DIGITAL SOUL JUNE 2016

What is

?

"Artistic Passion is our Inspiration."

Editor

Yolande ‘Gypsychild’ Jordaan

- Editing,Design, Concept, Layout design - Content Strategy - Advertising/ Marketing - PR

g yolande@digitalsoulmag.co.za Team Annabelle Foster - Agony Aunt - ‘Ask Annabelle’

g askannabelle@digitalsoulmag.co.za Tyrel "Unsub" Slabbert - Freelance

g unsub.sinthesis@gmail.com Marvin Charles

Digital Soul aims to showcase an eclectic appreciation of the Creative Arts. Centred around a young, music-orientated market and caters to the social media apt and interactive crowd.

Features include local DJ’s, bands, visual-, graphic-, digital- and illustration artists, photographers, festivals and/or other events, other industry related pieces, as well as articles of interest to people within the industry; Essentially, a mouthpiece for the digital music consumer in SA. At Digital Soul we recognize the Artist's potential to define an entire generation with a single piece of work and therefore our virtual platform becoming the since qua non for SA's Creatives to stand up and say: "Shut up and Listen!"

- News

g marvin@digitalsoulmag.co.za Benjamin Shepherd - Freelance

connect

Web

Wilbur ‘likesmith’ - Creative Logician & all-round Propellerhead

g wilbur@digitalsoulmag.co.za Cover

Photographer: Sinforme Industries

digitalsoulsa

Model : Lufae Suicide

No part of this magazine may be imitated or reproduced in whole or in part, digitally or otherwise without the permisssion of DIGITAL SOUL. Any views, opinions and visual material expressed in DIGITAL SOUL are not necessarily shared by DIGITAL SOUL or its staff. We do not accept responsibily for any omissions or mistakes as we do everything possible to make sure all information published is accurate. ALL RIGHTS RESERVED

8

How to

CONTENT

Be bad ass

SINFORME INDUSTRIES 36 64

ROCK A REBEL

52

JANE ALEXANDER

70

L.A. COBRA

80

DEVILRAZOR

ARCHIVE 90 ASK ANNABELLE GORILLAZ CAZZ - ELECTRICITY LOKI ROTHMAN HOWIE COMBRINK FRANCOIS VAN COKE THE TEMPER TRAP D.A.R.K. - SCIENCE AGRE TANITA TIKARAM RIDDLEBREAK ZULU TUNES JAMES CELLS DEITY'S MUSE BELINDA BLIGNAUT WWW - CAPTAIN PAUL WATSON VORTEX JUNGALA #FREEKESHA

14 18 20 24 26 28 30 32 34 88 100 108 112 122 132 136 144 152

106

UNDER THE INK

EDIToR’S NOTE

Winter is upon us. The cold is settling in and our swimwear is disappearing into the abyss of our closets. But not to fear, DS remains ontop of what's hot and happening.

a chance to win! You will then appear on the final episode of Ms Dippy's Music Studio, feature on the cover and in the June issue of Digital Soul!

I am excited to present to you, the Bad ass This month we bring you this double issue, Issue, featuring Lafae Suicide on the cover, double the entertainment and double the from the collection of our featured amusement! photographer, Liam Fagan aka Sinforme Industries!

Enjoy!

Exciting times - as you will see on the previous page, we are running a competition with Channel [ED] and Ms Dippy, so if you are a musician, you cannot afford to miss out on this opportunity! Post a music video of your own original track to facebook and tag channel [ED] as well as Digital Soul and stand

e d n a l o Y

E B TO

D A B S S A HOW

WORDS BY YOLANDE GYPSYCHILD

1

AVOID UN-BADASS THINGS AT ALL COSTS

You probably have a pretty good idea of what's not very badass. Here's a reminder: • Cosmopolitans or any drink that ends in the word "drop." Avoid like the plague.

• Crossing your legs when you sit down.

• Manicures and pedicures. Who cares what the forums and neighbours say? Getting your nails done is a badass no-no.

• Attempting to Impress people. A real badass doesn't try to fit in with anything or any group. Try to think as little as you can about what people think of you, while holding a respectful attitude.

2

BE MYSTERIOUS

Don't tell people where you're going unless it's absolutely necessary. Be mysteriously late and nonchalant about it. Don't go yodelling your entire life's story. Instead, let people guess about it.

3

BREAK THE RULES IN SMALL BUT MEANIGFUL WAYS

What separates the badass from the rest of the pack is their maverick nature; a badass is the lone wolf who gets expelled from the pack for being too awesome, and who succeeds even more in the face of failure. Badasses do only what they choose to do.

Ask yourself what actions you've been lulled into doing mindlessly, and rethink why and how you do it. You might end up sticking to your current course, but at least it's one you chose.

Then do it more confidently than before.

4

MARTIAL ARTS

Don't look for a fight but be prepared to spar. A badass doesn't go out sniffing for altercation, but he's unafraid to lay people out when there's no other option or when respect is seriously challenged. In order to get fit enough to fight, should the occasion warrant it, try: Boxing. Boxing is really badass. It's mortal against mortal, mano a mano, in a fight with nothing more than gloves and two giant pairs of cojones. Boxing is grueling, gritty, and grotesque; very appropriate for the burgeoning badass.

Wrestling. Wrestlers don't get enough respect. Like boxers, they battle in a test of wit and brawn, repeatedly honing their bodies until they are efficient machines of ruthless power.

Nothing sissy about that.

Rugby. Football is a prance in the park compared to rugby.

It's not that football is puny (it's not), it's just that rugby is seriously rough.

Rugby dudes routinely break noses and dislocate fingers, and keep going like nothing is the matter.

Kung-fu. Among the most badass martial arts indeed. Kung Fu is the best way to learn to defend yourself from people who want to start a fight. Nothing says badass like some good old asian fighting sport so people know who they're dealing with.

Dear Annabelle, I feel I’ve been totally conned by my girlfriend. I met her online in 2013, and for the first six months we just talked. She was friendly and funny, and I really looked forward to her calls each night. We finally arranged to go away for the weekend and as soon as we saw each other, it was fantastic – like we’d known each other for ages.

The sex was great, too, and we were both really sad when the weekend was over. But since then things have never been the same. We still speak, but only meet up when she wants me to buy her things. It’s like there are two sides to her – I now get the feeling she doesn’t like my clothes or my opinions, and I often feel I just annoy her. Where did I go wrong?

I am sorry to say, but your feelings about being conned is not really as bad as it sounds. What is happening here is a classic case of gold digging. You dear are one of her unnecessary life-lines, her go to’s, her nine west handbag. If you are prepared to enjoy a no strings fuck, carry on. If you’re looking for love, she might be a little detached and high-maintenance for you. Who relies on on-line dating anyway?

Annabelle, How do I make my daughter see that her boyfriend obviously has another woman? She says she trusts him, but he’s never around.

I’ve never known a person to “work” as much as he does. Whether it’s Christmas Day or Easter Sunday, it seems as if his firm can’t cope without him. He’s always disappearing for days on end, and even when he’s with her he’s often in the garden on his phone.

This behaviour is so suspicious, but she just puts up with it.

I totally get that you have a protective instinct, but never help anyone unless that person actually asks. If she has issues, she will ask you if she needs advice, otherwise you are going to put yourself in a predicament which will leave you in the wrong in any which way. You cannot control the outcome to your daughter’s destination, so just be there to pick up the pieces, don’t be the bitch who has to say “I told you so...”

Annabelle, I’m desperate to move on with my life – to relocate to a new town and start again.

But every time I discuss my dreams, my friend begs me not to leave her.

The fact is there is absolutely no reason for me to stay where I am.

My husband died in 2010. He was a gambler and we lost our house a few months before he passed away. I’ve been in my rented flat ever since. My children have left home and my job allows me to work from anywhere.

My friend’s problem is that she has a very volatile relationship with her husband of 25 years. At the moment, he’s drinking and being a nightmare.

How do I put myself first without her suffering?

Easy babe, leave.

Your friend must make her own decisions, it’s not a nice thing to do, but, if your friend could man up and either leave the abusive fuck, or change her circumstance, only she can fix it. You follow your path and go where you need to. Let your gut guide you, speak the truth and always mean what you say. Harmony is when what you think, what you say and what you do are all the same thing.

My advice to your friend however, you can only complain if you are willing to do something about it, and never fear change, never.

From the moment I get up in the morning I am glued to my computer screen all day except for when I reluctantly go to wash and get dressed (which I often do not bother to do) or have to deal with the postman, go to the toilet or eat. I make sure I have ready meals and sandwiches in the fridge so that I do not waste valuable time preparing them or washing up. The problem is that I am running out of money so how do I get some so I can pay my bills? Need guidance please advise columnist.

Get the fuck off your lazy ass and work.

Every addiction is easily syphoned and unless you take up the responsibility of looking after what it is that you want to maintain. Don’t bitch when you have nothing left unless you actually choose to start working on your problems, how can you even write to me about this? You could end up on the street, back with your parents or turn your favourite pastime into something that pays the bills.

IMAGE BY JAMIE HEWLETT

A

wesome news for fans of Gorillaz as progress on the new album from the 'Clint Eastwood' and 'Dare' stars is well underway. Could we expect a 2016 release and perhaps a tour?

Damon Albarn promised a new album from the animated band - having started work on their fifth album back in September.

Now, everything looks pretty damn promising. Not only has Gorillaz artists Jamie Hewlett shared a great of new artwork of the band on his Instagram account, but he's also revealed video footage of Albarn hard at work in the studio - with one showing the Blur frontman working alongside legendary French composer Jean Michel-Jarre, producer Twilite Tone, and singer-songwriter Liam Bailey.

As Consequence Of Sound reports, a nowdeleted post revealed that the band had also been visited in the studio by Massive Attack could they also be one of the record's special guests?

GOOD NEWS FOR

GORILLAZ FANS

cazz

electricity J

ohannesburg-born Cazz releases her brand new single ‘Electricity’ along with the steamy music video for the sexy new track.

‘Electricity’ received its first exclusive play on Anele’s drive show on 94.7 on Monday 14 March and the video was shared across social media with the premier of the track.

Watch the music video for ‘Electricity’: www.youtube.com/watch?v=LoONwH4uL-o

"’Electricity’ is about an intense connection with someone that you can't let go of. It's about passion and love. I loved writing it because it is so different to anything I've done before and the lyrics really came from a place in my heart. The music video was an incredible shoot, and everyone involved was so talented!

I really can't wait to see where this goes!" Comments an excited Cazz.

Produced and recorded by Howie Combrink, a two time SAMA nominee for his own solo work, ‘Electricity’ captivates the sound Cazz has been developing for the past 2 years with Combrink.

The music video was directed and filmed by the talented crew from Kyle White TV and features South African model & actor Steven John Ward as Cazz’s love interest in the music video, along with four incredible

contemporary dancers.

‘Electricity’ is the 3rd single from Cazz and follows previous singles ‘Tipsy’ and ‘Stronger’ which has seen great radio play on radio stations across South Africa, along with video play for ‘Tipsy’ on key TV channels such as MTV Africa.

Born in Johannesburg, South Africa the now 22 year old always had her sights set on the entertainment industry. “My grandmother said from the day I could crawl that I was going to be an actress and that I was destined for ‘the big time’.

She never doubted that for a second.”

As a child Cazz would constantly put on shows involving acting and singing for anyone who would watch and would drag her cousins, step sister and step brothers along to perform with her whether they liked it or not.

At 15, Cazz successfully enrolled in a music academy called The Institute of

Music Excellence (T.I.M.E) in Centurion. For the next 3 years she had to juggle high-school and the very demanding, yet exciting music academy, but never once did she dream of quitting for the easier school days. “The philosophy at T.I.M.E was to push you to your limits as an artist and prepare you for the industry. It forced you to become confident and be able to perform on the spot. I wouldn’t be where I am today without Sheldon Rocha Leal who headed up the academy. He made me realize that I had the determination and talent to be successful.”

From then on Cazz went on to do everything in her power to create a successful music career for herself. She performed at The Nelson Mandela 21 Years of Freedom, at the FIFA 2010 fan fest at the age of 16 and then worked closely with Universal Music for two years after that.

In Cazz’s final school year she found herself writing pop music that was a mixture of funk, soul and jazz, that ranged from playful to heartbreaking. “Each song I write is directly related to my life or a moment when I felt something needed to be expressed that has happened to me. The lyrics I write are real to me. It’s everyday life that we can all relate to.”

Cazz was signed to Gaenor Artiste Management in early 2013 and apart from acting, is currently working on her debut album with Howie Combrink (a singer/songwriter, as well drummer for Watershed).

