Digital Soul December 2015

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Contents 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 Danielle Scheepers - Dance correspondent Ydaniellescheepers@gmail.coAm Natalie Mentor - Rock & Classical Y nataliementor@gmail.com Kamal Kweku Yakubu - The Sight of Things Y kymals@hotmail.com Nicole Nel - Miss Information

Cover

Kyle Watson Photographer: Natasha Gladwin Dear Creative

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Ed'sNote Another year bites the dust. Sayonara 2015 and good fu(|<ing riddance! This was most certainly a year packed chock-a-block full of “life experience”.

In this final issue of DS for 2015, we speak to a young DJ/producer who has already acquired “House Legend” status . You guessed it, it is none other than the handsome gent on our cover, Kyle Watson.

It is said that each ending brings a new beginning and in light of this statement, I would like to introduce a new column , a series by Miss Information titled “The War on Consciousness”, an incredibly interesting, if not informative, piece in a Zeitgeist fashion.

In our compilation of 30 of the best band logos, we look back at an era that may envoke a sense of nostalgia in many, an era when band-logos weren’t only branding by bands but also used by fans to identify with one another and setting themselves apart from the status quo.

Still on memory lane, we list the best Indie movie soundtracks of our time as well as Music’s most expensive pieces of memorabilia.

Newtown Knife Gang recently made a huge impression on me and as a result, appears on page 80.

This issue draws to a close, just as 2015 will in our short list of NYE events to look out for in Gauteng, Cape Town, the Eastern Cape and Kwa-Zulu Natal.

We wish you all a joyous Festive Season and a blessed year in 2016. Don’t drink and Drive, do no harm to yourself or others, rather give than receive, be humble, kind and if I may paraphrase Matthew Silver: “Love. Here. Now!”

Yolande

1

Wear the right clothing. You will need three sets of clothes for this category. You will also need a dark blue set of clothes consisting of pants, shirt, mask and gloves. Now you are going to need a white set of clothes (for snow) this will also consist of pants, shirt, mask and gloves. Last ,you will need a camouflage set (dark greens and browns will work too), and again this will include pants, shirt, mask, and gloves. Here's what your clothes should look like. Your pants need to be baggy (made out of pure cotton).

Your pants will also need to be pulled up till the bottom is just below your knees, then cover your showing skin with long socks (same color), (this will allow ease of movement and more stealthiness when you walk). Then

your shirt should be (pure cotton) be baggy enough to be silent but tight enough to be easy to move in.

Your mask can be anything that covers your face well. Lastly, your gloves have to be strong, tight fitting, and the fingers must be cut off.

How to become a

Ninja Spy

h . e t

y

2

Learn parkour. Parkour is getting to a place by going through obstacles.

This will help you escape or catch some one. To learn this you must have a strong body but there are books and movies that will teach you how to do parkour. Also there are many movies on youtube about parkour so check them out.

3

Train hard. Climb trees, do pullups, chin-ups, jogging, running, sprinting, jumping, landing, falling, stretching, push-ups, crunches, situps, obstacle courses, running through tires, swimming, climbing a rope, running then getting down on your stomach getting up and then running, crawling, rolling, sneaking, doing spying. In other words, there are hundreds of things you can do to train.

4

Practice escape tactics. These are things to use that if some one attacks you, or sees you. Carry a small bottle with sand (if needed, chili powder). That way if someone finds you, you can easily throw your sand in your enemy's eyes(put a cork with a string for pulling instead of a cap that you have to screw off).

http://www.wikihow.com/Be-a-Ninja-Spy

Miss Information THE WAR ON CONSCIOUSNESS - PART 1

The war on drugs:

This

is a war waged on our behalf. A “war” paid for with our hard earned tax. A “war” coordinated by the same police who should arrest and investigate criminals, murderers and rapists. Could you honestly say that are we convinced that the kind, generous people that run our government have waged a “war” to “protect” us? Why go through any trouble at all to “protect” us from ourselves?

What are the true dangers that we face when they “protect” us from possible “harm” associated with the use of drugs.

In terms of the goals stated by the “war on drugs” one must ask is the “war on drugs” truly an honest attempt of our government to “save us from ourselves” or is it the most successful attempt at killing our souls? ” Since the urge to seek altered states of consciousness, something as synonymous to us as sex & food, is a natural urge, we must then expect the masses to want access to it?

The fact that every 38 seconds (on average) a passive and certainly nonaggressive marijuana smoker is arrested, totaling to more than 32 million U.S. citizens alone since 1960. I would have expected a decrease in the rate which these “criminals” are being arrested to go down and not up? A sad fact however is

that over the last forty years or so, the use of drugs, the arrests made nor the crime levels have not decreased and the already full prisons are not getting any emptier?

Now, without even considering any possible therapeutic or healing properties, punishments are made to match the “danger” which the use of drugs may pose. Since highly addictive and psychotropic drugs such as heroin, Methamphetamine, LSD, DMT and Psilocybin are more “dangerous” and obviously attract much higher penalties.

