Digital soul October 2015 by Digital Soul

Das Kapital

Cont ent

Editor

Yolande Gypsychild - Editing, Design, Concept, Layout,

Web design, Content Strategy, Advertising, Marketing, PR Y lucid.lanz@gmail.com

TEAM Christelle Scheepers - Sub-Editor, Art, Across the bar Y christellescheepers@ymail.com Cameron Anderson - Indie and Psy Trance Y c.d.anderson96@gmail.com Jazzanova Green - Urban Y superninja.green184@gmail.com Danielle Scheepers - Dance correspondent d aniellescheepers@gmail.com Sherene Hustler - Under the ink Y sherenehustler@gmail.com Natalie Mentor - Rock & Classical Y nataliementor@gmail.com Danelle Strydom - Xtreme activities, metal, punk Y danelles8@gmail.com Maxine Bisset - Nomad Extraordinaire Y maxinebisset@yahoo.com Kamal Kweku Yakubu - The Sight of Things Y kymals@hotmail.com Miss Information - The bitch page

26 How to ................................................................................6 Miss information ..............................................................10 The sight of things ...........................................................12 alex grey ............................................................................16

HYBRID SA

Cover Das Kapital Photographer: Jono Jebus

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schools ......................................................................28 spoek mathambo ........................................................38 Drive my car ...............................................................52 robotrix .....................................................................60 femtastic .....................................................................62 Under the ink ..............................................................86

80 By viewing, reading, sharing or using this publication, Digital Soul , you will be deemed to have agreed to our Terms and Conditions. Digital Soul cannot guarantee the accuracy, reliability and validity of any information or content which appears or is located in this publication. Furthermore, reviews, articles and posts reflect the authors’ constitutional right to free speech and are not intent on defamation. The owners, editors and users of this publication are not liable or responsible for any loss or damage of whatsoever nature, howsoever arising, as a direct or indirect result of the information, content or usage of this publication. Anyone who feels that a posted message, article or press release is objectionable is encouraged to notify The Editor immediately.

Ed’s Not e

e promptly bid scintellating September scianara and enter the month of horrors. Featured on our cover this October, you will find Das Kapital. House DJ, producer and label owner taking the United Kingdom by storm.

my excitement at the quality of rock, indie, blues and electronica produced locally! Henceforth we would like to offer you a brief introduction to Whiskey Thief, interviews with Bombs and Issues, Grassy Spark, Schools and Shortstraw.

KWAAI, the phenomenal Swedish/South African hip hop exchange finally did a tour of Africa which brought the fantastic Femtastic to our attention. This revolutionary group of female hip-hop artists, dancers, and DJ’s are flying the flag for the global feminist movement. Christelle met up with Eka Scratch and Vanessa Marko at the Red Bull Studios in Cape Town to catch up and fill in.

Alvin Ailey American Dance Theater stole the dance spotlight this month and legendary trancendental artist, Alex Grey, beautifies several of our pages. Christelle will also be contributing a new regular feature as of this month namely “Drive my car”, this is all the information I ‘ll be sharing. I suggest you check it out.

We review Alien Safari’s Sprung, introduce We venture into the local rock scene which, I Robotrix and have a quick catch-up with must admit, has had me rather excited of late. theCommercial Hippies. I hate to resort to clichés, but South Africa has such amazing talent and I simply cannot contain Enjoy it and hacee a festive Halloween.

Yolande

How to Make new friends as a grown-up

WORDS BY YOLANDE GYPSYCHILD

What's a mistake grown-ups make when together before. Are we the kind of friends who Facebook or text? Are we lunch-once-a-month trying to meet new friends? Thinking they need to look for a twin. If you're single, say, you need another single buddy. Open your mind about whom you're willing to be friendly with and focus on what you may have in common. It's not important what those things are.

friends? The more we do it, the less awkward it gets with that person.

Why is it so much harder for adults than for kids?

Consistency is a major requirement for building a friendship—and keeping that up is trickier How do you spot someone who's right? Friendships are not discovered—you're not with busy work and family schedules. This is why going out to find that ideal BFF. Friendships work is one of the best places to meet friends— are fostered. Research reveals that we can bond your time together is already built into your day. with almost anyone. A study of cadets at a police academy showed that friendships there grew Can you find friends via social media? based on alphabetical order—people bonded Facebook and Instagram can help support with those seated close by. We've all experienced existing bonds, but it's not easy to make new a form of this—a random co-worker who became friends online, unless it's through professional networking or a shared Facebook group. A cold a confidante because you saw her continually. introduction can come off as creepy.

How do you move past small talk with What about the challenge of making someone you'd like to be friends with? Inquire about an area you have in common, but friends as a couple? in a way that's more personal. If your kids share a play group, don't discuss what the kids are up to—talk about how you're dealing with things. For instance: “How has this stage of parenting been for you?”

The dream is finding a couple and you all really like one another, but even if the guys don't totally hit it off, the foursome is worth continuing. Think about building a social circle and have fun.

And then what?

How much time does it take for an adult to make a new friend?

Initiate plans. Many of us will invite someone out once, then think it's the other person's turn. If she doesn't step up, we assume she doesn't like us, because our fear of rejection is so high. What you should be thinking is: Did that person say yes? Did we have a good time? Great. Repeat. As long as she says yes two out of four times, keep asking. Most relationships have a primary initiator; the other person may give in different ways—she could be the primary listener.

That sounds hard for introverts.

Introverts are better at other friendship-building skills, like being consistent and going deeper. The process of making friends is awkward for everyone. We've never danced this dance

I've found from surveying women that it usually takes six to eight meaningful interactions before they feel comfortable calling someone a friend. In terms of a person you would confide in, it may take a year or two. To take a new relationship to the next level, move the friendship out of the context in which you met. In other words, work pals who go hiking or mom friends who go out for coffee, sans kids.

Any parting words of encouragement?

You're better off cultivating five relationships than zeroing in on one. The more people you let in, the greater the chance of making a close pal.

Miss Information

Men & Dating

Essent ial rules for finding a decent guy

s we enter October and say scianara to the month synonymous with “the birds and the bees” when love is supposedly in the air, I would like to pose you with the following question: when was the last time you found yourself in a cubicle of some club or bar’s toilets, holding a girlfriend’s hair back after her attempt to drown her sorrows because she got played? I too, cannot remember. However, I can tell you that it was merely a few days ago that I was bequested, once again, to console yet another male friend, pizza and six pack in hand, who hadn’t ventured beyond his front door in day because his “one night stand” didn’t respond to his texts or return his phone calls! Where have all the real men gone? What sick joke is this that evolution is playing on us? In the light of this topic, I decided to lay out a few essential rules for dating. And ladies, trust me when I say, as long as you stick to these few rules, your chances at finding a real man, will improve drastically!

NEVER DATE A GUY WHO SITS TO TAKE A SLASH

One would think this statement to be common sense, right? Well let me tell you, apparently it is not! Real men pee standing up. After all, it is the one single thing that they can do that women can’t....

NEVER DATE A GUY WHO CAN'T DRIVE STICK

If you manage to land yourself a guy who has his own car, please accept this virtual high-five... Good on you! However, if your dude cannot drive a manual vehicle, give him a pass...

NEVER DATE A GUY WHO IS MARRIED

Period. Just don’t do it! Separated still constitutes as married. Don’t. Do. It. Chances are you’re going to have your heart broken. If not now, definitely later! If he’s cheating on his wife with you, he probably won’t think twice before cheating on you. And besides, how sure are you that he is, really, getting divorced? hmmmm?

NEVER DATE A GUY WHO DOESN'T PAY FOR THE FIRST DATE

NEVER DATE A GUY WHO IS OVER THE AGE OF 30 & LIVES WITH HIS PARENTS

5. 6.

NEVER DATE A GUY WITH "PLAYER" STATUS

Unless you want to be the girlfriend who’s hair is being held back. I blame Hollywood. Trust me when I say, he ‘aint gonna change for you!

NEVER DATE A GUY WHO TREATS HIS MOTHER BADLY

Fact: A man treats his girlfriend/wife the same as he treats his mother. But do take note that there is a very fine line between treating his mother well and being a mommy’s boy... Be attentive, make the distinction and make your move....

NEVER DATE A GUY WHO Hides A STRAPON IN a SHOEBOX in HIS CUPBOARD

Unless you are into that kind of thing... However, this can be considered a sure sign that he is unsure or possibly too sure of his own sexuality... Are you ready to deal with those issues?

NEVER DATE A GUY WHO CAN'T CHANGE A TYRE

As independent as we have demanded to become and have indeed become, it is always nice to “be rescued” or at least have a handy man on-hand who can assist with these things. Let’s face it: Nothing sucks more than getting out on the fucking N1 in your sheer stockings and pencil skirt, at night, in the rain and changing that flat. If your man can’t do it, WTF CAN he do???

10.

NEVER DATE A GUY WHO DOESN'T LIKE THE WAY YOU SPEAK, DRESS OR LOOK

If he tries to change your style, dress sense, your friends, the way you speak or anything else about you, for that matter, then why is he dating you? No, actually, why are you with him? Get up and get out.

The

WORDS & IMAGES BY KAMAL KWEKU YAKUBU

sightof

things The five element s

he casual listener may not be aware. Honestly, even some hip hop artistes are ignorant and oblivious of it these days. Sadly, such is the sight of things today â&#x20AC;&#x201C; most people desire the shortcut and fame; and hip hop (but also music in general) is seen as a quick road to fame and notoriety. Popular culture is rife with such characters. These are those who partake in an activity solely because of a perceived end goal and not the activity itself. The point of it, the point of music is in the music and not in the money or fame. Anyway, I am not one of the ignorant ones and this write up serves to introduce you to the elements of hip hop. Hip hop as a culture and as defined by the curators of the genre, is said to be composed of five fundamental elements.

IMAGE BY STEPHANIE ELANA

Graffiti Graffiti is the writing of language or the scribe that documents the history.

Emcee Emcee is the oral grit, the conveyor of the Message.

DJing DJing is the heart beat, the drum of the art or movement; DJ comes from the Djembe drum indigenous to Africa.

B-Boy/Gi r l B-boy/girl is the exercise and the human expression through dance or body movement to keep the body in proper health.