She released her debut single ‘Tipsy’ in late 2014 and the music video followed in early 2015 receiving its debut play on MTV Africa!

“The music video was a challenging but incredible experience and I worked with an amazing team called Luke Sharland Productions who pulled off exactly what I wanted.”

Watch the music video for ‘Tipsy’ here - www.youtube.com/watch?v=gks_B2kqZAA.

Cazz then went on to make her debut performance at Oppikoppi in August and White Mountain Festival in September. She will be releasing her 3rd single titled ‘Electricity’ with a music video in March and she will be dropping her debut album in the middle of the year with a tour to follow.

LOKI ROTHMAN&

IMAGE SHOT AND EDITED BY DANIE NEL

2

016 SAMA nominee for Best Pop Album, Loki Rothman has been releasing his popular #OneManBand cover videos of international hits from his Facebook page and YouTube channel since 2015. So far he has put his unique spin on Justin Bieber’s "Sorry", Mark Ronson and Bruno Mars’ "Uptown Funk", "Bills" by LunchMoney Lewis and Sam Smith meets August Rush’s "Leave Your Lover".

Loki decided to shake things up with his latest release. He roped in a collaborator and covered a song in this mother tongue for the first time.

Loki has been a fan of Pierre Greeff from Die Heuwels Fantasties’ voice for a long time and phoned him to invite him to do an Afrikaans cover with him. “Pierre told me that he’s always wanted to do something with the Amanda Strydom song, "My Kamer" which also features Stef Bos. I listened to the song and I immediately knew what we could do with it.”

Watch the mesmerizing My Kamer here: https://youtu.be/5vHe4L6wt3I “I’ve wanted to do an Afrikaans song for a long time. It felt quite strange so sing in my mother tongue as I’ve been singing in English for so long”, says Loki.

Although this release is not a change in direction for this brilliant young musician, he will release more Afrikaans songs in the future.

Get My Kamer from: iTunes: http://www.smarturl.it/mykamer Google Play: https://play.google.com/store/ music/album/Loki_Rothman_My_Kamer_ feat_Pierre_Greeff?id=Bz3fu4y55mgeqx32 o53ej745u3e LINKS: facebook.com/LokiRothmanMusic twitter.com/LokiRothman youtube.com/user/LokiRothman Instagram: @lokirothman www.lokirothman.com

H

owie Combrink embarks on his Central South African tour from 6 to 14 May as he reaches Kimberley, Bloemfontein, Potchefstroom, Bethlehem and Welkom for 5 unforgettable shows!

Joining Combrink on tour is newcomer Josh Wantie (for all dates on the tour) and SAMA nominee Michael Lowman (for Potchefstroom, Bethlehem and Welkom shows).

Proudly supported by OFM, the tour sees Howie Combrink and friends perform in Kimberley, Bethlehem and Welkom for the first time and returning to Bloemfontein and Potchefstroom for the first time this year for shows.

Receiving Two SAMA and OFM nominations in 2015 for his debut album “Eat it While It’s Hot”, including “Best Newcomer Of The Year” for the SAMA’s and “Best Male Artist – South Africa” from OFM, Howie Combrink has had multiple hits across SA radio with his singles “Don’t Be Sayin’ Goodbye”, “Change”, “Light of My Day” and his latest single “When You’re Not Around”.

Watch the Music Video for "Change": youtube.com/watch?v=MoKq9AKfUIw

https://www.

Newcomer Josh Wantie recorded his debut single “Go Under” with Gangs of Ballet brothers Brad and Josh Klynsmith (who produced the single) in mid-2015, released it to radio at the end of 2015 and has seen it chart across SA radio in early 2016. Embarking on his first major tour across Central SA, he’s excited to be on the road with Howie Combrink and Michael Lowman.

Watch the Lyric video for “Go Under”: https:// www.youtube.com/watch?v=aY8VsgQzrAg Michael Lowman exploded onto the South African music scene in 2013. He has played nearly every major festival and venue in the country, supported international acts such as Passenger, UB40 and Tori Amos in SA and has had numerous hit singles (“Your Lovin’ Ain’t Right” “Girl Saves Boy”, “Crayon Boxes”). He has been nominated for a number of awards, including a SAMA (South African Music Award), an MK Award and an MTV Music Award. He’s become a favourite among music fans in Central South Africa and recently worked with Howie Combrink in The Hit Lab Studio in Johannesburg adding the final touches to his brand new album due for release later in 2016.

HOWIE COMBRINK EMBARKS ON CENTRAL south AfRICAN TOUR

IMAGE BY VETSEUN PHOTOGRAPHY AND DESIGN

A

new music video starring Francois van Coke and Arno Carstens.

Francois van Coke had no idea what to expect when he released his self-titled debut album on the 8th of April 2015. It turned out to be a year of unbounded success with numerous number 1’s, sold out shows, awards and shattered records left in its wake. Exactly one year later Francois is proud to present his fifth solo music video, featuring his childhood hero, Arno Carstens, and directed by his Fokofpolisiekar bandmate, Hunter Kennedy Watch "Ek Weet Nie" featuring Arno Carstens here: http://bit.ly/1S6IKXC "Ek Weet Nie" is an artistic visual feast that portrays Francois’ gripping ode to uncertainty and our shared eternal search for identity.

“Ek raak ouer, maar die oplossing kom nog nie.” (“I’m getting older, but I still don’t have the answers.”)

CREDITS: Special thanks to Photo Hire, Jägermeister, Scar Hair and SAE Institute South Africa for their support.

Director & Art director: Hunter Kennedy Cinematographer: Loedi Van Renen D.I.T & technical assistant: Wez Ferreira Editing, Visual FX & colourist: Nathan Fourie Additional VFX: Loedi van Renen Make up & SFX make up: Merlize Du Toit Hair: Jennie Smit from Scar Hair Technical Assistant: Hannes Benade On-set assistants: Brett Rayner, Nicholas Loupis, Joshua Ward, Jo-Mari De Klerk and Orosun Olanrewaju Models: Thami Siyo, Sarah Loots, Vicky Lawrence

T

he Temper Trap announced their eagerly-awaited third album "Thick As Thieves" and debut its first single, the anthem-like "Fall Together", available to stream and buy now. "Thick As Thieves" is available to pre-order from today ahead of its release on 10 June.

Listen to "Fall Together": http://smarturl.it/TTTFallTogether "Thick As Thieves" sees The Temper Trap collaborating with outside songwriters for the first time in their history, with striking results. Justin Parker (Lana Del Rey, Sia, Bat For Lashes) worked on "Fall Together", whilst the album also features collaborations with Ben Allen (Animal Collective, Deerhunter) and Malay, co-writer & producer of Frank Ocean’s Channel Orange. "Thick As Thieves", the title track of the album, is also available to stream and buy from today and is already proving a hit in the band’s native Australia. The track sees the band working with Pascal Gabriel (Ladyhawke, Goldfrapp) to explore new musical ground while remaining true to their inimitable signature sound.

Listen to Thick As Thieves: http://smarturl.it/TTTThickAsThieves

The Temper Trap have now sold more than one million albums and their songs have been streamed more than 200 million times on Spotify and 20 million times on YouTube. They first came to prominence in 2009 with their acclaimed debut album "Conditions", which, propelled by the global hits "Sweet Disposition", "Fader" and "Love Lost", saw them crash land into the charts in their native Australia, their adopted homeland of the UK and worldwide. The band’s self-titled second album, "The Temper Trap", spawned the hits "Trembling Hands" and "Need Your Love" and saw them catch the attention of the likes of Coldplay, Africa Express and the Rolling Stones, all of whom asked the band to join them on tour, whilst they also graced the stages of major festivals including Glastonbury, Lollapalooza and Coachella. In between they were nominated and won a number of prestigious ARIA Awards in Australia, as well as receiving a nomination for best international group at the BRIT Awards.

Pre-order Thick As Thieves: http://smarturl.it/ThickAsThievesAlbum

‘The Cranberries meet

The Smiths’

O

n 27th May Cooking Vinyl and Gallo Record Company will release "Science Agrees", the debut album by D.A.R.K.

D.A.R.K. is an unlikely collaboration between Dolores O’Riordan, Andy Rourke and Olé Koretsky. Dolores, known famously as the singer of The Cranberries, has sold over 40 million albums and also worked with the likes of Angelo Badalamenti and Jah Wobble. Andy Rourke is best known as the inimitable bass player in one of the most important British bands ever, The Smiths - he has also worked with Pretenders, Ian Brown, Sinead O’Connor and Badly Drawn Boy. The third and final member is Olé Koretsky, a little known songwriter, producer and DJ based in New York.

The band’s roots lie in a New York DJ-mixing collaboration formed between Andy and Olé, after they met gigging in Washington DC. After a couple of years’ experimentation and laying down tracks in their home studios, a chance meeting between Andy and Dolores resulted in the singer asking him what he was working on. They began sharing tracks and ideas via email and dropbox, building on Andy and Olé’s original demos and, in a couple of instances, Dolores completely reimagining some of the songs.

A project Olé was also working and "Science Agrees" was also incorporated into the mix. The three of them found lots in common musically as well as personally, which allowed them to develop these ideas into an album. Further writing ensued, followed by the three band members meeting up in Ontario, Canada to record live instrumentation and final vocal takes. All three of them arranged and produced the album: a concoction created in NYC and Ontario, mixed in California and mastered in London.

The resulting album captures the essence of three distinctive personalities, incorporating their love of electronica and new wave. An array of influences can be heard throughout the album, in particular artists including Angelo Badalamenti (‘The Moon’), The Cure, Depeche Mode, David Bowie – Andy and Olé connected over their love of ‘Low’ – Magazine (‘High Fashion’), New Order (‘Curvy’), Pet Shop Boys and REM, with production and sonic experimentation inspired by Brian Eno, post-punk, post-disco, RZA and modern hip hop.

"Science Agrees" is a lyrically subtle album that touches on themes of isolation and disconnection, trauma and rebirth (‘Curvy’), drug addiction and love (‘High Fashion’, ‘Underwater’), control (‘Loosen The Noose’), death (‘Steal You Away’), loss of faith and dissatisfaction (‘Gunfight’), and the light that can be found in the creative darkness (‘Watch Out’).

M

ulti-million selling British singer-songwriter Tanita Tikaram has shared the video for new single ‘The Way You Move’, the latest track to be lifted from her recently released and acclaimed new album “Closer To The People”. The single has been released on April 22 2016 through earMUSIC (Gallo Record Company for South Africa) and follows Tanita’s sold out London headline at Kings Place as part of an extensive European tour.

Of the new single, Tanita says: “'The Way You Move' just wants to make you dance and feel happy. There is a lot of sadness in the world at the moment and I wanted to write a song that would make people happy, even for a minute or two, a song that everyone can dance to.”

A distillation of the more Jazz and Rhythm & Bluesfacing records that Tikaram has been influenced by on this new album, ‘The Way You Move’ pitches her distinctive, smoky vocal against a skittering saxophone solo, sitting atop a lush string section.

Tanita says of ‘Closer To The People’: “This record is inspired by the blues sound that I've come to love playing with my band. Bobby Irwin, Martin Minning and Matt Radford create a unique groove that is rooted in British rhythm and blues, and soul. I wanted to couple that with the playfulness of contemporary production.”

The album title was inspired by revered American jazz singer Anita O'Day, the idea taking form after reading her biography ‘High Times and Hard Times’ which tells of the singer who overcame her personal demons to perform jazz for the best part of six decades.

Tanita’s distincitve voice and superlative song writing saw her rise to worldwide acclaim in 1988 when she released debut album ‘Ancient Heart’, which included hits such as ‘Twist In My Sobriety’ and ‘Good Tradition’.

With new album ‘Closer To The People’ Tanita stands apart once again with a maverick record that takes influence from her live band who played with Van Morrison and John Martyn, a lifetime of records, as well as contemporary recording ideas that give the music a dynamic sound of their own. http://www.tanita-tikaram.com/ facebook.com/tanitatikaramofficial twitter.com/tanita_tikaram www.ear-music.net www.facebook.com/earMUSICofficial www.youtube.com/earMUSICofficial

FEATURED photographer

WORD YOLANDE G

SINFORME•

LIAM F

DS BY GYPSYCHILD

•INDUSTRIES

FAGAN

D

S: How long have you been shooting?

LF: I’ve been shooting around 7 years now, although when I was a kid my dad dabbled in it and I spent a lot of time watching him in the darkroom and read a lot of his books, so it was kind of something that I was always interested in DS: How would you describe your style?

LF: Adventurous…. Changing. I don’t really want to have a style as such; I want to keep growing and changing and find new and better ways to shoot things. I do tend towards the darker more macabre side of life, and it often finds its way into my art, but I do shoot a variety of things.