The more arrests made and the increase in the use of drugs, the harsher the suppression and more stringent the punishments become.

What western societies have not quite picked up on yet, is that the more stringent and the harsher the suppression, the higher the statistics and arrests and drug use has skyrocketed? Another notable increase in arrests of non-violent users being arrested amounts to more than all violent crimes put together, so in essence, our police are using more resources to catch non-violent people?

Without mentioning the potential “harm” caused to the individual and regardless of the verdict. When any person is associated with drugs it will consequently limit, not only their future employment prospects, but will also prevent financial growth. The damage alone on their reputation and fear for a normal social or family life is in danger.

This is before it places their freedom at risk. Although we are all well aware that stoners aren’t necessarily aggressive or violent people, the suppression increases and so does the punishment.

Without boring you with all the information and statistics, which are readily available, I must point out that everything clearly points to the complete failure which the “war on drugs” has been. The criteria, which they themselves have set, should have improved the safety of the public or at the very least we should have seen a

decrease in the abuse of drugs?

If the “war on drugs” was a success then why are the statistics still increasing? Not even including those, who were for some fortunate reason, somehow escaped being a statistic, those who are truly lucky enough no to get arrested.

We are without a doubt all magnetically drawn to altered states of consciousness.

As spiritual and conscious being we are drawn to exploring our own consciousness.

A thing so personal and private. People will be attracted but, only a select group of people, will actually seek it out. Altered consciousness is achieved through many

mediums, meditation, rhythmic dancing, hypnosis and breathing exercises are just some of the ways of achieving an altered state. The easiest manner of achieving an altered state is through drugs.

Not all people will choose to use drugs and when mentioning the tobacco and alcohol models, equally as dangerous and harmful as drugs, yet there are still individuals who choose to use them. Access to the information, which is reliable, properly researched and complete with warnings of potential health hazards. If it is legal then why would the use of tobacco products plunder to an all-time low?

There are no armed police, no criminal sanctions and all the while, the use of

harmful drugs has risen exponentially?

The fact that our “reliable” source of drugs is only available on the black market (because they’re illegal). Dealers and gangsters of the most dangerous kind, an opening is made possible and this niche for them to operate within is unregulated and the safety of use is cut with every hand the drugs exchange.

If Legalized, should the use and availability be regulated, the reliability of the drugs and the sources are informative controlled and reliable, why if we give people the choice to continue to use or experience an altered state of being, something which we will naturally seek and probably enjoy within the privacy of our own home, what we do then shouldn’t be any of the government’s business anyway, what purpose does it serve knowing what the majority of their people do?

It makes me wonder… Is the government honestly attempting to decrease the harmful use of drugs? In my opinion this is this all just a façade, one that affects not only the drug users, but every other person as-well. They allow the mobsters to earn limitless amounts of money and create a criminally conscious environment by allowing all drug related crimes to affect society.

Keeping the” harmful” drugs illegal has not supressed the multi-billion dollar drug industry? The mobsters continue to reap the rewards, all while the hard earned public money is thrown at the police and the officials armed with permission to force their way into our homes.

The government is then intensifying security, which is minimising our freedom of movement. Potentially endangering a non-violent user and robbing him of his freedom. Who are the real winners and losers here?

According to the social conditioning and the clever controlling, the kind which was forced onto us, the promoting of the mega-industrial, car driven, money making, wealth accumulating, ego-driven social structure, the lives we live by. A lifestyle which has become essential and

although it remains statistically, just as dangerous to acquire, and equally unhealthy to experience. Compared to the temporary alterations, like the kind which drugs facilitate, is it really so harmful?

This is the earth polluting, mind conditioning “freedom”, the kind promoted by our government and ultimately a reason for the “need” for the “war on drugs”, the true source of harm, to us and to our home.

In my opinion, alcohol induced oblivions, although they do alter the minds state, are far less attractive than the psychotropic and visual experiences which these “harmful drugs” such as LSD and DMT facilitate. So would it not be obvious then to annihilate the black market and regulate the availability of drugs, cutting out the criminals and the black market on which they operate, why should “harmful drugs” not then become legal?

Almost all adult lifestyle choices have been condemned, when the masses of woman were burnt at the steak for their choices. A choice of lifestyle which, if we look back now, could have been nothing more than a whim, was most was a serious and deadly offence. Similarly, homosexuality was a genuinely feared and violently opposed, a choice in lifestyle which when legalized, lifted and freed millions. A lifestyle which was truly a burden, a paranoid and secretive fear in society. If we are the free thinking society, the one we like to associate ourselves with, why were any of these so strictly opposed at first?

Is it then not possible to then look back on this “war” that we will look at it in the same disgust as what we do the Spanish inquisition? Is it not possible then that we can truly be a free society? Where choice is not limited? A freedom which, if we are willing to accept limitations on our freedom. We are, with our consent, handing over the key to our soul. How could the actual fight overcome our most basic rights?