Knowledge Knowledge is the reason why we are who we are; where our roots comes from, what is the beginning of Man and where are we today. It is from knowledge and experience that the four elements are mixed and meshed into hip hop. When I was still in my teens. I think it was 16. I saw an interview with hip hop legend KRS-One; where he mentioned the five pillars of hip hop. MCing, Breakdancing, DJing, Graffiti Writing, and Knowledge. I knew that I loved hip-hop, but the only pillar I really was acquainted with was MCing. He explained that in his time, you pretty much had to represent with all five or the people just weren’t trying to hear you. I know the times have changed. I know that few people care for things like that now ... but I care ... I care so much that this philosophy went on to shape my future. See, I simplified the pillars so they could fit with my life and the modern times. MCing is the act of honestly vocalizing your thoughts and opinions. Speak your mind for yourself and nobody else. Rhyme that shit masterfully. Be original ...

DJing can be simplified to the act of creating music. Be it playing Bass, Piano, Guitar, Harmonica, Violin, Scratching, Crate Digging, Sampling, Beat Boxing, Pencil Tapping ... the DJing pillar for me is listening to underground hip hop music and spreading the word. I make mix tapes - the production side of things if you will. Mixing and mastering, understanding the programs ... Graffiti Writing is simple. As you already know, I walk around Cape Town admiring the patterns of knowledge left by the city’s incredible creatives such as ‘Conform’. On top of that though I just enjoy being surrounded

IMAGE BY STEPHANIE ELANA

by visual Art and for me, that’s what the third pillar is. Painting, Drawing, Sculpting, Video Editing, magazine curating ... whatever medium you choose ... I just feel like it’s about creating something people can feel with their eyes ... Breakdancing was the one I had the most trouble with. I’m really not much of a dancer at all, but I sure as hell try when I feel a beat. I’m not afraid to be stupid and have fun, but I know when something is done properly and when it is not. I thought really intensely about this and realized the fourth pillar can be simplified to

Physical Energy. Exercise, Dance, Skateboard, Ride a Bicycle, Play some basketball… Do something ... Use your body. Don’t just remain stagnant ... For me, I workout regularly and I’m ice cold on the basketball court too. I often feel like I’m dancing in a strange way while I’m lifting weights or when dribbling the basketball.

and non-fiction work, we learn every day. Life lessons ... wisdom ... Reading does help though, and I enjoy it too that’s why I am doing a PhD. How many people read books that aren’t required for school? Or work?

Once you start to live by these five pillars you’ll start to realize hip-hop is so much more than Last but not least we have knowledge. This one just a style of music. I’ve devoted myself to this does not need to be simplified. If we’re not philosophy and I will walk this path until I’m learning, what are we doing? Gaining skills and dead. abilities is the key to empowering ourselves. DJ Premier is not a hip-hop god for sitting on his Thank you. ass. He’s a hip-hop god for developing an ability. Till next time, Listen to some HIP HOP and Tumi and the volume are hip hop legends for think about the elements!! their knowledge. Attaining knowledge. It doesn’t have to necessarily be through books

alex

x grey

lex Grey was born in Columbus, Ohio on November 29, 1953 (Sagittarius), the middle child of a gentle middle-class couple. His father was a graphic designer and encouraged his son’s drawing ability. Young Alex would collect insects and dead animals from the suburban neighborhood and bury them in the back yard. The themes of death and transcendence weave throughout his artworks, from the earliest drawings to later performances, paintings and sculpture. Alex went to the Columbus College of Art and Design on full scholarship from 1971-3. Grey dropped out of art school and painted billboards for Columbus Outdoor Advertising, 1973-4. Grey then moved to Boston to study with and work as studio assistant for conceptual artist, Jay Jaroslav, at the School of the Museum of Fine Arts, Boston in 1974-5. At the Museum School, Alex met his life-long partner, the artist, Allyson Rymland Grey. At their meeting in 1975, an entheogenically induced mystical experience transformed his agnostic existentialism to a radical transcendentalism. The Grey couple continued to take “sacramental journeys” on

Artistbio

LSD. For five years, Alex worked in the Anatomy department at Harvard Medical School preparing cadavers for dissection while he studied the body on his own. He later worked for Dr. Herbert Benson and Dr. Joan Borysenko as a research technologist at Harvard’s department of Mind/Body Medicine, conducting scientific experiments to investigate subtle healing energies. Alex’s anatomical training prepared him for painting the Sacred Mirrors (see below) and for working as a medical illustrator. Doctors at Harvard saw images of his Sacred Mirrors, and hired Alex for illustration work. Grey instructed Artistic Anatomy and Figure Sculpture for ten years at New York University, and has taught the Visionary Art Intensive and other art workshops with Allyson at The New York Open Center, Naropa Institute in Boulder, Colorado, the California Institute of Integral Studies and Omega Institute in Rhinebeck, New York. The couple now teach MAGI workshops (Mystic Artists Guild International) at CoSM in Wappinger, New York. In 1972 Grey began a series of art actions that bear resemblance to rites of passage, in that they present stages of a developing psyche. The approximately fifty performance rites, conducted over the last thirty years move through transformations from an egocentric to more sociocentric and increasingly worldcentric and theocentric identity. In a major performance entitled “WorldSpirit”, spoken word poetry in musical collaboration with Kenji Williams was released in 2004 as a DVD. Grey’s unique series of 21 life-sized paintings, the Sacred Mirrors, take the viewer on a journey toward their own divine nature by examining, in detail, the body, mind, and spirit. The Sacred Mirrors, present the physical and subtle anatomy of an individual in the context of cosmic, biological and technological evolution. Begun

in 1979, the series took a period of ten years to complete. It was during this period that Alex developed depictions of the human body that “x-ray” the multiple layers of reality, and reveal the interplay of anatomical and spiritual forces. After painting the Sacred Mirrors, he applied this multidimensional perspective to such archetypal human experiences as praying, meditation, kissing, copulating, pregnancy, birth, nursing and dying. Grey’s recent work explores the subject of consciousness from the perspective of “universal beings” whose bodies are grids of fire, eyes and infinite galactic swirls. Renowned healers Olga Worral and Rosalyn Bruyere express appreciation for the skillful portrayal of clairvoyant vision his paintings of translucent glowing bodies. Countless teachers and spiritual leaders, including Deepak Choprah, incorporate Alex’s art in their power point presentations. Grey’s paintings have been featured in venues as diverse as the album art of TOOL, SCI, the Beastie Boys and Nirvana, Time and Newsweek magazines, the Discovery Channel, rave flyers and sheets of blotter acid. Exhibited worldwide, Alex’s art has been honored with solo exhibitions at Feature Inc., Tibet House, Stux Gallery, P.S. 1, The NYC Outsider Art Fair, The New Museum in NYC, the Grand Palais in Paris, the Sao Paulo Biennial in Brazil. Alex’s art has been featured in several year long exhibitions at the American Visionary Art Museum including a room installation he created with Allyson entitled “Heart Net” (1998-99). A mid-career retrospective of Grey’s works at the Museum of Contemporary Art, San Diego in 1999. A keynote speaker at conferences all over the world including Tokyo, Amsterdam, Basel, Barcelona and Manaus, the international psychedelic community has embraced Grey as an important mapmaker and spokesman for the visionary realm.

For 2011 an 2012, the Watkins Review named Alex Grey one of the top twenty spiritual leaders alive today, in the company of such towering luminaries as His Holiness the Dalai Lama, Eckhardt Tolle, and Oprah Winfrey. The Temple of Understanding awarded and sighted both the Grey’s as two of the world’s top fifty Interfaith leaders. Grey’s first monograph, the large format art book entitled, Sacred Mirrors: The Visionary Art of Alex Grey, has been translated into five languages with well over one hundred thousand copies. His inspirational book, The Mission of Art, traces the evolution of human consciousness through art history, exploring the role of an artist’s intention and conscience, and reflecting on the creative process as a spiritual path. Transfigurations, Alex’s second monograph, contains over 300 color and black & white plates of his artwork. The Visionary Artist, a CD of Grey’s reflections published by Sounds True, leads the listener on a journey of art as a spiritual practice. The video, ARTmind incorporates Alex’s images in an exploration of the healing potential of Sacred Art. Grey co-edited the book, Zig Zag Zen: Buddhism and Psychedelics (Chronicle Books, 2002). In 2004, the VISIONS boxed set contains both earlier monographs of Grey’s artwork plus a portfolio of new works. A five-year installation of Grey’s best loved artworks were exhibited at the Chapel of Sacred Mirrors, CoSM, in New York City from 2004-9. Alex and Allyson have collaborated on performance art, live-painting on stage throughout the world, and the “social sculpture” called CoSM, Chapel of Sacred Mirrors, that the Grey’s co-founded in 1996. The Grey’s live at CoSM in Wappinger, New York and in Brooklyn since

IMAGE BY CHRIS CHRISTY facebook.com/chrischristy09

the

COMMERCIAL hippies WORDS BY

YOLANDE GYPSYCHILD

Vet erans of Psychedelic Trance

he Commercial Hippies need no introduction. They established themselves within the Cape Town Psychedelic Trance scene some 15 years ago, headlining at festivals such as Earthdance, Vortex and Alien Safari to mention but a few. I caught up with Gareth Tacon and Anton Raubenheimer for a quick 12 questions...

DS: What is a Commercial Hippie? TCH: A Commercial Hippie is essentially everyone involved in Psytrance these days. Originally the Psytrance scene was essentially a Hippie movement, however over the years we have seen more people from different walks of life participating in Psy culture. This influx of different influences has taken the scene in new directions, where technology, spirituality and music collide, and seemingly unrelated forces intertwine on the dance floor. For us, the personification of all these contradictory, and yet complimentary elements combined makes a Commercial Hippie.

As much credit to the amount of hard work that goes into being an artist, whether it’s a music producer, a painter, a sculptor or anything out of the regular 9 to 5.

DS: Do people ever ask you when you plan on getting “real” jobs? Your response? TCH: People haven’t asked us that in a long time. I think previous generations didn’t give

DS: Please describe your sound in as much detail as you can conjure. TCH: Our sound is always evolving and we are always implementing new ideas and drawing from new inspirations. Our first album was a more traditional Psytrance sound with lots of psychedelic detail, our second was a lighter excursion with funky bass lines and more emphasis on melody, and now, our third album which we are currently producing, is somewhere in between. With the upcoming album we wanted to go back to our roots and focus on the “journey” aspect of the music, while at the same time keeping it dance floor-friendly and making sure each track has its own unique signature.