Except weddings, children, couples, or lovey-dovey crap!

DS: What camera(s) do you shoot with?

LF: I’m a Canon guy, not for any kind of brand loyalty, it’s what I got first, it fit my budget and since then it’s just easier to stay with the system I know, than to move to another brand, but if money wasn’t an issue, I’d get me a Hasselblad.

.

DS: How important is Photoshop in your final images?

LF: It depends on what I’m trying to achieve some images are so “shopped” they fall more into digital manipulations than photography, and others, are simple tweaks, colour balance, little bit of blemish removal, crop and that’s it.

Some landscapes are done with multiple images and are blended in Photoshop after to make very striking images.

Photoshop is a tool. Use it to suit what you are doing.

bio “

DS: What is your favourite photography accessory, other than your camera?

LF: Hmm. I don’t really have much in terms of photography toys, I have my cams, and lenses, but I have what I need, I’ve bought the gear I need and use, and don’t really go for gadgets, there are some very cool toys I’d add to my wish list, but this isn’t a cheap sport

DS: How does black and white vs colour play into your work? Do you find them to be totally separate beasts— or complimentary?

LF: Colour versus black and white. There are times that colour will complete the image and black and white, would ruin it and vice versa, there is no wrong answer.

It’s not an absolute. Generally just shoot in raw and then play with it in post. See how it looks in colour or black and white.

Take a portrait of a beautiful redhead with bright green eyes and then print it black and white. It will lose that richness of the colour. But take an old guy with lots of wrinkles and snow white hair, it’s going to look that much more interesting in black and white.

DS: What is the difference between beauty and vulgarity?

LF: This is the same as the porn vs. art question. One could deliberate and argue the finer points and argue intent and reception.

Is the intent is to, simply shock and be crass, or is it received that way.

The purpose of the artist is not to upset folks, that’s just a bonus.

DS: What is the most challenging part about being a photographer?

LF: Money‌ there’s just too many things that I want, that cost a bloody fortune.

DS: When you are out shooting—how much of it is instinctual versus planned?

LF: I: depends what we are shooting.

Shooting live, you’re somewhat limited to what you can do, as there is not a lot of available light, I don’t use flash when shooting gigs, as it disturbs the guys on stage and interferes with the show. People have paid their hard earned cash to support their favourite band; they are not there to watch me work, so I need to try be as invisible as possible. You got to think on your feet and move around, it helps if you’ve seen the band before, then you know who’s going to give you a great shot.

Studio work is generally more planned and structured, although I tend to be very relaxed and go with the flow, I steer the shoot to the shots I need, but when you’re on the clock you got to get it done and quickly.

"Bom boys"

FEATURED ARTIST

jane ALEXANDER J

ane Alexander was born in Johannesburg in 1959. From a very young age she started showing great artistic talent, and is now one of South Africa's most acknowledged sculptors. She studied at the University of Witwatersrand and obtained a Bachelor of Arts in Fine Art degree in 1982.

That same year, she was the winner of the National Fine Arts Student Competition as well as the Martienssen Student Prize. In 1988 she completed her Masters in Fine Art. She had initially started her degree majoring in painting, but eventually changed to sculpture as she found it much more appealing and realized that she was more suited to it. At university, Alexander was exposed to information about the political situation in South Africa through students' underground organizations and activities, and this contributed greatly to her work. When growing up in the suburbs, Alexander had been shielded from everyday police- and street violence. However, when she moved to city of Braamfontein in order to be closer to her university, she was faced with reality and was directly confronted with these aspects of society. At the same time, the political situation in the 1970's was changing, and black consciousness had become very noticeable - the 1976 Soweto uprising had been an eye-opener for many people. Despite the fact that Alexander, herself, was not politically

active and did not contribute to the struggle in any way, her work was extremely influenced by the socio-political situation in South Africa at the time. Her work clearly responds to the violence in South Africa during these years, and because of this she is seen as one of West Coast African Angels, '85 the most important artists of the Resistance.

In 1995 Jane Alexander was the winner of the Standard Bank Young Artist Award for Fine Art. This award is given to people who are acknowledged as being important artists within the South African art scene. In 1996 she was the joint winner of the First National Bank Artist of the Year award with Kevin Brand.

Probably her most famous piece, "The Butcher Boys, 1985", is in permanent exhibition at the South African National Gallery, and is the most popular contemporary piece in the collection.

Her work is always related to the human figure as she is interested in anatomy as a form of expression. Because of the fact that her figures are life-sized, they have an amazing presence and create a dramatic impression. In 2002, she won the DaimlerChrysler award for exceptional artistic achievement.

She is the recipient of numerous awards including National Fine Arts Student Competition Award (1982), Standard Bank Young Artist Award (1995) and FNB Vita Art Now Award (1996). Her works have been exhibited internationally.

"Butcher boys"

"African Adventure"

"Bom boys"

"Infantry"

"Untitled"

interview entrepreneur

WORDS BY YOLANDE GYPSYCHILD

Y

ou don't need to be a die-hard fashion fundi to know that bright, technicolour hair is all the rage these days. "Manic Panic" vegan hair colour has taken South Africa by storm and everywhere you look you will notice bright yellow, blue, green and purple hair.

Rock a Rebel is a young company founded by Devine Wolmerhans, a Pin-Up model, rebel and mother with an eye for style.

I asked Devine a few questions to gain a little more insight into "Manic Panic" and Rock a Rebel.

DS: Is it safe to assume that you have a background in hairstyling /beauty and that it played an integral role in the creation of Rock a Rebel?

DW: If that includes the mirror in my room, and dying my hair in the bathroom. Then yes it would be safe to assume so ;-) I have a background in Pin-Up modelling, and could not find the Cosmetics and Dye that go with it, I found the need in a niche market and ran with it.

DS: From conceptualization to launch, how long did it take?

DW: It took about 6 months to put all my ideas down and get my mind around what I was about to do.

Ro

DS: What inspired the name – Rock a Rebel?

DW: The name came from a play on words, Rockabilly being a popular pin up style, and always having been a Rebel at heart – I wanted a way to tell woman not to be afraid of who they were to: “Rock their inner Rebels”

r

ock a

rebel

DS: Are you currently operating locally, nationally, maybe internationally?

DW: We have just gone international, having a store in Zambia, we also provide products to a few out laying places nationally, but our main concern is obviously our home in the Helderberg.

DS: What was the best piece of advice you ever got? And the worst?

DW: The best: If you love what you do, you will never work a day in your life.

The worst: If you love what you do, you will never work a day in your life. I love what I do, but it has been blood, sweat, tears, and endless sleepless nights, screaming, crying and tearing my hair out.

DS: Were there any unexpected or unforeseen obstacles?

How did you overcome them?

DW: The biggest obstacle I had to face was adversity in the terms of how people view “Different” I don’t really think I have overcome the obstacle but teaching people that different and unique do not mean “Bad” has opened a lot of people up to change and that is all I could have hoped for.

DS: Where would you like Rock a Rebel to take you? What is your long term goal?

DW: Rock a Rebel’s long term goal would be to have a chain of boutiques that offer unique alternative style. The heights that Rock a Rebel has reached already keeps me guessing as to what will happen next.

DS: Would you have done anything differently if you were to start over again?

DW: I would have started with a physical store and built to the online store, rather than the other way around.

DS: What difference would it make whether a person’s hair has been coloured before or not?

DW: A semi–permanent dye like MANIC PANIC® hair colour does not contain any harmful chemicals and relies on natural vegan dyes that mostly sit on top of the hair.

Manic Panic partially penetrates hair shaft with smaller colour molecules than the permanent Permanent hair colours contain ammonia and require peroxide to penetrate and bond with the hair shaft. Our product is gentle and does not require a mixer. Permanent hair colour damages the integrity of the hair, and this can changes how dyes react to your hair in the future.

DS: Development time is several hours, is this as a result of the vegan formula?

DW: The development time is only 30 min, however because of the formula the longer it is left on for the more intense the colour will be.

DS: Why did you decide to go with Manic Panic?

DW: I loved the fact that Manic Panic is tested on celebrities, NOT animals!

DS: Rock a Rebel isn’t limited to hair colour though, please share the rest of your inventory with us?

DW: Rock a Rebel does hair colour and cosmetics, we also do custom handbags, shoes, and pin up clothing, we also do corsets and all things leather.

DS: Do you currently offer any sponsorships?

DW: Currently Rock a Rebel donates to a few different charities in aid of animals and children.

DS: We heard a rumour about New Rocks and a few other niche brands… Is this still a state secret or are you able to reveal a little more info?

DW: I won’t deny the rumour, but you will have to come take a look at the grand opening of the shop to get a good look at a few of the other brands we will be stocking.

DS: For a moment, please imagine that we are interrupted when a penguin walks into the room. He is wearing a sombrero - What does he say and why is he here?

DW: “Batman is annoying” - The penguin is in disguise because he is hiding from batman.

Interview SleazeGlamHairMetal WORDS BY YOLANDE GYPSYCHILD

IMAGES BY WYATT PHOTOGRAPHY

DS: We received word that we can expect an album release any day now. Please share some info i.e. release date, album title, total tracks with us?

LAC: We are very excited about the new album. The recording of this album has taken a very long time but we put a lot of production into it and we didn't want to release something we weren't 100% happy with. The release date has not been finalized but we are aiming for August. The working title is currently Shotgun Slinger and it should have between 6 and 10 tracks.

DS: Please define Sleaze/Glam/Hair Metal?

LAC: In short it is music to party to. If you need to draw a comparison, think about the bands of the 80’s like Guns ’n Roses, Motlëy Cruë or even Bon Jovi, they all have something in common: balls to the wall rock ’n roll that isn't pretentious. You either love them or hate them. Fans are able to relate to what they (and we) are saying but best of all it’s about letting your hair down and singing the songs at the top of your lungs without giving a shit about what is hip or popular at the moment.

Sleaze/Glam/Hair metal is about having fun and indulging in the things your momma warned you about.

DS: On your website you state: “L.A. COBRA is all about girls, Harleys, big hair and a good time. “ Synonymous with the glam rock bands such as Bon Jovi, White Snake, Poison, Guns & Roses and Kiss, who you draw inspiration from, is groupies and promiscuity.

So what’s a girl to do to jump the line and make it past security in order to get backstage at an L.A Cobra performance?

LAC: Not too much actually. [LAUGHS] If you're having a good time at the show we'll spot you in the crowd and make sure you get to meet the band afterwards. Just make sure to leave your boyfriend at the bar.

'Wink-wink'

DS: Is there a formula or procedure that you stick to when writing music? Is one person responsible for the writing and composition of new material or do all the band members get involved?

LAC: With the new album, everyone came up with ideas and we messed around with them until they formed into songs. With some of the bass tracks we only wrote them as we sat down to record and they came out great.

A lot of thought went in to the final versions of all the songs but they all started out as spontaneous guitar riffs and then evolved into songs with everyone’s input.

The band would not have lasted this long if we didn't maintain the mutual respect we have for each other. This doesn't mean we have to always agree but at least we have a common starting point we can work from.

We are also realistic about the SA music scene and have seen it evolve over the last 10 years. As long as people love what we do, we will keep flying the flag for arena rock in SA. It is what sets us apart from all the other bands.

DS: Skin ink? Do you guys have tattoos?

Please tell us about them?

LAC: Only two of the members currently DS: Muses? Do you boys have inspirational have ink. Don has a couple of stars running ladies in your lives? up his arm and two big stars on his chest. Evil LAC: Our inspiration is rooted in the fairer has a couple of very (very) random tattoos sex. Any teenager picking up an instrument with some crazy back stories. Ask him to to start a band does so to impress the girls, show you when you see him at our shows. right? We all have our muses, some more permanent than others.

DS: Lyrical content – do you have a general theme? What are your songs generally about?

DS: What do you think are attributes to a LAC: Most of our songs has something successful band dynamic? What are the to do with beautiful ladies. They are too things that could make or break a band? inspirational not to write about. We like to LAC: Two words: mutual respect. From the write about our lived experiences. The songs start we have viewed L.A. Cobra as a family are more relatable that way. Other themes and the members are like brothers. The include our love for music, parties and moment egos swell and one member feels EVERYTHING associated with it. he is bigger than the band you start running into problems.

DS: Do you have any good hair-care tips that you would care to share with our readers?

LAC: Keep it clean, no one likes greasy hair.

Also, give it a good shake at our show, it does wonders for the shine.

DS: Do people ever ask you when you plan on getting “real” jobs? Your response?

LAC: We are not reliant on the band to pay the bills. Each of us have our own jobs. The band thus doesn't have to focus on what makes commercial sense. It gives us the freedom to do what we love.

