVENTS...

WORDS BY YOLANDE GYPSYCHILD

Equinox

Experience created quite a stir recently when they announced that their ‘Hide and Seek Festival’, which takes place on 20 February 2016, will be a “private” affair of sorts and access will be limited to an “invite only” system. The initiative behind this notion is not to promote the “cliquee” nature that is often encountered within the scene (just as it is in any other scene, really), but rather to provide a festival experience much like the way “festivals used to be”... you know?

Back in the “good old days”.

Initially, I suppose it is only natural to respond negatively to this suggestion; as so many people have; as the insecurities which come hand-inhand with FOMO (which is undeniably a reality in most of our lives) and the fear of rejection automatically flips us into defensive mode.

Now, don’t we all agree that the best defence, is an offence? Subsequently resulting in mass trolling of Equinox’ social media pages and many negative, and unfounded, i might add, claims, accusations and statements being made.

So before I jump my ass onto either bandwagon, I thought it best to investigate by going to the source in an effort to provide clarity and insight to all who may be confused and/or offended.

IS THIS THE WAY FORWARD?

Let’s take some time out to consider just what it is that we want.

Because from where I am standing at this point, it appears that we have become near impossible to please - event organisers are therefore damned if they do and damned if they don’t....

Those individuals born in 1985 and prior, should all be able to relate when I refer to “the kids of today”. Aren’t we always complaining about how they simply have no respect or festival “etiquette”? The state in which they leave their camp-sites, how mother-less and leg-less they get and then their friends are nowhere to be found - if you can’t even stick to a simple principle such as the “buddy system”, what hope could there possibly be left for this generation, right?

Now, before you get excited and assume that I am suggesting that we exclude the young’nes - this is not what I am getting at.

Quite the contrary, my drearies.

Have you ever taken a moment to consider that we (“the old-timers’) are to blame for this young generation’s shortcomings and bad manners?

When we were the “kids’ on the scene - I recall being reached out to and offered guidance.

We were shown how to and how not to conduct ourselves and as for ‘papsak’ on the dance floor...

Nothing needed to be said - we just didn’t do it.

Long story short, the point I am trying to get to is that Equinox Experience’s approach holds so much potential on so many levels: What they are offering us is an opportunity to take psytrance back in time, relive and recreate the good old days. An opportunity for a family reunion and to welcome the new, young members to the family. Community...

To redefine P.LU.R and restore the scene to its former glory.

So rather than hate and oppose it, embrace the change and don’t forget the Nag Champa.

HOW IT WORKS t Team EQUINOX will send you a personal invite to your personal email address. h Tier 1 are the previously registered/recorded/known EQ fans since we were born in 2010! o Tier 2 are the peeps that are invited from their Tier 1 parents. u Tier 3 are the peeps that know the coolest parents on the block! *PLEASE NOTE: PERSONAL INVITES TAKE TIME TO SEND OUT. WE ASK FOR YOUR PATIENCE WHILST THIS ORGANIC PROCESS TAKES ITS COURSE. Once received, simply read the invite and follow the link provided. The invite system will then guide you through the registration process and subsequent invite procedure where you get to invite your closest friends.

Within the portal you will only be able to view our ‘TEASER Event Information’ until your festival ticket is purchased CONFIRMING your attendance. Thereafter your profile will turn GREEN unlocking the ‘FULL Event Information’ tab – giving you access to exciting announcements, free downloads, exclusive giveaways and more.

There will also be a public viewing room which will become available closer to the event, allowing all confirmed guests to be able to see who else will be sharing this magical EXPERIENCE with them!

NB NB – ALL TIER 1 INVITEES HAVE UNTIL 10 FEBRUARY 2016 TO BUY THEIR TICKET CONFIRMING THEIR ATTENDANCE. ALL UNCONFIRMED INVITES AFTER THIS DATE WILL BE FORFEITED TO THE WAITING & TICKET APPLICATION LIST!

If that wasn’t enough to induce a paradigm shift or put things into perspective, I asked Ryan Martin, representative of Equinox Experience a few questions I deemed important.

DS: Are there limited tickets? If so, how many DS: Once approved, how much does a ticket cost? tickets will be made available?

RM: Yes this event is limited to 1900 people RM: Normal Fare R360. Snoozers & Waiting list R420 (14 Feb - 21 Feb) maximum.

DS: How do you respond to those who have said that the selection process is “racist” or “race related”?

RM: Our invitees & ticket application list is open to all nationalities & races, so people who choose to use this motivation are clearly not people that we want at our festival in any case. We don’t see colour so don’t pay much attention to this.

DS: What is a “H&S Local Cowboy”?

RM: Cowboys and Indians. Local Cowboys and International Indians. Just a fun way of distinguishing between our artists.

DS: Once I have applied for a ticket, is there a “turn-around time” by when I will know whether I have been approved or not?

RM: Ticket Applications are formally starting on 10 Feb, but due to popular demand (and

to prevent a riot ;) we have released 150 to play at our festival. This being said, we prematurely and intend on releasing another are bringing OSHER to South Africa for the 50 on Monday. first time and know he is going to make our dancefloor very very happy!

DS: Or are those who have been declined DS: When can we expect the venue to be formally notified?

RM: Yes, we are interacting with everyone announced? on a personal one on one basis.

RM: Friday 19th February.... and exclusively on the EQ Invite System for people who have DS: Who will be featured in the “New Guy” bought their tickets. slot this year?

RM: We haven’t run a EQ NEW guy DS: And the line-up? competition this year as we focused on the RM: All these saucy details are only available producers in our EQ Production Premier. on our Invite System Portal (Invite required).

Elek3ctii won the crown but unfortunately FOMO is a real thing and it’s pretty unfair if he had some personal commitments which you know what is going down but can’t get prevented him from coming down to SA a ticket.