DS: Yeah, these days there is more respect for the creative arts, it could still improve though… TCH: All that being said we do have our fingers in a few other pies, as we also run our own media production company The Bakery Studios ( http:// thebakerystudiosmph.com ) where we create motion graphic / animated videos and offer sound design and music composition services.

DS: You guys have

been at it for the better part of 15 years, which could classify you as “veterans” of SA Psy Trance. How has your experience of the “scene” changed over the years and what do you think has attributed to this change in scene/perception? TCH: As mentioned earlier the scene has evolved from a predominantly Hippie environment to one where the emphasis is more on people just having fun. That original spirit is still there but it’s definitely not as obvious as what it used to be. DS: What do you attribute your success to? TCH: One part luck, and one part stubbornness. In all seriousness though we are always watching what works on the dance floors and paying attention to what keeps people moving. We then go back into the studio and do tweaks to the parts of tracks that need it. Being a successful artist requires constant improvement and an awareness of current trends so we try to be active in both areas as much as possible. DS: If you had to list one habit that could possibly ruin or stall a producer’s career, what would that downfall be? TCH: Over indulging at gigs each weekend can really take its toll. When we first started out we would be at every festival from start to finish, however the recovery time eats into your productivity and then before you know it, it’s the next weekend and time for another party. This makes it very easy to get stuck in a loop and before you know it months have gone by and very little has actually been achieved. DS: What are some of the challenges associated with playing live opposed to a DJ set? How do you overcome those? TCH: Both have their challenges, however the main challenge with live sets is keeping it fresh. As a DJ you can just pop over to one of the many online music stores spend a couple hours looking about and build yourself a new set each week, as producers we rely on our own music productions which take weeks to months for each song.

DS: P.L.U.R – real or an ideal? TCH: Peace, Love, Unity and Respect are real, and we see them implemented into most partygoers’ approach. It’s very rare that you see an incident these days where this is not the case. I think in everybody’s essence this is what they want and what they strive to emit however we are all human and we have our ups and downs, so it is possible to get side tracked from time to time. DS: When pursuing a career in entertainment, one can expect to become the subject of many a rumor which more often than not, holds no substance or truth. Have you heard any obscene stories about yourself via the fynbos? Please share. TCH: We have definitely heard the odd rumor over the years, thankfully none too twisted, but the one that traveled the furthest revolved around a group orgy in a tent in Brazil. The truth is that to avoid a torrential downpour at Universo Parrello a couple of people jumped into the nearest tent. That’s it! No sticky business, but as people’s minds sometimes have the tendency wonder, this got translated into a mass orgy and the rumour found its way around the world and back to us. We heard about it a year or so later and have even had an offer or two at having another one. DS: After 15 years in the industry, would it at all be possible to name your “best” gig played? TCH: No. There have been so many it would be impossible to say, but highlights include Boom Festival, Universo Parrallelo, Glade Festival, Glastonbury Festival, Origin Festival and Earthdance. DS: And your favourite track (of your own work)? TCH: This is also almost impossible to answer. My favorite track is normally one that is currently being written. It’s always difficult, sometime close to torture, to let go of a track and call it “finished”, so most of the enjoyment comes from the writing process instead of the finished track.

IMAGE BY MIK MOTOLA PHOTOGRAPHY

y meeting of Schools was one of sheer cosmic intervention and what a pleasure it has been. .It was a few weeks after I joined Digital Soul that I received an invitation from an old varsity mate of mine to attend the launch of the School’s EP. Fantastic, I thought, I have not seen lead singer Lindy-Lee Prince since I abruptly left Stellenbosch, I also had not rocked since the Foo Fighters concert in December of last year and then of course I needed material for this issue of Digital Soul… I promptly accepted the invite. Carpe diem, right? Before I continue I feel the need to clarify this piece. This article is a three part harmony, a-la Bee Gees style (yes, I fucking love the brothers Gibb) one part feature, one part review and one part interview. Here is to hoping that mixing these three parts together will not result in some catastrophic lab experiment that will lead to me getting the sack. Comprising of three qualified anthropologists, Schools are a band of ‘brainiacs’

SCHOOLS WORDS BY

CHRISTELLE SCHEEPERS

Class is in session

who in addition to sharing an alma mater (subsequently having that common ground of love/hate relationships with faculty members) they share one more common interest, they love to ‘rock’ and they are pretty damn good at it too. The members of the band are: LindyLee on vocals, Sakkie van Zyl on the drums and Francois Louw on the guitar. Lindy-Lee works as an online tutor for UNISA and is registered as a PhD student, the fact that she is a singer, and a bloody fabulous one at that, came as a total shock to me. Sakkie works for the IT department of one of the local universities. When standing back and watching him drum, one could not help but think of the line in the Dire Straits’ track “Money for Nothing” “… banging on those bongos like a chimpanzee…” different drums, same analogy. The third member of this musical Triumvirate, Francois Louw, works for an environmental NGO and has a soft spot for Enya and Norah Jones. This dude can, and most certainly may, wield an axe. His enthusiasm in strumming his guitar and the way his fingers slide up and down his fretboard are totally contagious and the riffs he spews, on point. The three individuals are immensely talented and thus their amalgamation could only lead to something most epic.

Now that we know the band, let me spend a paragraph to review their EP. The 3 track EP titled “Sessions” is a piece of music dynamite! Prior to attending the launch I opted not to listen to it online in fear that I might not like it, if you have no expectations you cannot be disappointed, right? In hindsight it could have ended badly, imagine having to write a three word review: “It was kak”? Luckily for me, Apollo was on my side and my calculated risk paid off. “Ease On Down”, “Hey Yeah” and “Sneak Right In” are three of the funkiest finger snapping, foot tapping ear-worms that I have had the pleasure of encountering in ages. The fact that it is home grown, just makes it that much more special. Each track has a different sound, but I find them reminiscent of Kings of Leon. “Ease On Down” with its distinctively blues feel leaves me imagining a scene from a Guy Richie flick, one where shit is popping off. Think Snatch where the pikies take their revenge. It has anthem potential since it has a message that will inspire those of us who have opted to not just blindly follow societal norms. Sod the status quo… “Hey Yeah” is a groovy, soulful and sultry track. With lyrics so provocative and slow the melody that it makes me want to give my non-existent boyfriend a

lap dance. It’s the kind of track that should be played close to last rounds (when common sense is heavily outweighed by booze) with the lights turned low and people should be left alone to let the magic happen. “Sneak right in” is my personal favourite and while I know I should not single one out, this song has snuck right into my head. The melody is insanely addictive and the lyrics tell the tale that everyone who has ever had a crush on someone (or has become taken by something) can relate to: one minute you’re ticking over nicely, next minute it’s tickets and possibly even having to deal with the fall out of when it bombs. “Cupid got me in choke-hold.” It is two weeks after my initial encounter with Schools that I have the privilege of a short pow-wow with the band. They had just come from their rehearsal and invite me to join them at the Woodstock Exchange for coffee at Superette. As I observe them I find it a tad hard to believe that they have not yet been together for a year. I fire away with my questions:

DS: You’ve been together for give or take a year, how’s your group dynamic/chemistry. LP: It’s been less than a year, she says with a smile, October it’ll be a year. SvZ: Francois and I have known each since high school, but our band’s chemistry is great. FL: Yeah, Sakkie and I met when we were both drummers during our high school inter schools. We attended Stellenberg High, Sakkie had blue hair and was in a pink Uno. SvZ: I was Zef back then. DS : As a band, where do you guys see yourselves 5 years from now? FL: Probably here (Superette) after rehearsals, with the waiters still unable to understand Lindy. LP: For some reason they just don’t understand a word I say. FL: 3 full length albums, maybe. LP: Not turning into The Parlotones [laughter] SvZ : We’d like to play big festivals, even as supporting acts. FL: Have fat tours in Europe like many other SA acts. The Germans love SA music, no matter what it is.

DS: You are a 3-piece act, any plans on expanding for an increase in sound diversity? FL: I am planning on getting a POG, which will be like putting a guitar on mine. SvZ: I would add a bass, but Lindy is learning the bass. LP: We do not want to add another member, it might change the group dynamic. FL: We like a clean easy sound. I am planning on getting a POG, which will be like putting a guitar on mine. SvZ: I would add a bass, but Lindy is learning the bass. LP: We do not want to add another member, it might change the group dynamic. FL: We like a clean easy sound.

albums anymore, they simply click on and download the tracks that they like. LP: Also, none of us can really afford to lose a whole day to recording right now. DS: You did an absolute mind blowing cover of Lorde’s Royals at your EP launch, are you planning on adding any more covers to your repertoire? SCHOOLS: One that ended abruptly when Sakkie just stopped drumming, they laugh. LP: We are not a cover band, but choose to rather do interesting reinterpretations of songs. FL: Everyone needs more Ri-Ri. [laughter] LP: Just imagine “Diamonds”

DS: Your EP has some really catchy foot stompers, is that your signature sound or can we expect some ballads from you? I guess in closing I could say all the normal FL: Lindy calls it Kwasa-Kwasa … (This answer things regarding an Indie, Pop-Rock, Blues was inconclusive) band: these cats are the cool kids in Echosmith’s track, they are chilled, laid back and yet waste DS: Any ideas as to when you’ll be releasing no time beating about the bush. However, I your first full length album? SvZ: When we have money. FL: It’s not really a will say this: their mission is clear and they focus right now, we will rather push out singles are taking the steps to success. I wish them all or EPs especially since most people do not buy the best and look forward to watching their career blow up.