At the end of the day, regardless of if it makes you tons of money or not or if it is a full time gig, music is a real job, it requires passion, dedication, practicing and learning constantly. We see it as our second jobs, it’s an escapism for us as well as the fans to come to see us… those tired or stuck in their “real” 9 - 5 jobs. People who are close to us also understand that we love doing what we do as much as the people who come to see us.

DS: And your favourite track (of your own work)?

LAC: Tough question. Everyone in the band will have a different answer. The most energetic songs live are Stray Cat and Whiskey High Roller. We love Rock 'n Roll Pretoria and that's why it is the first single off the new album.

DS: Do you guys think that South African music, metal in particular, is at an international standard?

LAC: Absolutely. South Africa has some fantastic musicians and given the opportunity any of them would be able to compete on an international level.

DS: Music has become “disposable” in a sense of the word. Some years ago we used to follow a band’s entire career, we spent, what felt like a fortune, on albums and we would listen to those albums over and over again for years. It has become so simple to discover new artists and new tunes are so easy to come by, that it seems music has become something that we use for very short periods of time before discarding it and replacing it with the next album or artist.

Your thoughts?

LAC: It's true. People aren't as loyal to bands as they used to be. In some way it pushes musicians to up their game. You need to constantly remain relevant and can't simply rely on previous successes. That is why our new album won't have that many tracks on. We'd rather release a shorter album or EP more frequently than an album with 15 tracks. And hopefully with new music being discovered on a more regular basis we will be able to appeal to a new audience as well. Everything changes and we would've loved to be part of the big band days in

the 80’s. We try and bring that to people through our shows and music today but we are also very aware of the realities of today.

DS: It is so good to see this level of passion for the music. So tell us your favourite moment as a band ever?

LAC: That is very difficult to answer. The band has been around for 10 years and we could fill a book with stories. (Now that is an idea). It would have an age restriction though.

Our best stories and moments come from being on tour. There is always something crazy happening. Most recently however must've been our Oppikoppi show. The crowd was fantastic (and nuts).

One guy actually had shirts made with our faces on. He, and his friends, managed to get backstage afterwards and the party took a steep turn into obscenity that night.

Shooting our video for Rock ’n Roll Pretoria was also a band favourite. We shot it over three days around Pretoria and it got quite wild.

DS: Can you give us a cheeky description of all the band members?

LAC: Don (Vocals and guitar): the heartbreaker.

Slade (Lead guitar and backing vocals): the guitar-god/addict Evil (Bass and backing vocals): the original James Franco Callie 'Animal' (Drums): the animal.

DS: Who do you think is the hardest joller in the band?

LAC: Evil hands down. He is hard to control.

DS: Who gets all the girls?

LAC: The girls swoon over Don. DS: Is it true that one of the band members is actually a ginger with the plan to steal souls at every show you play?

LAC: We can neither confirm nor deny these heinous allegations.

D

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Interview darkwave/retrowave

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IMAGES PROVIDED BY STERLING EQ

DS: If you found yourself in a situation where you we required to describe your sound to someone who has absolutely no frame of reference of what music sounds like, using only words, what would you say?

DR: Um... [laughs] This is a weird one. I guess it sounds like hard noises that goes harder and scarier and makes you feel uneasy but you like it at the same time DS: Devil Razor produces “Retro Wave”, which isn’t a mainstream or even a very familiar genre in SA. How did you come across Retro Wave and what inspired you DR: More specifically DevilRazor is “Darkwave”, but its just a sub genre in ‘Retro Wave”.

I work with one of my best friends who owns a tattoo parlour and he's one of the sickest tattoo artists in SA. We both produce and during the day at the studio, we listen to a lot of music, and throughout 2013 - 2014 we kind of just got stuck on 80’s music and we were like “I wish they brought this style of music back” . My friend then did some research and stumbled upon some retro wave music and we were amazed! We just dug deeper and deeper into the scene and eventually we both started a project.

DS: You have also played bass guitar in a grunge band and you were also the drummer in a thrash metal band. What were these bands called?

Anyone we might be familiar with?

DR: Nah, it was back in the day when the underground band scene was still a thing. The grunge band was a very Nirvana influenced type band, awesome guys I played with , If I remember correctly it must have been around 2003 or so.

The band was called Neverside. The thrashy band was a band I started with some friends around 2005/2006, it was called Tristia. Both these bands played a few gigs in and around town.

DS: Why did you leave the bands / why did the bands split up?

DR: Neverside’s members all decided to move to JHB and Tristia broke up when I went to live in the UK for a while.

DS: What influence, if any, do you think that experience had on Devil Razor’s sound?

DR: I incorporate a lot of the drum rolls that I liked to play into some of my tracks.

DS: Do you or have you needed to switch from using hardware to software and maybe back again during music production? How has this affected the way you write music?

DR: Not really that I had to , but I do play some synth with my midi controller. I play different odd chords and try to find creepy melodies in them. If I should perform live I would definitely like to incorporate some live synthesizers.

DS: Where do you draw inspiration from?

DR: Actually from a lot of stuff. 80's horror movies, events that has happened in my life, from some metal bands, some electro and of course synthpop/80s music. I try to use elements of all those different things and mash it up into my music.

DS: What was the first musical experience that really touched you?

DR: [Laughs] Well back in 1998 (I was still in primary school) I was watching MTV and saw the video for Nirvana’s “Smells like teen spirit” and I can still remember thinking “holy shit”, it was next level.

DS: If you had to list one habit that could possibly ruin or stall a producer’s career, what would that downfall be?

DR: I guess addiction. Be it alcohol or drugs. I don't drink or smoke as I prefer to always be sober and in control, and I can't imagine being under the influence and trying to produce music, it takes too much concentration on a technical level. I think that could easily ruin or stall anyone's career.

DS: You also produce under several other aliases in different genres which inspired you to keep DevilRazor separate from those projects and therefore not reveal your identity. Is this decision just temporary or can we expect live performances in a Daft Punk fashion?

DR: Nah I don’t think it will go that far. In the beginning I thought of doing a mask/helmet for live performances but it will just end up being a schlep, if anything, I might just wear some black sclera contact lenses for the heck of it.

DS: New Retro Wave, one of the biggest Retro Wave labels, approached you after only hearing your first track and asked you to sign with them upon the release of your debut album, “Repent your Synths”.

Would you care to share a little more info on the album with us?

DR: Well the album is still in progress, there is no definite release date as of yet. I’m releasing tracks every few weeks as I approach completion with them. As soon as the album is complete, I might do a limited edition cassette release and look into a Vinyl run in the future, depending on demand DS: And the total amount of tracks to be expected on the album?

DR: So far the goal is to get at least 10 tracks, maybe including 1 hidden/ bonus track DS: What is your aim in terms of the general tone, or, “feel and sound”?

DR: General feel and sound would be mostly horror based. 80’s horror synth with dirty, filthy drops.

DS: What is your current studio set-up?

DR: My “studio” consists of a laptop, Novation Launchkey midi controller and headphones. I don't need much more than that.

DS: What made you decide to use your current DAW? DR: Well I work on FL Studio, and have been since 2003. I have worked on various other DAW’s before and have just never found the flexibility,speed and comfort I find in FL Studio. I have found that I can produce a quality track within a day that would take me weeks in any other DAW, and spending so many years in one DAW and seeing how amazing the software has progressed over the years is awesome.

DS: Talk us through your typical work-flow from idea development to creation…..

DR: Well it would depend where my idea came from, if i thought of it, or if I heard something that inspired me.. But mostly I would start out with some chords. I like using diminished chords, and tabbing eerie arpeggio melodies. Then I would layer some melodies and chords, and get a bassline.

After getting a structure down for the track, I would start rounding off more finer details, like little sweeps and cymbals, drum rolls etc.

Then I will start working on the climax of the track, the drop. I like to use heavy gritty basslines, and bring them in gradually with automation clips, usually creating a nice build-up into impact as soon as the chorus drops.

That’s only one of a few of the ways I like to approach my song structures and what gives DevilRazor its sound DS: What part of the production process do you find the most challenging?

DR: I think its between getting a cool melody that has a feeling/vibe to it,and ending the song. I’ve found myself just going and going and going with the track and the next thing you know its like 7 minutes long [ laughs ].

DS: Garden gnomes – your thoughts?

DR: uuuuuhhhmm...I saw these Zombie Gnomes somewhere on the internet once and although I've never really been a fan of garden gnomes, the zombie ones looked badass. I've always said if I saw it for sale somewhere I would definitely buy some [ laughs ]

albumreview Themetalist WORDS BY LAV NANDALL

IMAGES BY SAMMY SF PHOTOGRAPHY

The scrubbed clean production values of Riddlebreak’s "Collapsar" makes this seven track album tight and tidy – perfect for those long days stuck in tedious traffic.

Production values aside, the album punctuates with solid rhythmic guitars and pummelling drums. This is best demonstrated on the third track titled "Dreamer’s End". However, it is on the fifth track, "Zero Point Energy" that listeners get to taste the progressive tendencies of the Jo'burg based metal band and experience the complexity of its compositional structure. Furthermore "Something Sick" has a great stylistic variation that shows the band isn’t afraid to experiment and add different elements to their sound.

Keeping within the progressive genre though, the tracks are lengthy with Rogue clocking in at seven minutes and dragging for roughly three minutes too long.

The debut album is well crafted and the sound is sharp with intense not-so-clean vocals. Just like the vox, the lyrics are powerful and concentrated on escapism and space. All this echoes on the album cover art, designed by Riddlebreak’s bass player, Roushan Van Niekerk.

In a nutshell, the five-piece band has earned their place in the local metal industry with this high quality debut album delivering relatively progressive sound.

Riddlebreak’s "Collapsar" will hurt and terrify but there is salvation.

ARTIST: Riddlebreak ALBUM NAME: Collapsar RELEASE DATE: January 2016 COUNTRY: South Africa CITY: Johannesburg GENRE : Progressive Metal MEMBERS: Vox – Jade Osner Drums – Gordon Bosma Rhythm Guitar – Gareth Reed Lead Guitar – Julian Vosloo Bass – Roushan van Niekerk

Interview psytrance WORDS BY YOLANDE GYPSYCHILD

If you have attended a few psytrance festivals in Cape Town during season or even a few indoors during winter, you are almost guaranteed to have encountered Lyle Jensen, or often better known by his stage name, Archive. . He acts as co-owner and A&R manager of South Africa's own twilight psy label, Mind Manipulation Device Records or MMD Records for short. In August 2009 he joined Indian based label, Rudraksh Records, and in March of 2011, joined Mexican based label, Terror Lab Industries.

After a lengthy negotiation, in late 2013 Archive was signed as as local SA representative for Spanish Psy power label, Dropland Recordings (a subsidiary of 3D Vision Records).

Fascinated by his super charged psy trashing style and entertaining persona, it can't be argued that Archive is most definitely bad ass!

DS: When we first met, I had just been approached by a random individual who proceeded to tell me that I didn’t fit in. I looked around, spotted you and figured that if anybody didn’t fit in, it was you. How does an obvious metal head become one of the most prolific names in Psychedelic Trance in S.A? AC: (laughs) Well I still don’t think I fit in completely to be honest, but what can I say, I like my metal, supporting the bands I’ve listened to my whole life, so I wear that almost like a badge of honour. Honestly, if there was one main thing I do enjoy about the PsyTrance scene (even to now) is that there’s always generally been an overall level of acceptance & sense of “welcomeness” you can have attending a festival. It allows you to be yourself and just have fun…it’s definitely not as judgemental & cliquee as other EDM or music genres, so that’s probably why I stuck around so long.

DJ • produc

cer • promoter • label owner

ARCHIVE AT VORTEX OPENSOURCE 2015 IMAGE BY BRENT PHOTOGRAPHY

LEFT: ARCHIVE AT ASTRAL AFRICA IMAGE BY MYSTIC MINGLER OPPOSITE: ARCHAIN AT JUNGALA 2014 IMAGE BY AUMEGA PHOTOGRAPHY OPPOSITE (BOTTOM): ARCHIVE VS SWITCHCACHE AT FROSTBITE IMAGE BY AUMEGA PHOTOGRAPHY

DS: And if you could bring any DJ/Producer to SA to play at an MMD production, who would it be? Why? AC: Hmm, that’s tough because I always feel conflicted thinking like a promoter (on who would be a crowd puller of new & old) versus being a fan (on who I’d like to listen to on a big rig). I would say as a promoter I’d go with Krome Angels (Dino Psaras, Deedrah, & Shanti) and have Dino do an oldschool “Tortured Brain” set in the morning, followed by Shanti live midday, & Deedrah closing off the party with a more Psytech-styled DJ set. As a fan of Night-time Psy I’d say X-Side and Thereome are both long overdue for an appearance in SA.

DS: You have brought some of the biggest names in Psytrance down to perform in SA. If you had to choose, who would you say was your most memorable and why?

AC: In general I’m happy with the international artists we brought down here to perform at some of our MMD related festivals. Names like B-55, Shehoor, Damage, Absolum, Sinful Reactions, Smashed, Tryambaka, and Deviant Species to name a few.

All stay firm in my heart & memories.

But I think my top name would be Orca for his first appearance in SA at our Remanufacture Festival in 2010.

After that slamming morning set Alon played, blowing the dance floor away with his unique sound, everyone in Cape Town knew what we knew all along. And from there we followed that set he played up with his first EP for MMD called “Bedtime Stories”, and THEN the world knew what we knew all along! (laughs)

DS: Was there a pivotal moment / epiphany when you realised that this is what you want to do or did it ever occur to you at any point while growing up that this is what you would ultimately amount to?

AC: Truth is, I always wanted to own a label, more importantly, I always wanted to be involved in the music industry. In my earlier 20’s I worked on loads of productions for indie rock companies, charity events, doing freelance logistics for major labels; I was even involved in editing an SA Music Industry Directory called “The Score”, and once I worked for a year at Look n Listen as a Floor Manager of the “Rock & Pop Department”… back when CD’s were hip (laughs). Did I know 14 years ago that I was going to be running an underground indie PsyTrance Record Label? Hell No! But when I graduated varsity in 2005 and the opportunity to start a Twilight Record label up with Laurence (Zion Linguist) plus have all our friends & colleagues who were producing at

the time, release and perform with us, yeah that just felt right, & that’s a warm feeling I still get to this day. At the core of it, that’s probably why I continue my attempts to release new upcoming talent. Obviously the way things have moved in the music industry becoming more digital, it’s impossible to run a label as a full-time job and make a sustainable living, but I like to think of it as an awesome hobby. An awesome hobby which I have had for a decade plus. (laughs)

ARCHIVE AT REZFEST 2015 IMAGE BY AUMEGA PHOTOGRAPHY

DS: Have you ever heard a piece of music that really moved you? If yes, please tell us about it?

AC: Countless times, although lately it’s more the sound production that gets the goosebumps going for me. I’ll put it into perspective, 20 years ago my folks bought me the Marilyn Manson album “Antichrist Superstar” (yes, I have cool parents), and from the first track with its raw power riffs and next level aggression in the vocals, my jaw just dropped. Last year I ordered the new Manson album “The Pale Emperor”, and went to Dale (db Mastering) Byl’s house and we played the first track on his studio monitors, & from the moment I heard the newly-refined Manson lyrics over that percussion and back beat, my jaw dropped once again and those goosebumps came right back, as if I was back in 1996.

DS: How has your style and track selection changed / developed since you first started playing?

AC: It’s weird, because as a principle to myself I try stay true to my values and not compromise commercial appeal with playing the tracks I like (of which at least 80% is MMD material). With the scene’s sound however moving to a more slower speed and focussing more on the minimal/melodic Goa style, a lot of our MMD producers have been forced to adjust their sounds to stay relevant in the ears of the new listeners. It’s a cycle and no doubt the more energised Night-time Psy will come back again, but unfortunately in the meantime it’s an “adapt or perish” kind of situation in my mind.

DS: Have you ever cleared a dance floor? If so, when?

What happened?

AC: Lately no, thank God! (laughs), but back when we all started DJ’ing & producing early 2000’s, none of us knew what would work or not on the dance floor, and luckily those parties where the dance floors were cleared were usually only smaller indoor events & were empty for only a track or 2, because we quickly figured out “Don’t play that track!”

DS: Do you have any pre-gig rituals or traditions?

AC: Not so much, although maybe a tequila before I play or something. Lately I’ve been plagued with faulty headphone jacks, so I’ve been very paranoid and been checking that out before I play a LOT! It happened last weekend at the Ultranoize Outdoor when something was wrong with my jack & had to borrow Mystrix’s headphones for the second half of my set… my headphones have since been repaired.

DS: 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)?

AC: Well firstly an over-saturation of DJ’s and not enough producers to fill the void for upcoming talent, is a big issue! Secondly, social media, the fact that anyone who is popular online suddenly equates to talent as an artist. Popularity & talent are not the same thing, but new talent has always relied on friends for support. But 10 years ago, it was word of mouth, a hell of a mission to POST (snail mail, rather than "post" to a time line or page) your demo mix to some organisers or labels. You literally had to know who to talk to, to get any recognition from the bigger organisers. And thirdly, (in my opinion) it's a “lack of originality” from the DJ’s performing now. There is an inundation of DJ’s all performing the same style of Progressive & Full-on, and I’d go as far to say as the exact same artists/tracks in each set. Unless you are a producer making your own style (be it Prog, Hi-Tek etc), make it your own, but for the DJ”s, no excuse! I can’t stress how many organisers are fed up getting a demo that sounds exactly the same as every other demo. SA had one of the strongest lists of artists who cultivated a unique sound that

ARCHIVE AT REZONANCE 2011 IMAGE BY SCOTT RENNIE PHOTOGRAPHY

dare I say it, was “Proudly South African”. The upcoming DJ’s & producers need to take note of the history set before them, because they are filling some mighty big shoes and should walk proudly on the road which these local Psy pioneers paved.

DS: How do you respond to those who maintain that the industry is “cliquee” and one’s chance at success depends on “who you know and / or who you blow”?

AC: Cape Town is “cliquee”! (laughs) Well, I think it’s always good to know the players in the game so to speak (nothing bad ever came from knowing an organiser personally), but as I said before, talent shines through.

Sure, with technology and every second DJ using a laptop and/or Traktor controller, it’s hard to spot the true talent. But some of the bigger organisers at Nano, Vortex, Organik & Alien Safari have always offered newcomers a chance to grab the brass ring and perform at their festivals, so as long as artists forward their details along with some kind of promotional mix, and even mentioning some kind of time-slot they would be suited to, the organisers will have a better idea of the fact that you have a better idea on when to play.

The key is never give up, no matter what!

...UPCOMING DJ’S PRODUCERS NEE TO TAKE NOTE OF T HISTORY SET BEFO THEM, BECAUSE THEY A FILLING SOME MIGHTY B SHOES AND SHOULD WA PROUDLY ON THE ROA WHICH THESE LOCAL PS PIONEERS PAVED...

S& EED THE ORE ARE BIG ALK OAD PSY

DS: Would you care to share your thoughts on PLUR? Is it real or an ideal?

AC: It’s very different from a corporate Record Label perspective such as Sony Music, because it all comes down to agents, contracts, and calendar dates for those artists, so they are basically unaware of what’s going on, they just go with what management tells them. I think locally there’s been many genres of EDM that have grown in SA (as actually has the local hard rock/metal scene), but in my opinion Psytrance with its outdoor appeal for over 2 decades has always made it the cut above the rest. Most of the festivals have independent security, logistics, production, décor & sound crews, whereas more broad-based genres like Jazz, Afrikaans or Kwaito concerts tend to be all outsourced to established branded companies & contractors. The fact that Psytrance (even as its

party population number continues to explode) still maintains that family “all-are-welcome” togetherness (or “PLUR”) that many other genres and more mainstream styles miss out on makes it truly unique in the local scene.

DS: Please define “Psy Awareness”?

AC: The simple understanding of all aspects relating to PsyTrance: the music, the culture, & the respect! It boggles my mind, with all the knowledge in the world online, that people still can’t tell the difference between EDM and Psychedelic Trance, and with that the ignorance flows into the outdoor festivals and that’s when you get the “negative energy” because the party-goers did not care to learn about what they getting themselves in for. Reality check, Trance aint PsyTrance people!

DS: You are involved with several international labels i.e Rudraksh Records (India), Terror Lab Industries (Mexico), Dropland (Spain). How do you plan on using these relationships to bring psy awareness to SA and other third world countries?

AC: (laughs) Yeah we had big plans a few years ago when the Night time Full-on was at its peak. Basically we wanted to cross trade artists from Japan, Mexico, SA, & Portugal/Spain, all across our labels. At the time not many local Cape Town artists were getting signed to international labels. So once Barry (Frozen Ghost) got signed to Yabai Records in Japan, more local producers & DJ’s were hopping onto international labels. With that, brought all the international artists on those labels collaborating with our locals and thus expanded our local blend of Psy even further. Taking a lot of inspiration from the SA Psy sound, today still in certain places like Mexico, Portugal, Australia, & Japan, you can find avid supporters & producers of the more aggressive Night time Full-on sound, so in a weird way I guess we didn’t fail completely.

DS: We couldn’t find an MMD production on this (passing) season’s outdoor calendar. Did we somehow overlook it? If not, why did MMD drop off the calendar this season? Or do you have something planned to celebrate 10 years of Mind Manipulation Device Records this winter?

AC: No you didn’t overlook it. In 2014 our Outdoor festival had to be cancelled because the land owners had a loss in the family and needed the venue for the wake that weekend. Was a terrible loss for them, but was also a loss for us. The Festival was called “Nine Lives” (based on the fact that we had 9 live acts performing), and looking back on the fact that we never held another MMD event after that, you can’t help but see the irony in the event name. (laughs) We do have plans to do a Best-Of MMD V/A compilation towards the end of the year, as well as myself putting up a special 3 hour downloadable MMD exclusive mix. We will see about maybe throwing an MMD indoor sometime this winter…could be a wicked idea!

DS: You mentioned on facebook that you and Mystrix had been working on a few upcoming releases which you planned to combine with a few twilight classics for your sunrise set at Easter Vortex this past weekend. Was the set well received?

AC: It worked out better than I thought it would honestly. The weather the night before was quite morbid (serious rain & wind), so we were relieved when the clouds cleared and left a nice chunky crowd of stompers on the floor when we came on at sunrise. Myself & Mystrix have pretty decent chemistry when we DJ together, so getting to drop some old Twilight classics with her from artists like Artifakt, Hydraglyph, Brethren & Mindcore was loads of fun, & I think the dance floor reacted quite well to the education. (laughs) DS: You finish a gig when a fan approaches you and asks: Is this the no-pants-pasta-party? How do you respond?

AC: I reply, “It’s not!?” And continue to pull my pants up (laughs)

DS: For those readers unfamiliar with ZuluTunes, can you tell us what the main concept is behind the label, and what genre(s) of music do you typically release?

ZT: ZuluTunes is a tightly knit, proudly South African music movement and digital record label based in Johannesburg. We release music, create art, throw events and get involved in all sort of creative endeavours. We operate as a collective force and try to contribute as much positivity into underground music and arts culture as we can.

When we formed ZT our intention was to release a range of underground genres, it just so happens that we have been focusing on High Tech Psychedelic Trance and some Bass Music. We have a couple of killer Hip Hop albums in the pipeline as well as some Dub. DS: Can you tell us how ZuluTunes came into existence?

ZT: There was a long period of Jo’burg based dark psychedelic producers failing to get noticed by established organizations, especially in the international scene. Eventually Dr.Bops decided to build a platform himself so that they wouldn’t need to rely on others to publish music. He approached his friend Mike-Iller to partner with him in running the project, which he did. One faithful night in 2010 the two called a meeting with a group of peers and the rest is history.

DS: Although there is a large and staunchly loyal DarkPsy fan base here in Cape Town, sadly, DarkPsy hasn’t often been heard thundering out of many festival rigs in the last season or two.

Can you give us an overview of the Johannesburg Psy scene in general as you see it at this point, where it is coming from, and where it might be going?

ZT: Overall things in Jozi at this point are looking bright.

The scene has been through some serious ups and downs over the past decade. Traditionally Jo’burg had a darker psychedelic sound that was established by Mushroom Mafia. Once they disbanded the scene went through a few transformations, teeter-tottering between styles and arriving at quite a diverse set of tastes.

At the moment there are three major production companies throwing large scale events with smaller ones being put together by ourselves and one or two other players. All these companies throw great events and the general crowd is really awesome. Of course a couple of the bigger annual festivals are adapting a commercial or club orientated approach at times. Due to the large scale and approach of some of these events we get concerned about the impact on mind-set of newer-comers to the scene. We’re not crazy about the idea of our culture being marketed as a wild night out to mass audiences. In our opinion, by tailoring parties to a more commercial crowd, a lot of the atmosphere and mindset which makes psychedelic parties magical is watered down. We love the rugged aspect of the older parties and are perfectly okay with some people being ‘scared’ off at times. Unfortunately this is an issue all growing underground music genres face at some point or another, and people need to turn profits so we can’t always have our cake and eat it.