whiskey business WORDS BY

CAMERON ANDERSON

s introductions go this one is rather complicated; Natalie, better known as Poppy, who plays under the name; Whiskey Business and the other half of Whiskey Thief, I know I know as complex as they come, but maybe I can lend a hand in clearing things up in this split personality situation. Natalie is a free spirit and slightly nature obsessed, she studied strategic management and marketing at university, this is around about the time she received the name; Poppy, which is what we shall call her from now on. Now Poppy is a lover of indie and folk and listens to the likes of Ben Howard and Shakey Graves and all those kind of free spirited musos. Poppy is above all a singer songwriter, under the name Whiskey Business. So just to make sure we are all together here; Natalie is Poppy who is also Whiskey Business, brilliant. Whiskey Business brings an honest and relaxed atmosphere. A guitar and this golden voice is all it takes for you to fall in love. She told me about how she values writing songs especially for its therapeutic aspects, and that’s why I described her music as honest. You fall in love with the simplicity of it all, no excessive instruments to distract you from the lyrics, just voice and guitar, sorted. She sings about personal experiences from romance to

traveling to the strength needed to grind through the day. So the story goes that one unsuspected evening Poppy received this strange muffled voice note from her agent. The voice note was of Charlie, Mountain Thief; you might have caught the article in one of our previous issues on Charlie on his Cape Tour. Well from there this arranged friendship escalated, they just clicked and soon they became; Whiskey Thief, the last piece to the ever so complicated puzzle. Introduced as strangers and now as Poppy says; they’re “playing shows together, writing together, dreaming together, stressing together, being broke together” sounds like the perfect friendship to me. Whiskey Thief’s first single; ‘Wooden Fortress,’ has Charlie’s low voice combined with Poppy’s hitting of the high notes. The tune itself has a catchy fast paced rhythm guitar, some sneaky whistling with two intertwining voices, a kind of ying and yang effect. Together they remind me a little bit of June Carter and Johnny Cash or Of Monsters and Men but with a much larger Folk element. You can catch them at White Mountain Festival in KZN and on their Western Cape Tour in December. Oh I almost forgot they have an EP planned for the November or so.

IMAGE BY ADAM HEYNS

1985 1992 1999 2003 2007 2013

SPOEK mathambo The Next L evel WORDS BY

JAZZ GREEN

hato Mokgata aka Spoek Mathambo is a man on a mission. He walks tall as he makes his way along his path of music and life... His sound is magnificently executed and beautifully bohemian, much like his loud and proud sense of afro futuristic style.Â His delivery of music is pure genius, sui generis and elevates the capricious or rather aberrant expression; making Township Tech the refined mix of sugar and spice. Spoek Mathamboâ&#x20AC;&#x2122;s sound is most definitely a fire starter and certainly the sound to get the vibe right. As an artist, Spoek is a guy who has his mind right as well as the presence and charisma of a bona fide rock-star... His work is alluring and has a hint of magnetism to it. A multitalented creative, boasting titles such as rapper, producer, songwriter and DJ. His lyrics ring true, words about the suffering of a people echoing over dub step/electronic beats with a strong notable African influence. His track with Okmalumkoolkat

king of townshipTecH

called “Nice Shandees” literally has me dancing each time I hear it. The truth is that I thoroughly enjoy the eccentricity that is Township Tech. It is definitely not mundane or run of the mill flavour. He worked with producer Sibot around the same time “Nice shandees” was released, before he actually launched his debut album in 2010 which was playfully called “Mshini Wam”. On the album you will find his epic rendition of “She’s lost control”, originally performed by Joy Division. That same year he was awarded the “Young Directors Award” at the Cannes Lions International Festival of Creativity as well as being nominated as best African Artist for a Mobo Award in 2011 (The Mobo Awards celebrate music of black origin and was founded in 1996 by Kanya King and Andy Ruffell in Glasgow, Scotland). Spoek went on to being nominated for “Best African Act” again in 2012 and 2013. His second album is a full length album and my personal favourite.. “Father Creeper” was released in 2012 and features some exceptional artists like Xander Ferreira and

Redbone. He also worked with the brilliant Okmalumkoolkat for the second time on the track “Skorokoro” and took it to another level of awesome. Honestly, “Father Creeper” is the bee’s knees. I feel there was no tom foolery in the production and the whole damn thing is immaculate!” I wholeheartedly recommend that you take the time to check out both “Mshini Wam” and “Father Creeper”. Spoek Mathambo’s music is well worth the listen and you will be left wondering why you waited so long. This versatile artist has collaborated with so many artists who are well respected in the music industry, not only locally but globally. Need I mention Adam Tensta or that his work with Marcus Wormstorm in “Sweat X”? “Sweat X” managed to get 2 releases with the record label Ebonyivorytron.

Spoek’s documentary on the South African electronic music scene in which he gets to the heart of the electro scene and asks some rather interesting questions about the genre in South Africa. He interviews artists like the awesome Slash, Big FKN Gun, Tiger school and Sibot. This part of the doccie shows the viewer an eye opening glance at the electronic scene locally. He also treats us to some electro sound coming straight out of Johannesburg, Durban and Cape Town.. Check out the documentary - The future sound of Mzanzi; on YouTube now!

from all the corners of the globe and getting well deserved hype from the New York Times, Fader Magazine as well as performing as a DJ in countries like Norway, Sweden, France and Germany, making him an increasingly prominent figure on the international music scene.

Spoek Mathambo is still leading the pack as an Afro futurist creating new levels of his sound and style progressively. Looking at his achievements I go forward with hope that others will follow Spoek Mathambo’s example of hard work and drive in an effort to deliver fresh content through manipulation of sound So what is Spoek Mathambo up to now? and daring to venture into unknown territory Well, apart from his documentary, he’s been through experimentation. traveling extensively and reaching people

“...scream and revolt, inspir ing othe r s to stand with us.””

recently caught up with Johannesburg based, post hardcore/electronica band, Bombs & Issues. The band has been around since 2009, where they first came onto the scene as a purely post-hardcore band with an electronic edge. They seem to going from strength to strength, rocking events all over South Africa. I sat down with Brandon (lead guitar, vocals), Ryan (bass, lead vocals) and Craig (drums) to talk Bombs & Issues. DS: You have been around for more or less 6 years. Tell us more about how Bombs&Issues came about? What happened in the earlier years? B&I: We started getting to know one another through various projects growing up. After those projects came to an end, we decided to start something new; something that was completely different to anything we had ever done. Brandon and Craig spent 8 months living in a tent in London to save up enough money to buy their own equipment. During this time in England, they saw Enter Shikari and 36 Crazy Fists live and were extremely inspired. Getting back to South Africa, they contacted Ryan and started writing music together that was more mature and challenging than before. DS: What music and bands have been major factors in your drive and sound? B&I: As individuals, we have always loved different styles of metal, but more so post hardcore and metal core. At the same time, we also have a great love of Drum and Bass, so naturally the music progressed to a point where the two styles could intertwine. Some of our most prolific inspirations include Enter Shikari, His Statue Falls, Confide, Our Last Night, We Came As Romans and Asking Alexandria. DS: Tell us more about your name Bombs & Issues. Where does it come from? B&I: It came about quite by chance actually, [laughs]. Craig went to have a tattoo done and whilst waiting on the artist, he was asked by someone in the shop what he was getting done. His reply: “My mom’s initials” was answered by the stranger: “Bombs and Issues? What’s that?” We made a joke saying that that was the band name. Then we thought, well that’s actually a really cool name and it managed to stick.

bombs& issues WORDS BY

DANELLE STRYDOM

WORDS BY

DS: Quite a funny story! I would like to hear more about what else can we expect from you guys in the near future. Anything interesting in the pipeline? B&I: We are currently recording at Watts Studios in Johannesburg. Once we are done, our tracks will be sent around the world to be mixed and mastered. When that is done and we are happy, we will start focusing on our next music video for a new song called “Magnetized”. We played the song for the first time ever at Oppikoppi this month. Then the plan is to release singles and embark on looking for label interest abroad. DS: Nice, it sounds like you gentlemen are keeping yourselves very busy. Your hardcore/ electronica vibe is unique amongst South African bands; how has your sound progressed from a mainly electronic feel, to a more drum and bass feel? B&I: We believe that as a band, you have to constantly evolve in order to move forward. We’ve been playing our EP, “The Voyager”, for close to 3 years now. Our writing has matured so much since we wrote “The Voyager” and we have learnt so much. Based on all our individual tastes in music, it was a very natural progression for us to move into that direction. DS: Do you guys think that South African music, metal in particular, is at an international standard? B&I: There is definitely a lot of excellent music in South Africa; unfortunately it all boils down to money. The quality of production overseas far surpasses the level of quality we receive in South Africa. A band can be brilliant and have that special magic, but if they aren’t properly recorded and produced then it will be a lot harder for people to listen to them. Production can make a shitty band sound incredible, just like an

incredible band can sound shitty when mixed poorly. DS: You have a good point there. Do you guys think that the metal scene in general has been progressing or regressing over the last couple of years? B&I: There are definitely a lot of bands still coming out onto the scene every day in the genre. When you look internationally, we have artists like Marilyn Manson and Bullet for my Valentine releasing new albums, making a lot of people very excited. The scene is definitely ever on the rise. More and more people are starting to wake up and notice how brainwashed we are as a society. This enables us more and more room to express our angst and stand up for our reason. To scream and revolt, while inspiring others to stand with us. That is pretty much why we keep doing what we are doing. DS: Indeed! It is so good to see this level of passion for the music. So tell us your favourite moment as a band ever? B&I: We really have had many, but it would definitely be getting the email to confirm our performance at Oppikoppi 2015. We had just played a really great show with amazing sound when we got the news. DS: Speaking of Oppi, we know you guys were stoked to play; were there any moments on stage that stood out? B&I: Hahaha, well we did have some adoring female fans that kept begging Brandon to take off his pants! DS: Yes I do remember that. I also recall him obliging in the end!

IMAGE BY JULIAN GRAHAM / AUMEGA PHOTOGRAPHY

Aliensafari

sprung WORDS BY

YOLANDE GYPSYCHILD

ilwerstroom. To the “trance elite” or veterans, the concept of Sprung, or any event for that matter, hosted at this venue, leaves us with a mental image resembling something like “Return to the land before time” . To those of us who only joined the Cape Town Psychedelic Trance scene post 2004, Silwerstroom represents a beautiful space of magic and legend. Alien Safari appear to have an agenda this season. Could it be that they plan on taking us back, back to “the good old days” and plan on doing so by revisiting all the favourite, most beautiful venues that most of us have only heard of? If this is the case, we applaud Alien Safari management and thank them for their efforts in reviving that which we so often hear has gone “missing” from the scene over time.