But overall we’d say the scene is doing well here.

In terms of the future, we can confidently say: Hi Tech is growing rapidly in popularity in the global Psy community, so things are looking up.

DS: It’s always refreshing to see a label such as yourselves, who release music for free in Mp3 and other lossy formats. It always makes me wonder though, how is it possible for any independent label to survive when they give their product away for free? Do you strictly rely on profits generated from sale of high-quality tracks, or do you finance the label through your artist set fees?

ZT: This is the challenge all small indies face today, the market is very competitive and it really takes a lot to get the gears moving. Luckily money was never our objective.

Our primary focus was to get the crews work out into the world and to forge our own avenue for creative expression.

Until recently Mike and Bops financed the label but we all contribute our time and skills as a collective to grow the movement.

Given the state of the music industry we came up in, practically every member of our family has been wise enough to develop a career separate from music. That being said, as time has passed and people have aged (and babies have been spawned), the need to generate revenue for the massive amounts of time committed into music has grown.

We now generate revenue through music and merch sales but gigging is still a primary source of income.

Fans can support the movement by buying gear, buying music on our Bandcamp or donating via PayPal through the module on our website footer.

DS: I myself had never really been into the super fast psychedelic sounds until relatively recently; I found I could never dance to it for some reason. The evolution of Hi-Tech has since however broadened my horizons. Do you ever come across people that say: “I like Hi-tech, just as long as it’s not too fast/dark!”? If so, what do you say to them, and what are your feelings on the topic?’

ZT: Music is art and everybody has different sensibilities. If someone tells us they prefer music that is slower or different we fully respect that.

Something to bear in mind is that certain strains of music are acquired tastes. None of the older members of our squad started on 200 Bpm brain destroyers. We all started on more traditional styles of Psy and our tastes evolved over time as we craved the new and unknown.

A lot of the time people who can’t do the fast or dark thing just haven’t had enough time or exposure for it to grow on them or they haven’t been presented with the best selections. You can take a floor from regular Psy trance speeds to pretty fast tempos without anyone noticing if you do it gradually and tastefully. Hi Tech varies greatly in tone and flavour compared to it’s darker predecessors (DarkPsy, Psycore) so if someone doesn’t like the darker stuff, no biggie, there’s

DS: How do you decide which artist to bring to the label?

ZT: We have a diverse but meticulously selected team. Our artists range from new-bloods in their early 20’s right up to older established artists like Digital Dream (Mushroom Mafia), Natural Disaster and Tekaeh (Germany) who are in their midthirties. Each and every person was brought on board for unique reasons but the overarching themes are good vibe and intricate production or DJing capability. We are only interested in working with super passionate and down to earth people. Our team are very close and so we take a lot of care to maintain that chemistry when considering artists. We have had a fixed number on our team for quite some time, we now only take on a new artist when someone moves on, which rarely happens. This allows us to deliver enough focus to the individuals that things don’t get watered down, and also to develop skills internally as opposed to head hunting. We do not only release music made by our label members however, we frequently include friends of the label and artists we admire from outside ZT. DS: Who are the up-and-coming Jozi artists who you find the most exciting?

ZT: In terms of Hi-Tech: Vector Void and DreadLokkWarrior. These are two younger guys who work super hard on their craft and are some of the most promising newer Hi-Tech acts around. In terms of Hip-Hop: There is a really dope rapper known as Tony Dangler we have recently met, who we will be releasing this year.

DS: And in terms of the rest of the world?

ZT: There are loads. In terms of our label “Ugly Ducky” is another one of our younger artists based in Portugal and he is super sick… New album coming soon. Besides ZT artists, two new-bloods who are making waves fast are ‘Selective Mood’ based in Austria. Also keep an eye out for ‘KillATK’ in Brazil, ‘Aesop’ in Australia, ‘Wave Odyssey’ in India, SkyWalker in Portugal and many more (these are just some that came to mind).

DS: Can you tell us what’s on the table for your upcoming releases?

ZT: Some big things to look out for: Peak Pilots L.P / Ugly Ducky – Reborn L.P / Disaster Recovery V.A (complied by Natural Disaster), Hip Hop album by Jozi rapper Tony Dangler and Canadian producer Sam Static, Fuck The System V.A (Compiled by Tekaeh). A little later on the big ones to look out for are Organoise and Pastor John solo albums, Natural Disaster and Friends L.P / Hip Hop album

By Mad Skabenga and Dr.Bops / VoidLokk L.P (Vector Void vs.

DreadLokkWarrior) and many more.

DS: Are there any interesting collaborations with other labels/ promoters in the pipelines for this year?

ZT: Music-wise we recently finished a collaboration with Lunatic Alien Records in U.K that took a year and a half to complete. It was a challenging project that had tons of artists on various DAWS collaborating all over the world. It turned out to be a fantastic album, so we are going to take it easy on the complicated collabo’s this year and focus on putting out the back-log.

Promoter-wise our artists have quite a few gigs in the EU this summer season, one of which will be a “ZuluTunes meets Zeakon” event in Germany (all details on will be on our FB).

DS: And lastly, who, in your opinion, are the up and coming prog house DJs and artists we should be keeping an eye out for?

ZT: Sorry we’re not very clued up in that department.

Tekaeh, Organoise, MetaHuman, Mike Iller, Dr.Bops, Pastor John, Digital Dream, Atim, Natural Disaster, Thorne, Unkle Ruckus, Vector Void, Ugly Ducky, DreadLokkWarrior, Dugga, Psydeways, Killswitch, Twelv

under the

ink

WORDS BY CALVIN RAY KING

Here it is. Everything you want and need to remember is infection on a tattoo is not the know about getting your tattoo and aftercare. artists fault. As soon as you walk out the tattoo studio the reasonability is yours. You have First thing first let me give you a low down of been instructed on how to look after it, so do the don’t when getting a tattoo. as you are told!

Never even think about getting a tattoo from Now for all you first time tattoo clients out there. someone that is working from home, we call Refrain from annoying your tattoo artists with them scratchers for a reason. No matter how silly questions such as.. “ is this going to hurt? well you know the “tattoo artist” or how clean Or can I die from a infection?”. Yes its going to you think his place may be. hurt and no you wont die but if you listen to A tattoo artist with no portfolio or any proof of your artist and follow instruction and read you previous work is a solid red flag! Don’t do it indemnity form then you should know what to expect! people!

Now about the persons tattoo equipment.. if it is not sealed it is not clean! You should always have a fresh needle out of a marked and and sterile packaging, if not get the hell out of there.

One last thing!

Respect your artist and the work he does!

We are receiving art in the best form and technique. Your artist creates art every day of his life and he/she knows exactly what they One thing you need to know about your tattoo are doing. Appreciate your body and enjoy the and aftercare. A tattoo artist from a studio art you receive on it. You may think its easy will and should give you clear and perfect to tattoo but its not. Tattooing takes years to instructions. All artists have their own way of learn so enjoy it and love it cause it’s the only having a healing process. Another thing to thing that goes to the grave with you.

Interview Tech / DnB

james cells WORDS BY YOLANDE GYPSYCHILD

DS: Your style and sounds is incredibly diverse and therefore you have several aliases, Jimmy Chronic, Flamed, Shinobi… Do you have any other “secret” identities which I do not know about?

JC: Hmmmmm.... Yeah I also have "finding emo", but Jimmy Chronic and Shinobi are my main ones..

DS: Please explain the style and sound associated with each alias?

JC: Jimmy Chronic is a mixture of Downtown Gangsta Minimal house , and Shinobi is this minimal neuro drum and bass..

DS: With so many alter egos, who is James Cells when he is at home?

JC: He is a couch potato at times and a party animal at times.

DS: If you were required to put yourself in a “box” what would you label yourself as? DJ, producer, label owner, events manager, father, teacher….? Please elaborate?

JC: A producing DJ dancer drinker that often promotes events :) DS: You are a founding member of the Fusion Underground crew. Is the crew still active?

What’s news on that front?

JC: SHEW!!! That was a long time ago... Fusion Underground was a little phase that myself, Nick Lumb, and Karmi had upstairs at Truth in Johannesburg.. As for the crew they still around, all now reside in the Mother City though. After Fusion Underground I did many events under the

ss

WE ARE THE NOISE brand, and then also under the LOLA brand and BUCKWILD brand.

DS: In terms of We Are The Noise?

Please tell us more about the company? Any updates or plans in the pipeline?

JC: "We Are The Noise - You Are The Movement" - yeah we did a lot of successful events under that brand and brought out plenty international acts such as Alex Smoke, Julian Chaptal, M.A.N.D.Y , Dyed Soundorom, Fur Coat, Bruno Pronsato, Guido Schneider, Sammy Dee and many others...

DS: Word around the fynbos is that you can now add “Visual Artist� to your long list of credentials. Does this refer to design etc. for digital mapping?

When did you decide to tackle this venture and what inspired the idea?

JC: I do take an interest in really mind bending - cutting edge minimalistic type of psychedelic visuals and visual mapping surfaces and LED screens.

DS: When did you launch Sleepwalker Records?

Who was the first artist signed to the label? And the most recent?

JC: Nick Lumb was the first artist signed to the label, and The Speckled Egg was the most recent.

DS: You taught yourself how to produce music and now you are not only a notable producer internationally, but you are also an Ableton Music Production teacher. Where do you teach?

JC: I'm in the process of launching a few "1 on 1" courses covering not just theory and Ableton but also covering challenges that are common in music production

DS: In that respect, is it safe to assume that DS: As for Jimmy Chronic, what is currently Ableton Live is your preferred DAW? on the table?

JC: Yes most definitely JC: I have been playing a lot of LIVE sets lately using Ableton and the Ableton push DS: I’d love to hear some more about your controller. I am going to continue making DnB alias, Shinobi. I was caught completely beats and playing them out live. off-guard upon realising that this was in fact you. Have you always been a fan of DS: You are not only signed to major labels Drum and Bass? such as Ministry of Sound and Cream, but JC: I have indeed. From the early days you have also played at some of the most of drum and bass at Carfax years ago and notable clubs and festivals, both locally and seeing Dieselboy at Mecury Live in Cape abroad, such as H20, Fu-Cha Gatherings, Town about 12 years ago..

Woodstock and Elev8 festival in Malawi…

If you had to single out a favourite or most DS: What made you decide to start memorable, which one would it be?

JC: I always love playing at Rocking The producing DnB? Daisies. Also Kinky Disco and The Tropical JC: I produce all sorts of electronic based Roast have been really good ones :) As well music, but recently my one friend "Psyke" who also MC's for me convinced me to finish as Billy’s Beach in St Francis over new years. some DNB tunes.

DS: And on your Festival bucket list?

JC: I would like to go play at some DS: And how would you compare the DnB festivals in Europe soon. Maybe the Zurich scene in SA to the tech/house scene?

Street Parade.

JC: Each to their own.. They both seem to have a decent following at the moment.

DS: Do you have any advice or tips on DS: Has Shinobi been well received by preventing alien abduction? audiences?

JC: Why prevent it, just go with it..

JC: Definitely. It appeals to a certain niche market i guess.

interview alternativerock WORDS BY YOLANDE GYPSYCHILD

DS: Deity’s Muse has been around and rocking for the better part of 10 years. How would you say your outlook on “sex, drugs and rock & roll” or “fame and fortune” has changed over the years?

Wayne: I'd say our outlook has become more balanced, focused and realistic over the years.

When you're younger all of it feels so new, so you tend to gulp it all down in one sitting. Fame and fortune is the last thing on our minds. We prefer zoning in on progression. I think having fame and fortune as the main goal is regressive, as it compromises art. It takes time, or at least a certain maturity to realise this.

DS: Is there a particular reason why you have not uploaded any music to your Soundcloud page in 3 years?

Wayne: We've actually only used it recently as a base for sharing private links of pre-production demos to our Indiegogo contributors who contributed to our new album. So technically it has been in use, though semi-secretly. We have since uploaded the first single from "Convergence" for all to hear on Soundcloud.

IMAGE BY CHRISTELLE DUVENHAGE PHOTOGRAPHY

DS: Half-way through the writing of “Convergence”, you decided to bring a second guitarist on board. Please share what influenced and finally led to this decision?

Wayne: When we sent the first batch of pre-production demos through to our producer, Clint Vincent, he returned some ideas with extra guitar parts softly in the background. We liked them so much that we wanted them louder and knew that in doing so we'd need another guitarist. Yokim was first brought in as a sort of “extra ear in the band room” during the writing phase and after receiving the first batch of demos back from Australia, we decided Yokim should stay for good.

DS: Did it take much adapting or did playing with a second guitarist come naturally to all the band members?