A sure benefit of using a venue which is an official camp site, opposed to a forest or piece of land on a farm, is the neatly allocated and easily accessible camping spaces. Upon arrival at the venue, irrespective of the obvious long queue, finding â&#x20AC;&#x153;your spotâ&#x20AC;? was as easy as pie. Once we identified where the dance floor was located, one must admit, the general consensus was that it came as anti-climax. According to the fables and

legends we had heard, everybody, oldtimer or noob, were all expecting an aweinspiring beach front with the huge and incredibly colourful Sprung stage to your one side and simply ocean and beach to the other. Understandably, it came not as a result of unimaginative planning and design, but was constructed in this fashion rather due to the reality of easy access for trespassers via the beach or boat. As Silwerstroom is not private property, but rather a part of Cape Town Parks and under the jurisdiction of The City of Cape Town, Alien Safari management had received strict rules and guidelines to abide by in terms of the maximum amount of people allowed to attend the event before running fire, health and safety risks, therefore the necessary precautions needed to be in place.

IMAGE BY JULIAN GRAHAM / AUMEGA PHOTOGRAPHY

Now that we’ve cleared that little ish out the way... Everybody satisfied? If you still have complaints, I hereby urge you to write a formal complaint, in black ink, of course, and kindly submit it to the front desk of your nearest City of Cape Town office... Or Licensing Department, if you prefer... To hell with it, actually, submit it the next time you pay your TV License; after all, it is the right thing to do. The dance floor was intimate, some would dare call it “small”, but in my experience space was adequate for a good heart-felt stomp and the energy unmistakably positive. Apart from the unfortunate individuals who were not able to gain access to the event once tickets had sold out, no other negativities or misfortunes were reported. No theft, no violence, just luminous stains on new clothing and unbearable sunburn!

IMAGES BY JULIAN GRAHAM / AUMEGA PHOTOGRAPHY

Once the first beat dropped, it was on! The opening DJ’s off to a rocky start, with a minor glitch here or there, but I trust all festival-goers were simply too happy to care. The excitement was notable and the chatter around campsites audible as anticipation to K.I.M and Earthling’s sets grew. Along with it, the confusion at the “no-alcholol-pastthis-point” notion seemed to escalate, climax and calmly ease away as more and more patrons seemed to accept the rule for what it was rather than attempting to oppose security and staff. Even to those of us who do not carry time-telling devices, there was no doubt at when Earthling was behind the decks. Epic to say the very least! It brings me the utmost pleasure to present to all the House-bunnies out there who are forever crying “live element”, EMP - joined, onstage by Caitlin de Ville, delivering a performance I have not yet witnessed before, incorporating the

live element, not in the form of percussion, vocal or guitar, but violin in a Vanessa Mae-like fashion! Genius! As the evening progressed, so did the music and naturally, the later it got, the noisier it became. And although the “twilight” and other screeching varieties of Psy Trance do not appeal to me and I avoided the floor, I have it on good authority that the dance floor was never barren though. Irrespective of my lack in preference of twilight, another highlight in the lineup, no surprise here, was Rubix Qube. A beautiful Sunday with perfect weather, colourful and smiling festival-goers had their pebble collections rocked by Chromatone K.I.M’s DJ and live sets as well as Earthling ‘s live set. Many a smiling face left Silwerstroom on Sunday, exhausted and sunburnt, pleased that season had finally sprung.

s a bona fide petrol-head I was lank excited when I pitched the idea for this regular feature to my editor and I received the green light to start my engine. The plan behind this feature is to take a song or an album and correlate the year of its release with a car(s) that were driving people around the bend in that same year. For there is no way that we can deny the goosebumps inducing awesomeness that is cruising along your favourite stretch of road (Constantia Nek to Hout Bay) blasting your favourite music. That being said, if your palms get sweaty when that 911 GT3 speeds past you, if the roar of a V8 Camaro, Chevelle or Corvette steals your breath or leaves you with a solitary tear in your greasy eye and if the kick of the Turbo shoving you back into seat is tantamount to climbing into the backseat with your boyfriend or girlfriend... or both; then I cordially extend an invitation for you to submit your favourite car, song, album or year by Tweeting to @BlkKnyt83 and Digital Soul

Drive my car WORDS BY

CHRISTELLE SCHEEPERS

e r

@digitalsoulsa ‘cause sharing is caring and I would love to interact with our readers and get to know you cats a bit better. Don’t be shy, say: “Hi!” However, time to put the pleasantries aside and put the pedal to the metal. Since the name of this feature is Drive My Car (which just so much happens to be an old blues euphemism for sex, according to Sir Paul) it would only be fitting for me to hit launch control with the year 1965. “Drive My Car” was released on the album “Rubber Soul” which included other chart toppers such as “Norwegian Wood” and “Michelle” to name but a few. The list of cars introduced in 1965 includes a couple of firm favourites amongst those of us who love classic muscle cars. My selection of cars is totally random, but I will take the liberty of starting with my favourite marques and working my way down.

taken the engine from the W100 Limousine, which due to its stiff price didn’t perform that well on the sales front, and put it in the W109 (in 1966) which resulted in the fastest production with a top speed of 229km/h, a title that the 300 SEL 6.3 held for many years. The W108 (and her successors) has also been the star of a number of films, most recently being The Hangover Pt.I and most notably the 1983 Bond film “Octopussy.” Speaking of James Bond brings me to my next car...

Aston Martin DB6

With only 1967 produced during its four-year production run, this distinguished gentleman of motor vehicle is as rare as beautiful blue diamonds and every bit as handsome as Sean Connery in his later years (can you say: “Who’s your daddy?”) The DB6 had the longest production run of any other Aston Martin model of that time. The specs of the DB6 gives one a warm and fuzzy feeling, bearing in Mercedes-Benz W108 This full-sized luxury car was a 4 door sedan mind that this car is 50 years old, on the that had six powertrains within the class, the standard engine she pushes out 282 bhp (210 top of the range boasting an impressive 6.3l kw) and the Vantage engine 325 bhp (242 kw) V8. For the duration of its seven-year at 5500 and 5750 rpm respectively. Her top production run 383,361 units were speed is 241km/h and she screeches from manufactured. The entry level model, the 0-100 km/h in 8.4s. Sigh 250S delivered 130 bhp (97kw) and completed Porsche 912 0-100Km/h in 13s and had a top speed of While I am still on the European continent I 182km/h. The 6.3 was a bit of a Frankenstinian wish to turn my focus to a marque that has move on the part of the automaker, having been my personal dream car since I was in

Std. 1: Porsche. 1976 of these Coupe style beauties were produced from 1965-1969. What I found most captivity about this Betty, is not its engine output of 90 SAE horsepower, but rather the fact she had great fuel efficiency using 7.8l/100km. The 912 was also used by German autobahn Police and the 100 000th car Porsche produced was a 912 Targa kitted out for the Police. Sadly the 912 was soon found to not be a viable project and Porsche returned to the much loved 911.

Ford GT40

Last, but certainly not the least is the Ford GT40, a car that in actual fact turns out to be a Soutie as it was an American-British collab that yielded a magnificent four consecutive Le Mans victories from 1966-1969. The GT40 was built to give Ferrari a run for its money, as the Italians had been dominating Le Mans prior to the release. Even though the GT40 initial endurance race performance bombed, when the project was handed over to the racecreating legend Carroll Shelby (who was also Shelby Mustang responsible for giving the previously I cannot type or read that name without a mentioned Shelby Mustang, FYI) that the GT40 huge grin streaking across my face. For those started yielding ass kicking results, but this of you have been dwelling under a rock or too was not without some degree of have had your head stuck up your own ass, shortcomings too. Eventually though, the Shelby is the Ford Mustang’s older brother on kinks in cable were worked out and the GT40 steroids. The ‘65 GT350 was by no means built was on point ‘til the arrival of the Porsche 917 for a smooth sailing drive and most certainly in 1970. The Mk I had a 4.7l V8 engine. God not for comfort, she was a beast built for bless the V8s. racing and a result of won the B-Production champion on the trot I hope that you enjoyed this first edition of for three years. Kicking out a Drive My Car as much as I have. Check out next modified 306 hp (228kW) month’s edition with an epic pop culture, ‘til there’s no surprise 4.7l V8 then: Keep your foot on the accelerator, your is still very much eyes on the road and always leave a bit of adored by muscle rubber on the tar. maniacs the world over. Who needs a back seat, right?

ROBOTRI Psycheduidelike V ibes

WORDS BY CAMERON ANDERSON

S: Who is Riaaz Cupido? Would you care to share some history or background? R: Well I started playing music when I hit high-school. I played the Saxophone for 4yrs in different jazz and R&B/Hip-Hop bands. Started producing my own music shortly after I started playing the sax, making psychedelic funk. By the end of my High School career, I was experimenting with various styles of music from punk rock to hip-hop music. One of my childhood friends introduced me to my first psychedelic experience, Alien Safari, hosted at Silwerstroom in “98. I immediately fell in love. Metal at that time was becoming really dark and hip-hop was just too gangster. Psytrance had that Metal aggression but still maintaining the funky synthetic sound. I’ve been DJ’ing for 15yrs but only in the last three years have I begun to take it seriously, see a need for DJ’s that could play anytime, any style. And so Robotrix was born. DS: Talk to me about the Robotrix brand R: Robotrix is more geared to sunrise / morning / daytime psychedelia, taking you from the chaotic night into a blissful euphoric psychedelic daytime. But not only limited to those styles I also play psychedelic progressive psytrance and the more cutting edge Hi-Tech Psytrance. I’m a DJ that plays to his time-slot not forcing a style on a crowd, that’s why we do this in the first place for the people! DS: Who or what got you inspired to DJ, at what age and why Trance?

R: I started mixing House on vinyl. I was blessed to have buddies with equipment, in those days it was scarce. With the advent of CDJ’s it became more accessible. But I can’t decide it’s between 3 DJ’s for me. Toyoshi Suzuki, DJ Aleph and Dave Mac always awe inspiring. DS: What sub genres do you play and how do they differ from one another? R: I play Progressive Psy if I’m opening a party/event. I play serious psychedelic prog no bubblegum beats, it’s got to keep me entertained. I also play the slower Hi-Tech Psy, in the early hours you have license to serve a generous helping of psychedelic madness and nothing comes close to the cutting edge Hi-Tech Psychedelic. MiddleGroove/Daytime Psy, I’ve been promoting the most aggressively. I think events are lacking in the daytime area, it should be filled with progressive psy. Some events are getting it spot on others should take note.

IMAGE BY YOBRO PRODUCTIONS

DS: Do you play under another alias? R: I produce my own daytime/early night time beats under my “Planet Erra” Alias and also have a Progressive project called “Prognosis”. Both project are live acts, showcasing my own music. Then I also have a Night-time Full-on DJ project with my homie “Unsub” and we play together as “Subtrix”

DS: What is your opinion on the division on the dance floor? Where can we find you when you’re not in the DJ box? Front left or back right? R: [Laughs] I can’t keep up with the lumo kids anymore, so I’ve retired so float in the back. But usually on the left.There are aliens on the right bro!

DS: What is your response to the people that judgetranceonitsreputationinvolvingdruguse? R: It’s a really sad stigma that has just attached itself to something so special. As a DJ and Artist and Promoter I believe there is no place for illicit substances. It’s dangerous and a horrible thing to deal with when people over do it.But coming from a dance-floor I know it’s going to go down so people must look out for each other and themselves and DS: What are some of your biggest gigs to date? be really careful. R: I would have to say Groovy troopers Mandala Project last year. I was chosen out of more than 100 DJ’s to fill the morning slot. I also won the DS: The music industry is rapidly changing ETM new guy completion the year before playing with sites like Spotify, would you care to give my first Hi-Tech slot from 5-6 in the morning and your thoughts on it and how it affects you? most recently “Subtrix” playing the crazy closing R: Maybe if everyone bought and supported slot at Mungus Fungus “Spectrum”. the Artist I could be one full time but that not the case, so musician’s are being robbed with no shame. Would you steal a painting? A song DS: How has your style and track selection evokes a hundred times more emotion and people changed or matured over the years? don’t want to pay, music in general is in a state. R: I guess the older you get you can’t just put on blinkers and just jol. I would say intelligent, dynamic and unique music. If it DS: What motto do you live by? follows the mold or template I’m bored, it R: If it’s not psychedelic. Skip it! must be like watching a Thriller full of twists. DS: Are you DJing full time at the moment? R: No I’m in the process of completing my business management course and I’ve put all my projects on hold unless specially requested, in advance. I realized long ago, psytrance won’t pay the bills, it’s my passion. Not a career choice.

DS: What is your goal every time you create music? R: It has to be phat and psychedelic, I usually think legend’s like Mathew - Artifakt & Dino – Tortured Brain. DS: What other genres do you listen to? R: As you have heard all of them. I believe it’s a journey and there is a place for all sub genres at a festival. I just think promoter in general are not as focused on the flow of the line-up as it was when I started trancing. It would wind up and then wind down again.

DS: Where do you see yourself in 10 years? R: Running my company and touring International Festivals that I would like to play at in future. DS: Where can I get hold of your music? R: www.soundcloud.com/dj_robotrixx & www. mixcloud.com/Robotrix DS: What do you planned for the rest of the year? R: Being a student not much happening except final exams, but I have something big in the pipeline. One event that will be my biggest gig yet. So watch this space for further details www. facebook.com/djrobotrix. Peace.

IMAGES BY BRADLEY KANARIS WORDS BY MAXINE BISSET

pharrell williams Jozi love vibrat ion WORDS BY

MAXINE BISSET

racing Jo’burgers with his presence and stepping out onto the stage in a simple pair of jeans, poor boy hat (not his staple mountain hat) and a tucked in black T that read “Humanmade”, Pharrell’s genuine care for the love and wellbeing of humanity had quickly become contagious.

Along with his subtle humanitarian ethics and conscious love vibrations, Pharrell definitely has an abundant appreciation for the ladies of this planet. Hence his new album titled “Girl”. During his time on stage he mentions inequality around the subject of women and shows an enormous amount of compassion through his words on this very real issue that women face every day. He then proceeds to blow our girly minds with the song “Marilyn Monroe”, and I’ll be honest, I might’ve let out a squeal… or two. Oh no, that’s not where the lady-action stops. Pharrell introduced the most important part of his entourage

“The Bae’s”. These ladies in their squeaky sneakers all deck out in old school Adidas, without a doubt, burnt a hole on that stage in the best way possible; and everything is infinitely possible when it comes to the Williams crew. So, you can just imagine, Bae’s with curves who move in perfect synchronization with Pharrell = another level all together. Pure bliss!

know that love is an energy, too? Overwhelmed with your love energy tonight.” And although most live acts would say something cheesy like this, I feel in this case it’s different. In many beautiful ways this just goes to show how much of an empath he is on a grand scale. The man is definitely Awake.

Pharrell performed “Freedom” to an energetic and heart Pharrell had no problem pounding Jo’burg crowd and connecting with Jo’burg in a how incredibly moving it was heart space, energetically. to see freedom fists clenched in Between a few songs he even the air while hearing his newtook a long pause in front of found, goosebumps-inducing the mic before saying: “ Such screech to the line “Freedom” incredible energy… did you in the song. This moment,

created in conjunction with Pharrell elevated the entire audience to a higher state of exhilaration. And what a pleasure is was! Despite Williams being an embodiment of rock star status, and let’s face it, the dude loves rock. N.E.R.D, come on now; those are his roots and you know you love it, he still managed to keep a more than generous amount of humble pie in his back pocket, which leaves a rather lovely taste in my mouth! The man is a saint. He might even be a prophet. And he can damn well pull off a poor boy hat like no other! What a G!

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femtASTIC WORDS BY CHRISTELLE SCHEEPERS

t is very seldom that you are offered the privilege to meet real life revolutionaries, let alone be presented the opportunity to bombard them with nearly a dozen questions to piece together what makes them tick. Life, however, sometimes presents one with such ballistic occasions where all that you can do is holler: â&#x20AC;&#x153;Bombs awayâ&#x20AC;? and dive right in. This is exactly what happened when I met up with Vanessa Marko (VM) and Eka Scratch (ES) of Femtastic the Swedish hip hop conglomerate comprising of trail blazing female rappers and DJs flying the flag for the global feminist movement. DS: How did Femtastic and KWAAI hook up? VM: We are family. My brother Viktor started KWAAI in 2012, Femtastic had already existed by then.

DS: How has Femtastic been received internationally? F: Good, the interest is very big. People are interested in what we’re doing they find what we are doing with platform fresh. We have had a similar project to KWAAI in the form of a rapper exchange with Holland. Female artists have problems with being supported and highlighted or getting as many opportunities as their male counterparts. DS: And here in Africa? F: Nicely. There’s been a lot of appreciation for our workshops. People get to know us personally, there’s a give and take exchange that took place, an energy exchange. People have been excited to receive us, we played at Waiting Room and Mzoli’s and they really emphasized the fact that we are women. The women in our surrounding are happy to have a crew. DS: From what you have seen in this short time in Africa, what is your opinion on the differences in mind-set in terms of violence against women in Africa compared to that of the Swedish population? F: We haven’t been exposed to forums where we’ve been exposed to those things. We have been in a music bubble. Violence against women is a global issue. Men have been using their power to intimidate women. Feminists do a very good job to speak these issues. DS: Do you think the fact that Sweden is classified 1st world and Africa, obviously, 3rd, plays a huge difference? F: (VM) I think so. Sweden has a lot of policies, laws that protect women. Women get money to stay at home with their kids. Hospitals are free, there is a big difference townships and cities. Can we connect as European women with African women when there are so many differences: colour of skin, sexualities, disabilities, etc.? In Sweden segregation still exists where people are living in different suburbs based on their background and even what they look like. In Sweden people don’t help one another, whereas here in SA people are more inclined to do so. When you walk with your bag open, someone will tell you to close it. In Sweden we are encouraged to practice Jante-Law and stay humble, which can make releasing music difficult cause you don’t want to come across as boastful.

DS: Let’s talk artists – who are Femtastic? F: The core consists of main promoters, workshop hosts, and the board which consists of Eka, myself and 5 other members, where 3 members are the majority decision makers. Our two ‘main’ artists are Cleo, a Swedish rapper, and Aurelia Dey, but in total we have about 30 artists in our group. It’s not for everyone though. We are about doing something bigger than yourself, a dynamic collective making music together. DS: Whose brainchild was the project? VM: It was me. I am the founder, my first event was with Cleo. It comprised of only female artists. Then Cleo and I continued to host events in our respective towns and it grew from there.

fight within the group. DS: How did you, or do you have any advice for ladies/girls out there on how to overcome such insecurities and improve their confidence? F: Believe in yourself, as cheesy as it sounds. Have workshops and create safe spaces. Find other women, don’t be afraid to network and practice to get better. If someone has a problem with you on stage, it’s their problem not yours. Focus on gaining experience don’t let other people’s negativity get to you. Have positively setup goals, make sure that other people’s goals don’t interfere with yours as long as they are not fucking with you. Release your music, don’t be scared of criticism or put up boundaries.