Wayne: It actually just fell into place very easily. I know as a vocalist/ guitarist it immediately freed me up to concentrate more on my vocal delivery without being the only guitarist too.

DS: “Convergence” was mixed and produced in Australia although you didn’t actually travelled there. Would you please explain how the logistics worked on that one?

Wayne: The glorious power of the internet. We recorded demos here in South Africa, some at Loudmouth Studios in Klerksdorp and some at home with Yokim engineering. Those demos were sent to Vinnie in Australia who would perform some production wizardry on the arrangements and send them back our way. Only until all 5 of us were happy with a song's final demo would we sign it off and ready for final tracking. We tracked drums and vocals at Loudmouth Studios. Guitars and bass were tracked at Yokim's home studio. All these tracks were sent to Australia where some programming and additional guitars were added.

DS: A few years ago you performed in England, Germany and the States.

Would you care to share the experience with us?

Wayne: Surreal and stupid. 3 shows in 3 countries proved to be very expensive but I wouldn't change it for the world. We learned a lot while getting to play on some epic stages that have formed the history of rock music as DS: And your fondest memory from the trip as a band?

Wayne: A friend of ours made an epic journey via train from Italy to see us play at the 100 Club in London. I'll never forget that.

DS: Where you well received abroad?

Wayne: I think so. The 100 Club got real rowdy. It was insane. Germany was also loads of fun. The crowd in Berlin went ballistic when I announced from stage that we were an opening band for locals, Knorkator when they toured South Africa. The Viper Room was great but with an early slot at a club that parties from later in the evening, we had a pretty tiny crowd watching us.

DS: How would you say the audience compares abroad as opposed to locally?

Wayne: Pretty much the same, I guess. There's just a bigger demographic there, so support is way bigger for the bands. We went to some local shows in USA and they were all pretty full, a lot of shows during the week. Not an empty club in site.

DS: And with regards to the way that event organisers and/or club or venue owners treat bands?

Wayne: I think SA is finally catching up. There are actually plenty of similarities between our scene and the rest of the world, albeit ours on a much smaller scale.

DS: I read somewhere that the lyrics for “Satellites” was inspired by your longing for friends who have passed. (Beautiful by the way) Please would you share the general theme behind the lyrics for the “Convergence” album with us (if there is any?)

Wayne: There are plenty of themes running throughout the album. A lot of it deals with rebirth. The understanding that in order to give rise to something new a part of you has to die first.

DS: Can all band members read sheet music?

Wayne: In my teens I was okay at it, but without practicing I've since lost that skill. I think Sashan can read sheet music though.

Yokim: I used to be able to when I was 8.

DS: Does the band collectively or do the members individually have any muses?

Wayne: As broad as it sounds, pretty much everything inspires us. Being a sponge and soaking it all in.

Yokim: My 'at-the-time emotions' are my muses.

DS: I simply have to ask – what was it like opening for Rise Against and Bring me the Horizon?

Wayne: We were just excited that we were playing the main stage at RAMfest to begin with. Knowing that it was on the same day as those two bands was just surreal. It's an honour seeing these bands perform in person. South Africa is finally becoming a touring destination.

DS: Did you get to hang with the band(s)?

Wayne: Nope, not that time around. All the other international bands we've had the good fortune of opening for we have been lucky enough to befriend and stay in contact with.

DS: If you had to single out one gig as your most memorable, which would it be and why?

Yokim: Playing my first show in 2014 at Krank'd Up, with Protest the Hero & Unearth.

Wayne: Since it's still fresh in my mind, I'd say this past weekend at The Bassline opening for Karnivool. The energy was just electric. As huge Karnivool fans ourselves we could literally empathise with how the crowd was feeling as soon as we hit the stage. We were excited, the crowd was excited. Great combo.

DS: Would you ever consider taking on a female band member?

Yokim: If she played a mean marimba or glockenspiel, yeah.

ALBUM COVER ILLUSTRATION BY CHRIS VALENTINE

DS: Wayne, has anyone ever offered to buy that beard a beer?

Wayne: Strangely enough that has happened quite often. My beard loves beer.

DS: It is common knowledge that Deity’s Muse is touring this year, however, we could not find a date for Cape Town?

Can we look forward to a gig in the Mother City?

Wayne: We will definitely be in Cape Town later this year. We're busy working on it at the moment.

DS: Do you solely depend on the band to make ends meet?

Wayne: We all have day jobs.

Depending solely on the band would mean celebrating the fact that we could afford a pack of 2 minute noodles to share every night.

Yokim: I am a photography/graphic design intern at a photography studio.

Wayne: I'm an events coordinator, Alvin is a sales rep and Sashan has his own business which involves craft beer. Yummy!

DS: What was the last furry thing that you touched?

Wayne: Whatever that furry thing was enveloping the rotten potato I threw out into the bin today. Pretty gross. I almost didn't spot it, sneaky thing.

Yokim: My beard, moments before I shaved it off.

DS: Do you have any tips on surviving the zombie apocalypse?

Wayne: Blend in. Don't laugh for any reason. Try not to shower, whistle or strike up a conversation. Don't fall in love with a zombie. It never works out.

Yokim: Zoo Biscuits,when they go off, you can sharpen them and use them as blades.

IMAGE BY CHRISTELLE DUVENHAGE PHOTOGRAPHY

BELINDA

BLIGNAUT

BAD ASS ARTISTOFTHEMONTH

BIO Emerging in the early 1990s, Belinda Blignaut (b.1968) was one of the group of young Johannesburg-based conceptual and experimental artists whose work served as a commentary on the social and political uncertainty of South Africa, often in challenging or, at the very least, critical terms. Antibody, her first solo show, was held at Everard Read Contemporary in 1993. Subsequently, she exhibited at the 1994 Sao Paulo and 1995 Africus Johannesburg Biennales.

After an hiatus of over a decade, Blignaut returned to the art world in 2009 and participated in a few local projects as well as two important international exhibitions, No Government No Cry (2011) and Newtopia: The State of Human Rights (2012). In 2010 the installation Stealing the Words slowly inhabited the Young Blackman space during the days leading up to the opening. In 2012 she also curated the group show, A Shot To The Arse, at the Michaelis Galleries,Cape Town. It examined what counter culture is to us, as artists. Twenty years after her first, blank projects, Cape Town, hosted BLOWN, her second solo.

That she is exhibiting her work again since the beginnings of this country’s democracy, suggests that there is a revived urgency for protest. Through a varied series of works over years, Belinda Blignaut has been processing issues around transformation, with the body at the centre of all. Through an engagement with readily available materials, processing immediate surroundings, she hopes to translate the ways we adapt, a quiet visceral investigation into life and the creative process.

Surfacing in all she does is a desire for a more fluid world, to resist the effects of institutionalized culture. Her recent work takes her interest in the formlessness and abjection of her bubblegum sculptures into a new series of misshapen ceramic vessels and forms. There are combinations of purely intuitive experiments and wheel thrown or hand-built shapes that are cut and the individual components joined to make ‘an other’ whole. Through these intuitive choices and tactile joining processes, the works are all a move to create parts of a ‘manifesto’ challenging systems and structures in life and art.

In 2013, from her studio, she began teaching children and special needs people of all ages, providing a space for sensory experience and free expression. Clay can be a therapeutic alternative language where there is sometimes little ‘regular‘ communication. Important to her work is making art more useful, with a specific interest is in spontaneity, intuition and play.

Paradisiac (A change of skin) Documentation of action, 2009-2010 Digital print on Hahnem端hle Photo Rag Edition of 3 plus artists proof Dimensions 96 cm x 30 cm.

"Stealing the words" Exterior July 2010 Youngblackman, Cape Town.

IMAGE BY BO DUVENHAGE

"Stealing the words" during installation July 2010 Youngblackman, Cape Town.

IMAGE BY BO DUVENHAGE

Working with ot “ to move abstraction &

I’ve come to believe we h keep finding dif

thers is helping me towards & raw expression. have one story to tell and fferent ways of telling it.

Be l inda Bl ignau t

Vex and Siolence residue, Chappies Bubblegum and concrete A collaborative performance between Belinda Blignaut; Linda Stupart; Stuart Bird Dec 2010 Youngblackman, Cape Town,

IMAGE BY BELINDA BLIGNAUT

feature Worldwidewarrior

W.W

WORDS BY BENJAMIN SHEPHERD

T

W.W. here are few things in this self-obsessed shallow fucked up world that we live in that are as against the grain and the personification of Hells Bells awesome like celebs that use their clout to help bring about positive change. In our first WWW feature we had a celeb doing his thing, in this particular edition I have gone with the opposite angel: an eco-warrior who became a ‘celeb’ because of his work in conservation. In keeping with our theme for April, ladies and gentlemen, I give you baddest badass ecomofo on the planet: Captain Paul Watson. For those of you who are unfamiliar with the Captain, I would say he is Clint Eastwood/ Christopher Walken come Santa Claus come Jack Sparrow: A cool-granddaddy-gangster-fucking-pirate who makes sure that he knows who is being naughty and who is being nice; and best you watch the fuck out if you fall into category one.

Capt. Watson is undoubtedly one of my all-time favourite heroes along with Iron Man, Green Hornet and Batman. One main difference pops up when I weigh up these guys: Capt. Watson has the balls to take on the bad guys without wearing a disguise. It is for this reason that I perceive him as somewhat of a father figure. In the eco-world when there is drama and controversy you are bound to find Watson not far from center of the storm followed closely by his lieutenants like vessel boarding Pete Bethune, chopper pilot Chris Aultman and the ever stoic Peter Hammarstedt, and that’s just the tip of the Sea Shepherd Conservation Society (SSCS) iceberg.

I was first introduced to Capt. Watson when one night, after yet another blissful bong filled evening, I was flipping through the DStv channels only to come across what I thought might be a cool show called Whale Wars on Animal Planet. Even though it was not exactly what my stoned out of my tree brain had envisaged it to be, it forever changed something small within me. The show follows Capt. Watson and his dedicated and loyal crew as they volunteer months of their lives while trying to protect the whales of Southern Ocean Whale Sanctuary in Antarctica. The population of the endangered whale species in the sanctuary (including Humpback, Killer, Blue, Minke, etc.) is currently under protection thanks to the work of the International Whaling Commission (IWC.) More on the drama on the high seas later, let’s find out a bit more about Capt. Watson. Paul Franklin Watson was born 2 December 1950 in Toronto, Canada, it was not long before the conservation bug bit. As a wee lad, the dude would go walk about and free animals from the merciless traps of cold blooded hunters.

In the early 70s the Captain joined the Canadian Coast Guard from working on weather boats, Watson quickly made the transition to bulk vessels when he became a deckhand on a 35000 ton vessel, Bris. It was during this time that he became involved in the Sierra Club to protest against nuclear testing in Amchitka Island, the group formed during this protest eventually led to and became the organisation now known to the world as Greenpeace. Watson says that he was one of the founding members of Greenpeace, however Greenpeace begs to differ, say that he was only an influential early member. After a few years of serving on the Greenpeace board and acting as a skipper on a couple of their vessels things when pear-shaped with the Watson/Greenpeace relationship and they decided to part ways. The cause of the demise of the love fest?

Simple, Watson wanted to take a path of more direct action and the Greenpeace hippies weren’t having none of that. I guess that is why they are still sitting in a circle singing “Kumbaya” while Sea Shepherd kicks ass. Speaking of which, the SSCS was founded by Watson the very same year that he was booted from Greenpeace. With the support of others who preferred taking “direct action’ against those violating our planet, Watson was able to buy the first Sea Shepherd vessel, the Sea Shepherd… nearly forty years later, el Capitan is still doing what he does best: put up a damn good fight. However, in 2013, thanks largely to the pressures of legal action against in particular from the Japanese ‘researchers’ Watson stepped down as the head of the SSCS thus making it possible for the SSCS young guns to continue their efforts to thwart illegal whaling.

Capt. Watson and his crew have pulled off some pretty daring manoeuvres in an attempt to halt the illegal Japanese whalers and have very often been left in the cold by those very countries who are members of the IWC. Their direct action tactics include using prop fowlers, a rope that tangles up in the whaling vessel’s propeller and is executed by sailing a tiny rubber duck around the front of the vessel and gradually releasing the rope while doing so. Another favourite tactic is firing foul smell acids onto the decks of these vessels and even shooting red paint bottles (blood) at them. Over the years there have been some pretty spectacular collisions between Sea Shepherd vessels some even resulting in the sinking of vessels on both sides this seemingly never ending Whale War. One thing is for certain while his convictions may have landed him in rough seas on a number of occasions, including him landing bars for his actions, the world needs more people like Capt. Watson to further the cause of saving the planet.