DS: There is obviously a slight language DS: If we may, could we ask if the project was barrier when we listen to your music. Please created as a result of one of the founding tell us about your lyrics? members being a survivor? F: Femtastic started with the frustration with - What is the general message behind your lyrics? the music industry. The FATTA Campaign stems from us wanting change the sexual consent laws - Would we be correct in assuming that there is a lot of “girl power” in the lyrics and/ or establishing in Sweden. Due to the destructive male norms female equality or possibly even superiority? 98% of sexual crimes in Sweden are committed by men, but it wouldn’t have been the case but F: Yeah, there’s a lot of Girl Power. Cleo, who for the oppression. won the Best Live Artist in Sweden in 2014/5 is always asking people to raise their fist if they DS: Femtastic has what our editor refers to as are a feminist. Her spoken word speaks of how “phattitude” – phat attitude! Have all you male dominated the industry, but that’s not the ladies always been so confident or did any of only thing she speaks of. you have insecurity issues earlier in life? DS: Final message to all African women, ES: Everybody has insecurity issues, but we are whether survivors or not? inspired by the crew and the outcome is the F: Melanin Rocks! (LOL) Network, don’t be afraid creation of a safe space. Women in music are a to take up space. Go grab what you want. As for minority we want to reach a space where women feminism, there are many different schools have a majority and never again be the only within the discipline, not only European woman in the group. The ultimate goal is not to feminism. There are great role models in Africa be judge as a woman but rather based on their and Black history should be more highlighted, talent, but safe space aside we do still crit and please don’t throw feminism away. Organise

other women, mobilise a movement. Numbers are powerful. Let us as South African feminists (and yes gentlemen, that includes you too) stand up for ourselves and one another. Let us as South African women (and yes gentlemen, feel free to join us too) follow the bold example of these beautiful, talented trend

setting revolutionaries by making use platform that have shown us. Each of us have a special gift with which can make a difference: if you can sing, sing; if you can dance, dance we have a moral duty to protect, love, honour and inspire one another. Femstastic has given us the beat and set the pace now let us follow their leadâ&#x20AC;Ś

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lvin Aileyâ&#x20AC;&#x2122;s company toured in South Africa. The Alvin Ailey! If you have no idea what I am on about, the closest thing I can draw a comparison with is Rugby hype; but for dancers. (The difference being that everybody wins... Too soon?) I have fond memories of studying the revolution of movement in the Performing arts throughout High School, acknowledging heavy weights like Martha Graham, Lester Horton, Twyla Tharp, etc. But what really captured me was the strength and quiet dignity which cocooned the company of Alvin Ailey. I couldnâ&#x20AC;&#x2122;t pin it down, but even seated in a library in the days of VHS; a young girl, all knobbly knees and diluted defiance, Ailey moved a quiet feeling of understanding in my spirit and I was hooked. And so naturally it was with a sense of real purpose that I rushed to the nearest Computicket to guarantee my seat for the internationally acclaimed artists which returned to our shores after nearly two decades. The New York based company had visited Johannesburg in early September and the lap of the Mother City before returning home. My ticket was purchased. Possibly alone and seated in the

rafters, but no matter! I was going... It was my destiny. When arriving at my seat in the spectacular Artscape Opera House , I must confess that I was overwhelmed at how many others felt it theirs as well. I had rarely seen such an array of age and race in the theatre, and had an interesting selection of pre-show chatter flung across me by highly spirited, expectant audience members. Almost immediately as the theatre darkened, a hush waved itself from the shore of the stage to my seat, and I sated my eyes by observing the captivating figures on stage. It is difficult to explain the majestic impact of the athletic builds which were clad in different coloured unitards (long sleeved and legged leotards). Every sinew on display; they stood like well trained soldiers, breathing as one. The first ballet: Polish Pieces choreographed by European choreographer Hans van Manen. The twelve dancers were precise and

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Alvin ailey DANIELLE SCHEEPERS

Dance theatER IMAGE BY ANDREW ECCLES

dynamic as they created geometric formations and made use of repetition of movement. Described by Company Director, Robert Battle as “Kaleidoscopic”, the ballet requires the dancers to come together and dissipate constantly. Occasionally two dancers, male and female would emerge from the pack to reveal an idiosyncratic element of Van Manen’s work; the portrayal of human expression through a duet. Various couples portrayed different emotional themes throughout.

expression and stillness, with elements of martial arts surprising the audience. In striking contrast, the follow up ballet titled “Grace”- choreographed by Ronald K Brown, is injected with fevered movement from start to finish. There is barely a moment for the dancers to catch their breath as the movement is propelled forward by a steady flow of House music and Afro- pop, with surface level West African themes. Clad in either white or red, the dancers often moved in panels of light representing said colour projected from the wings. As “Takademe” choreographed by Battle gathered from the title, the ballet has himself, served as a palate cleanser in the a spiritual theme which is pressing and programme. It is a male solo which draws urgent in the escalating of each separate the audience into a playful andhumorousexplorationof section. I was left with the dynamics of movement. Set a distinct feeling of to a solely vocal score of being spoon-fed rhythmic syllables, by obvious it incorporates well timed facial

symbolism, but no less appreciative of the experience. Thankfully, this was followed by a twenty minute interval to stretch the legs and mouth.

subsections to each but with an overarching theme. “Pilgrim’s Sorrow” illuminates that although this life can be burdensome, there is always a looking up, a hope, a reaching into something that you cannot see but you know Finally it had come to the point in the is there. “Take me to the Water” speaks to the programme which all had been anticipating. dramatisation of a Baptismal, a cleansing of With baited breath, we observed as the iconic your spirit through immersion in water. Lastly, picture of closely grouped dancers; sombre “move Members Move” shows how rejoicing in in expression and earthy tones, reached their the thick of misery is powerful. The music is open palms skyward. It was time for the crown upbeat, the movement seems spontaneous and of the Ailey repertoire; their most famous is enjoyable to watch. Three curtain calls and an ballet, “Revelations”. Ailey himself was a “ black encore later, I am convinced of Judith Jamison’s man whose roots are in the sun and dirt of statement, that after watching that ballet “you the South”. He grew up in Texas and attended know what it’s like to be human”. charismatic baptist churches, witnessing first hand the struggles of his people. Many of his early works became testimonials to the resilience of the human spirit. Set to well known African American Spirituals, the ballet is divided into three sections with

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Das kapit

verything is exactly as it should be. As Destiny would have it, there was very little chance that Das Kapital (DK) would ever escape the music bug. His father, established within the radio industry and his mother an eccentric music lover, the kind who talks about craving music and always equipped with an arsenal of stories on the many raves she attended. At the tender age of 12, pre-MXIT days, DK was trawling the 5FM chat rooms, pretending to be older because as he so aptly put it; “no one wants to talk to a 12 year old.” His objective - investigating and learning about music, the industry and audience. He would ask people which genres they enjoy and why. He was on a kind of quest for a secret formula, a quantifiable aspect to good music. DK had a deep love and appreciation for rave music. He tells stories from his childhood, describing how he begged his mom to take him to a rave, saying; “I’ll stay in the car. I just want to listen to the music.” At age 13 DK got his first album, “The Eminem Show”, and decided that he would follow in Eminem’s footsteps and become the next epic white rapper. Now that he had direction, he needed beats and, of course, he would have to produce his own. As many an aspiring DJ does, he started out on his desktop using Virtual DJ. The result - tragic. The product, a mash-up which transpired from his newfound love for hip hop and his inherited love for rave, something he describes as “spacey hip hop.” He pursued the dream and kept at it on Virtual DJ, until he got the opportunity to go and study sound engineering for a year. Thereafter he looked at doing a degree at UCT in Politics, Philosophy and Economics, a slight change from music. It was then, just as he seemingly put his music career on the back burner, that he got his first big break.

WORDS BY CAMERON ANDERSON

tal

He had been working on a bootleg of “Skinny Love” and which he had given to two friends to blog about. This was

where the proverbial snowball first started rolling. The pursuit of the UCT degree was abandoned. A wise decision nonetheless, as today, he owns his own international record label. I intended on asking DK about his genre or genres of choice, but we got a bit side tracked, and ended up talking about the apparent mixing and intertwining of genres and birth of new and confusing sub-genres, which feels like, almost daily. He tells me that back when he was introduced into the industry, there was a little less competition, “you were part of your group and that was that”. But now the industry’s divisions and boundaries are a little more blurred than they were, in House music especially. How would one define house? The genres and sub-genres are so mixed up that DK went as far as to say that deep house isn’t house music but rather ‘garage.’ So I rephrased my question to aim for a more descriptive and creative answer as to what his genre of music could be labeled under. He responded with words such as ‘warm’ and ‘round’ and eventually settled on ‘technical.’ Admittedly, not the kind of word I was expecting. It seemed more like an answer you could expect from an Engineer when asked to describe a Picasso. Don’t get me wrong, I couldn’t agree more, his music is precise and when you talk to him, you understand why; he is articulate in every sense of the word. When meeting a musician, I usually I try to arrive 15 minutes early, although I’m never surprised if they turn up an hour late, DK, however, arrived exactly on time, to the minute. Professionalism and music; an unlikely combination in my opinion, but one to be admired nonetheless. I asked about Do Work Records, fitting name, and immediately DK lit up a little. Do Work is his label that was started with his friend, manager and business partner in the UK, Tim. Initially started as a platform for DK to release

his own music but eventually it evolved into a label that takes care of all those involved. When I say ‘take care’ I mean exactly that, they manage the artists as well. Since the label is international and DK has been establishing himself as a respected artist in the UK, I had to ask his opinion on the South African music scene. He started by saying that the UK has the advantage of time and infrastructure. The UK has fathered many genres in the electronic scene and South Africa is doing its best to catch up. The problem is that South Africans respond better to ‘parody songs’ rather than ‘good’ music. We would much rather hear an auto-tuned piss take of parliament shenanigans than anything the radio plays. DK describes it to me as ‘Leon Schuster Music.’ When it comes to influence, I am weary of people who limit themselves to listening to only one genre of music. I believe that those are the people who would usually keep prisoners in their attic or kick puppies in their free time. From raw angry heavy metal to euphoric rave, DK told me of influence sphere and he told me something that I think explains the puppy kicking epidemic. When people complain about heavy metal because it’s “so angry”, they are clearly missing the point. Music is art, emotion, right? Isn’t the point is to evoke some kind of emotion? So if metal mirrors your feelings of anger, then it is obviously successful. This is why I will never understand Christian rock, but that is a debate for a different day. DK didn’t hesitate to tell me that he listens to Ashley Simpson. He went on to say, and I quote (in utter disbelief) “Ashley Simpson’s tune; “Out of My Head” is a tune! It’s a banger, I would play it in my set today.” I’m not sure what emotion that song brings out for him... But for me it’s definitely anger.

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grassy

S: I really love your music. Seems like you guys just came out of nowhere. How did you start out and how did you come up with the name of the band? GS: Started out as a 3 piece, turned into a 7 piece, now a giant family with a mission to make good music and the happiest of vibes. The name is a play on words which aims to capture the diverse cultural background in CT. ‘Grassy’ which represents something natural and organic, and ‘Spark’ which represents something with fire, something in action, something igniting, or some form of light. DS: How long have you been making music together and please could you name the members of the band and the instruments they play? GS: As Grassy Spark it’s been three years of amazing times, fun adventures, and epic music writing. Yanick Bathfield on lead vocals and guitar, Josh Riley on Lead Vocals and rhythm guitar, Lawrence Jaeger on drums, Kevin Kok on bass guitar, Simon Ackerman on synth and saxophone, Chad Hendricks on trumpet and Murray Buitendag on trombone.