For more action check out the Top 6 collisions between Sea Shepherd and Japanese whalers.

W.W ‘Til next time, peace out!

W.W.

EVENTrEVIEW

O

n 26 March I attended my first Easter Vortex in some 6 years. It would be my first Vortex not hosted at the "Circle of Dreams", which invoked a certain sense of curious excitement as we set out to the venue located just past Caledon at Hillside Farm.

Now, if you have ever attended Easter Vortex, you will know that without rain, it simply wouldn’t be Vortex.

We arrived at the venue, just before midnight, and came across a sweet young girl making her way to the dance floor (barefoot, naturally) shivering from the cold, we gave her a lift down and proceeded to turn around and head back towards the parking area. Wasn’t a tractor lift service from parking to camp site promised? Regardless, we are amped. The rain has stopped and we are ready for a solid stomp to Tune Raider's set.

IMAGE BY AUMEGA PHOTOGRAPHY WORDS BY YOLANDE GYPSYCHILD

IMAGES BY AUMEGA PHOTOGRAPHY

IMAGE BY AUMEGA PHOTOGRAPHY

The walk to the dance floor is somewhat of a slippery slope and I nearly bail several times (suddenly going barefoot seems to make a whole lot more sense irrespective of the cold). We reach the dance floor and admittedly, there are more people than I expected. Softly the rain starts again and we decide to make our way back to camp. This time, however, to my embarrassment, I do bail! Covered in mud, I hold on to my buddy for dear life! From the camp site we enjoy a killer Killawatt set before drifting off to sleep.

I don’t think many will argue that there is very little that beats waking up to the sound of psytrance in the distance. Totally amped as the rain had stopped and the sun now joyfully soaking up some of the muddy mess, we prep and head back to the dance floor.

The music gets better and better as DJs come and go and I think it is safe to say that Phanatic's “P.L.U.R” , dropped by Chabunk, must’ve been the track of the day, sending stompers off the rails ( here’s to hoping that everybody got the message behind the track ).

It must be said that Vortex, in essence, was the first of the bigger festivals I have attended in quite some time, where the energy was solely positive, welcoming, friendly and pleasant . As unrealistic as the concept may be, it appeared that not a single soul had an unpleasant time or bad trip. Regardless of the mass amount of people present, whether they found themselves stomping front-left, front-right, in the sweet-spot or towards the back of the floor and as far as we wandered away from the dance floor, in the camp site or between the stalls, we only encountered happy, smiling, friendly and helpful people.

Another thing ( oddly ) which several others noted and felt the need to mention, was the maturity of the crowd - I would be going out on a limb here, but I think it is safe to say that the average age of attendees must have been roughly 21 - 35! However, as my first 3-day-long festival - in what felt like a life-time - the second sunset most definitely served as a reminder that I am long not 21 any more and admittedly, the notion that "I am getting too old for this ish" did cross my mind!

Kudos to Vortex, much love and appreciation to the crew, organisers and all DJs, local and international for a memorable event and most definitely changing my perception and opinion of large festivals!

JACK PARФW

THUNDERBOLTS

I

& Lightning

n January 2016, Jack Parow released his EP “From Parow with Love”. The EP features collaborations with friends he made during this travels to Belgium and Netherlands, as well as a sprinkle of local flavour in the form of Zolani Mahola from Freshlyground on the song of the 2016 SAMA nominated music video, "Army of One".

The first music video released from "From Parow with Love" was" Kattenkwaad" with De Kraaien and now Parow is ready to unleash an animated music video for "Thunderbolts & Lightning" featuring Simon from the futuristic funk Dutch group, De Likt.

“The song is really crazy. Johhny de Ridder (Soft Light City, Fokofpolisiekar) did the track and he did such a good job with it. Simon from De Likt is on the track with me and he just kills it man. I really love this track,” says Parow about this release.

Watch Thunderbolts & Lightning here: http://bit.ly/1W5zgxf

WATCH THIS SPACE… Next in line is the release of Jack Parow and Belguim group Ertebrekers’ music video for "Party Too Much" later in May and it promises to be a ton of fun!

::

IMAGE BY ROBIN LOOY

EVENTrEVIEW

Jungala WORDS BY YOLANDE GYPSYCHILD

IMAGES PROVIDED BY JUNGALA FESTIVAL

C

ounterculture - a social movement of which the first prominent examples are Romanticism or Bohemianism, the more fragmentary Beat Generation or more prominently, the Hippie movement during the 60’s and 70’s, the Occupy Movement, Rave and, naturally, Psytrance. A counterculture is a collective whose values and norms of behaviour differ substantially from those of mainstream society. But although a counterculture may succeed in its endeavours to create global awareness and/or create a notable disruption in the lives and plans of the powers that be, it is inevitable that as time passes and society evolves, these movements lose significance and become a colourful thread in the tapestry of human history. It is, therefore highly improbable that evolution, or any significant change, for that matter, would occur within a counterculture. But when I experienced this unlikely phenomenon at Jungala (30 April – 2 May), it raised the following question – would this be an indication that the psytrance scene in the Western Cape could now be considered a culture in its’ own right opposed to a counteror subculture?

• • • • •

The universe is a song and Every atom in constant rhyt Mankind however, resonates at it Dictated by the ticking of the clock

• but the music calls to him once m • • • • • • •

•

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usic drifting though the trees, loser. be to gather, e the magic that is Jungala.

For years, just as Alien Safari's Sprung marks the beginning of Season in Cape Town, Jungala marks the end. Albeit such a big production, in my experience, it is uncommon for people to anticipate and talk about Jungala, in particular, at Sprung already and continue building on that hype throughout season. As this was in fact the case this year, a massive turn-out would be inevitable.

We arrive at the venue in Buffalo Drift, Gouda - the very venue (and festival) which marked my very first outdoor trance experience in Cape Town some 6 years ago. We could already hear the rolling bass all the way from the tar road where we were first stopped for a "decantercheck" and by the time we finally agree on the ideal parking space, we can barely contain our excitement. All of the unforeseen circumstances and series of unfortunate events which stalled and delayed our departure and arrival, become insignificant in an instant. Alas, we made it, just in time for Diksha's set!

It is 4:30am and I must voice my ever

so pleasant surprise at the amount of people present on the dance floor.

Usually, at this hour, you will only find the hardcore, die-hard stompers and the "lost-and-vulnerables" outside of their tents. Diksha delivered! Within minutes, the freezing cold no longer featured in our consciousness, in fact, before I knew it, my hoody was off and my ugg boots quickly followed suit!

I will forever refer to Jungala 2016 as the Season's "festival of pleasant surprises"! I cannot lie, we were guilty of committing a Global Music Festival Cardinal Sin - we set our expectations... High. As a matter of fact, our expectations were almost unrealistic, but what did we expect after the hype we had spent all Summer creating? As a matter of fact, our expectations were exceeded and the surprises just kept coming! As Diksha finished up, the plan was to retreat for the evening, oblivious of the epic first surprise of the weekend which was about to be bestowed upon us: Distorted Culture took the DJ box ! Johan and Deon, we applaud you!

Have you ever had the privilege of waking up, as the first swallow farts, and freeing your kundulini to a Prefix set?

It was as if the Jungala Fairy Godmother had granted me one of my psytrance wishes - 7am, John Vichos a.k.a Prefix entertained us with his skill set behind the decks, sending us into Sunday with chunky, groovy beats.

When a line-up features 12 internationals - what do you expect other than a licentiousness? I find myself wondering if I was the only one to perceive Jungala as such, or have I simply missed some major development in the evolution of this, or rather, of our culture; the outdoor Psytrance movement? But it seems that Psynopticz delivered somewhat of a game-changer, for the lack of a better term, in their designation of time slots? Throughout the day festival, the energy remained positive and the theme of the day, every day, was undoubtedly "Love!"

The event, as a collective, resonated warm, comfortable light, it resonated untainted, pure Love.

Now, I am aware that this is most probably not their first rodeo, but I had not encountered the Psy Care tent at any other festivals. It filled my heart with joy as it offers one peace of mind and reassurance that "these kids today", as we so often refer to the younger festival goers as, do have a support system just in case bad people happen to good drugs. The concept behind Psy Care is reminiscent of "Rave Save", an organisation, which as the name suggests, facilitated and endorsed responsible partying and equipped ravers with all the information available at the time on narcotics, prescription drugs, alcohol, (legal) rights, bad trips and post-party care, so that each individual could make informed decisions about the substances they may encounter and thus reducing risks and potential fatalities.

Digital Soul would like to commend the guys from Psy Care on a brilliant concept and great implementation (from the experiences and stories I heard).

Another significant benefactor to the energy of festivals, is Prema Shanti, where you are sure to find yourself amongst a beautiful display of colour, light, warmth and love - a space where the ideal, P.L.U.R is manifested and becomes real - providing a comfortable and safe "haven" of sorts to all attendees where love and light is in abundance.

We left Jungala with a renewed sense of pride and hope - a social movement which appeared to be fading and losing its "muchness", revived and our faith restored. As the Cape Town Psytrance scene emerges from the shadow cast by the stereotype associated with counterculture, having surpassed the 10 year life-span of the average social movement, a developing and beautiful culture built on the foundation of Peace, Love, Unity and Respect, Thank you Psynopticz for providing an experience which leaves me proud to say "I was there. I was a part of the social revolution."

#FREEKESHA

Singer Kesha has been embroiled in a legal dispute with her record producer, Dr Luke. Since the case came to light, celebrities and feminist protesters have voiced their support of the “Tik Tok” hitmaker

W

ell-known singer Kesha has been embroiled in a legal dispute with her record producer, Dr Luke (Lukasz Sebastian Gottwald). The singer claims that Luke drugged and raped her in 2005 and again in 2008 and also accused Luke of tormenting her emotionally. Kesha did not press charges at the time as Luke allegedly threatened to demolish her career. In January 2014 she was admitted to the Timberline Knolls Residential Treatment Center, a rehab facility in Illinois for Bulimia Nervosa. Kesha’s mother Pebe Sebert made allegations that this came as a result of pressure from Luke for Kesha to lose weight.

Kesha was signed to Dr Luke’s label, Kemosabe, which was created in 2005 when Luke partnered with Sony Entertainment.

Kesha’s big break came when she recorded vocals to contribute to Flo Rida’s Hot 100 hit “Right Round”, soon after her debut album ‘Animal’ was released in 2010, which proved to be a huge sensation.

In 2013 a fan set up a petition to “Free Kesha” from Dr Luke’s management and accused Luke of “stunting” Kesha’s creativity. It was on MTV's reality show, “Kesha: My Crazy Beautiful Life” that she revealed that she had little creative control over her second album, “Warrior”. It was also said that one of Kesha’s favourite songs was disregarded and dropped from the album.

After ten years of working together Kesha pursued legal steps against Dr Luke in October 2014. Kesha sued Luke for sexual assault and battery, sexual harassment, gender violence, emotional abuse and violation of the California business practice. Kesha claims that Luke repeatedly raped and drugged her. Kesha told New York Supreme Court Justice Judge Shirley Kornreich that she had broken all contact with

WORDS BY MARVIN CHARLES

Luke, however, Luke argued that all claims that contact had been broken, were fabricated.

Luke filed a counter-suit against Kesha accusing her and her mother of defamation. During the court case key evidence was brought forward, including private emails and birthday cards which he received from Kesha. In 2011 before her legal battle with Luke had begun, Kesha, in a deposition, had sworn under oath that the producer never assaulted or drugged her. Kesha’s legal team claimed that the false statements in the deposition were made due to rape trauma syndrome and fear.

The case went on for a year before Kesha requested for a preliminary injunction to release her from Kemosabe records. On February 16th 2016 Judge Shirley Kornreich ruled against Kesha’s request and more recently, on April 6th 2016, Judge Kornreich rejected all of Kesha’s claims against Dr Luke. Sony Music Entertainment commented on the embattled legal dispute saying “ [it] is in no position to terminate the contractual relationship between Luke and Kesha and has made it possible for Kesha to record without any connection, involvement or interaction with Luke whatsoever” Despite Kesha’s effort to be released from the label she has received unanimous support from celebrities and fans. Adel and Taylor Swift have publicly shown their support of Kesha with Taylor donating US$250 000 in a show of solidarity and Lady Gaga made reference to Kesha’s case at this year's Oscars.

Kesha made a surprise appearance and performed for the first time (since the legal battle) with music producer, DJ Zedd, at the Coachella festival, which took place in April and after much anticipation, released her first track collaborated with Zedd, titled “True colours”.

. “Hand over my heart tears in my eyes thank you. I’ve never been so full of gratitude in my entire life. There are really no words my loves” - Kesha [to her fans]

via Twitter