DS: Being such a big group, how do the dynamics work? Do you share the writing of

spark WORDS BY NATALIE MENTOR

IMAGES BY TASH MONTLAKE

the music & lyrics? GS: If you have ever watched the movie ‘Pacific Rim’ you will get what we are talking about. Pacific Rim is about these giant monsters from another dimension that enter our world through a crack in the pacific fault, and humans build these giant robots (The Jaeger) who require two human minds to govern its ‘left’ & ‘right’ brain, which in turn control the rest of the robots body. An analogy for Grassy’s dynamic can kind of be explained via this movie. Due to the fact that there are 7 of us, some of which have jobs, some of which who are in varsity, it is seldom the case that we are all in the same room to write. Yanick and Josh are the only ones who have been able to take music full time this year to write our upcoming album, so they act as the mind in terms of the Pacific Rim analogy, where the other members act as the body parts, the things that make us whole, and just like the instructions to move ones limbs, instead of instructions to do that, we allow the creative process to begin at the top allowing it to filter down into the rest of the ‘body’, and there is room allowed for this ‘body’ to react upon instinct for example: if they have a certain idea about how a song should go or how a part in a song should go, we allow those ‘limbs/other members’ to react instinctively and have their say; for if the Jaeger didn’t have its limbs, it would not be a complete machine at optimum ‘fighting’ potential; so even though Yanick and Josh take the lead in terms of writing the initial song structure and direction, this mind/giant robot is a result of the sum of its parts; without legs you wouldn’t be able to walk, without hands you wouldn’t be able to fight; just like without a horn section you miss out on a giant wall of sound, without Synth you miss out on a more modern aspect; just like every body part, every member/instrument is important for the ‘mind’ to execute its grand plans. DS: How is the “Going Viral” working for you? I personally think that is a brilliant idea. GS: Pretty well ha-ha, the internet is basically a giant ‘organic’ collective mind feeding off of the inputs that individual minds put in the system. If you come up with a clever way to manipulate this collective mind, you can pretty much manipulate what the individual minds do. This is just the beginning for us in terms of manipulating this collective mind in terms of social media. We have big plans to break your internet!

DS: Do any of you have musical training? GS: 6/7 band members have extensive training in their respective instruments, mainly with a highly jazz orientated background. Otherwise musical training is something that you can never stop learning, even when or if you become a master there is still much to be learned, and that is a huge part of our journey as musos and people. Never stop learning, to learn is to induce change, to induce change is to evolve! DS: Who are/has been your personal role models throughout your life? GS: A huge shout out to my parents. They encouraged me from when I started showing interest in playing the drums, 3 years old hitting pots and pans, to not tell me to shut up and rather hand me wooden spoons. They have always supported me and the band. The countless hours of band practices at their house while growing up and never expressing irritation. DS: What would you like to contribute to the South African music scene? GS: A scene of unity I’d say. There seems to be a divide. A very strong competitive attitude. I feel the scene is too small to act out. We should be building it together, helping each other where we can. We all want the same thing and we all love playing music. So let’s do it together! DS: How would you describe your music to people? GS: A mash up of reggae, ska, fusion and afro grooves. We try to capture a local flare as much as we can but ultimately we play the music we want to hear. DS: What do you mostly write about? GS: The main theme is love. Love of life, personal love and hope. We paint a picture of a world we would want to live. DS: How would you describe your fan base in SA? GS: The fans we have are amazing! When we need them they are there and we hope to grow the family each show we play! DS: What were highlights for you since you’ve been performing? GS: Seeing the development of the band has been incredible. From playing shows with 5 people watching to thousands. A few highlights would be Splashy Fen, the energy that evening was out of this world! Also recently winning Vodacom In The City is a huge deal for us! And something that has been a dream of ours has come true as well, opening for Jeremy Loops at Kirstenbosch Gardens on New Year’s Eve! DS: Are you working on anything new at the moment? GS: We are busy creating our first full length album, a continuation of our EP, The Virtual Kids. We are loving the process and are so excited to share the love with everyone! DS: Where will you be playing next? GS: Our next show is Rocking The Daisies. We playing on the main stage at 2pm on Saturday! Then heading off to Jozi to Open The City!! DS: Free concert? Really? GS: Hahaha, yeah. We thought it would be a great idea to give back to all the people that helped, and continue to support us! So we are planning on throwing a free party, date TBC. We will put together an insane line up and all you have to do is rock up and have the best night with us!

shorts

straw

WORDS BY CAMERON ANDERSON

IMAGES BY HANRO HAVENGA

hortstraw is a band with a love of dogs that is bordering an obsession, a visit to Gad’s Instagram account will rid any doubts you have of that. They steer well clear of heart felt ballads, to a more youthful and comedic sound. One of their interests on Facebook is; “Your Mother” you can’t help but love their embraced immaturity. They describe their sound as “a can of coke being opened on a hangover” and a quick judge of character leads me to assume that collectively they have suffered many hangovers. I got chatting to Rusky, about important matters, namely; 9-11 conspiracy theories, tom foolery; the bands apparent taste for Kurt Darren and of course their latest and quite absurd video; ‘Say Anything’. DS: Can you give us a cheeky description of all the band members? R: I’m Russell, I’m the bassist. I have the reputation of being the dad. I’m the one most likely to be sober enough to drive us back to the accommodation at the end of the show. You’ve got Tom, the guitarist, who is probably the one most excited to do daring things. If there is a donkey in the middle of the street in Grahamstown at 2 in the morning, Tom will ride the donkey, if there is a crane in an abandoned construction site Tom will try and climb the crane. Gad, the keyboardist, is a complete anomaly of a human, in ways that

I can’t even begin to describe, but he always has sweets on him, so you can always get a sparkle at any point of time. Alastair is our fearless leader, probably the most apt way to put it. Jake, the drummer, how do I describe Jake, he’s willing to party but he’s also a little like me, he’s chilled; he’s the zen of the band. We all balance each other nicely. DS: Who do you think is the hardest joller? R: The hardest joller… Gad has been known to be a little excessive, at times, and over indulge himself. DS: Who gets all the girls? R: Well as of the last few years actually, we’re all steady, except for Gad… He’s out there as a single man, roaming free. We all try and help him where we can. DS: Can you give us a brief history of Shortstraw, beyond the bio? R: What’s kept us to get has been this kind of combination of factors; one being, it’s a great happy experience for us to be in the band, we’ve recently had a

break and we have no idea what to do with ourselves when we’re not in a band and we’ve found a dynamic that works between us, as creatives, there’s no issue, there’s no underlying resentments and conflicts, we get along well together, we’ve found our dynamic… We just love doing it, we have such a good time, it’s about that happiness that I think comes out, I think people want that, they want to go out and have a good time. There’s a place for the quiet, chilled singer songwriters, there’s a place for the hardcore rock and all of that, but for us it’s just about having a good time and I think people want that, they want to be able to dance and sing. DS: The topic we have to talk about; the new “Say Anything” video just went out

today, it has got it all from romance to death to questionable morals and even a ginger: First of all I think South Africa wants to know, what the f**k? What’s going on? R: This was Al’s baby, he thought it all up. When he’s not in a band, he owns a post-production company so he lives in this world. He saw a sort of visual narrative for this song and he wrote the story and directed it with Bugsy from Crash Car Burn. When we first heard, we were like; that is CRAZY, and then it kind of grows on you… It was just time to shake things up… put it a little bit of danger back into it. DS: Tell us about some of the antics you guys got up to on set. R: I wasn’t actually personally around for as much as I could, but I know that it went structurally and carefully, it was thought out, it was cool, it wasn’t a mess it all went to plan, two days and it was done. I don’t know if there were ant antics because I don’t think there was much room to mess around, this is our money that we’re spending haha, and we were just anxious to get it done, there was

no misuse of funds.

be a bit ginger at times, in the right light.

DS: I’ve heard a few outrageous rumours and DS: Do you actually listen to Steve Hofmeyr like you to let us know if there is any truth to in secret? them. Is it true that Alastair is a mail order bride? R: No, but Kurt Darren, it’s a long story. R: No, he grew up in P.E, God fearing, no I’m kidding. DS: The boyish charm of Shortstraw seems DS: Is it true that if you play ‘Mo Money’ like it will never die, from the toys on your backwards it’s actually a 9-11 conspiracy theory? album art to the catchy fun loving lyrics. Tell R: Ja, I think you’ve got to discover that message us about some of the irresponsible pranks of for yourself. funny stories of tour life. R: I think one of the craziest was in The Karroo DS: Is it true that one of the band members on the way down, it was just us staying in this is actually a ginger with the plan to steal souls guest house and there was this creepy doll in at every show you play? the passage, a creepy porcelain doll. So we made R: I think Gad has got a little ginger in him, maybe a joke about how creepy this doll was, then we we should just keep an eye on that. My beard can were all in a room sleeping that night and our

old drummer Ollie, in the middle of the night had a night terror where he like screamed out and it freaked us out like you couldn’t believe. Oh my god we’re in the middle of The Karroo, there’s no life, you couldn’t see anything it’s just this house. DS: Where are some of the shows you’ve played over the years that have stood out? R: The ones that have stood out the most for us have actually been all the Oppikoppi shows, those have been like defining shows because each one was amazing. This last one that we did was the largest crowd we have ever played to. DS: This has been an absolute treat, lastly I just want to know what’s next? What’s happening at camp Shortstraw? Any big plans

for the summer and next year? R: We’re going to try do some more overseas stuff next year: We have taken a stance with the music videos, we kind of want it to be our key form of expression, regardless if it gets picked up on by radio, we want to make certain videos. We want to put some time into the video for ‘Good Winter’ which will come out beginning of next year, we want it to be almost a piece of video art. We’ve got a couple of fun ones, we’re going to try and see if we can shoot some stuff in Japan. The two defining things I think is the Japanese tour in October and then we’re going to do a good summer tour in December, it will be part of the Puma Happy Holiday tour, we’ll play the Rages and Cape Town.