The truth behind the suppression, the aim of our government, is to legitimise the oppression and to intervene in every other aspect of your lives. The legitimising of the limitations imposed on your most sacred right, to take away your freedom of choice…

WORDS BY KAMAL KWEKU YAKUBU

The

sight

of

g thin s Hip Hop Misconstrued Misconceptions

In

this publication of the sight of things, we discuss the misconception of Hip Hop created by mainstream media – from correlating Hip Hop to gun violence, misogyny, to the misconception that rapping is easy. Hugh Masekela in a recently televised interview on BBC Hardtalk exclaimed that there is no original African music in Africa anymore.

Contemporary music in Africa according to Bra Hugh are all mostly imitations and spin of Africans imitating African Americans.

He pointed to hip hop in disgust.

If you ask the average middle-aged person what they think of hip hop culture they would probably say that “rap is more associated with the destruction of the community rather than poetry”. In fact, I have been told this by my own mother who is an avid poetry fan. Indeed, many people of all ages and from all strata of society would blindly correlate the lyrics in hip hop songs to a man going on a shooting spree in US public schools, dealing in drugs, misogyny, gun toting or of planting bombs around a city.

However, Hip hop is more than just a genre. If you ask someone who has engulfed themselves in the culture enough or someone who creates the music- they would say that hip hop is music, dance, art, dialogue among many other things.

In a nutshell, if you ask people who are uneducated in hip hop culture you’d hear things such as ignorance, violence and pestilence but if you ask someone who has studied hip hop culture you would hear things such as aspire, desire and inspire.

Why is this the case?

Many of the misconceptions that may have someone correlate hip hop with violence may be because of the image and coverage that hip hop is given by the media.

Arguably, one of the most momentous and memorable hip hop moments in recent

memory are the murders of rappers Tupac Amaru Shakur and Christopher “Biggie Smalls” Wallace. Many, many look upon these deaths and see what they assume is a fair and balanced picture of what hip hop is all about: murder, drugs, sex and money.

LA Times reporter, Mikael Woods, for instance states that the times of Tupac and Biggie, although not completely, are over. The deaths of these two icons, along with the turn of the century, brought a new face to Hip Hop music. Wood writes “At a moment in which the depiction of violence in other forms of media appears increasingly graphic, much of the conflict in hip-hop has moved inward, its players fighting battles of ideas and emotions.”

The Gangsta Rap movement that was headed by Tupac and Biggie in the late 90’s has come and gone and been replaced by more conscious lyrics by the likes of Common, Nas, Jay-Z, Kanye West in the early 00’s. Many may say that the music has no intellectual value due to the fact that many of the artists are uneducated or have minimal education. Albeit, this may be true this fact can also be a testament to the hard work and dedication that these artists have for their crafts. A prime example is a rapper by the name of Nasir Jones, or, better known by his stage name, Nas. Nas left school after 8th grade against his mother’s wishes to pursue a rap career.

What he lacked in basic Math, English, and Science skills he made up for with his selfmotivated studies in language and history, mainly pertaining to African American history. Nas even went as far as spending time reading the dictionary to expand his vocabulary that he could incorporate in his intricate, clever, and witty rhymes.

Another very flawed argument is that rapping takes no skill whatsoever, when in fact, when done correctly, certain styles of rapping can be extremely difficult without knowledge in a wide variety of subjects and knowledge in how to manipulate language.

Freestyling or the art of rhyming on the spot, to even the most experienced rapper,

can be difficult and near impossible, unless your name happens to be Mos Def AKA Yasiin Bey, a respected rapper who is exceptionally skilled in the art of freestyle rapping. Freestyling can be a fun thing to do when you have time on your hands and it can be gritty and competitive. When freestyling, you must be quick on your feet and be able to access knowledge on everything you know within the blink of an eye. Therefore, the argument that “anyone can do it” is flawed and not very thorough.

It is true that Hip Hop music does present many questionable themes such as misogyny, drug use, over consumption of alcohol and gang violence and even praises it at times, these themes are only presented in mainstream artist’s music. Many people who understand Hip Hop culture would not name these mainstream artists who praise these ideals as what Hip Hop stands for. Many of these mainstream artists have underlying agendas that include fame, monetary and materialistic ideals rather than the passion and expressionism and love for the art that Hip Hop culture was founded on in the 80’s. For every artist rapping about demeaning women, praise of alcohol and drug abuse, there are 20 artists rapping about their struggles and their successes, their lowest points and their highest points, their losses and their wins.

Today, we have artists such as J. Cole rapping about making it in the rap industry without having to sell drugs, and rapping about how even though he has money now he doesn’t feel the need to fix his crooked smile, Blu rapping about the struggles of being an underground independent artist, but the fulfilment of being able to rap for his love of the craft, and Nas who went from rapping about the slums of Queensbridge to rapping about the difficulties of being a father of a teenage daughter. Instead of sticking to the norm and remaining ignorant look for the good in all things.

Don’t conform to the idea that Hip Hop is riddled with ignorance and violence, go out and find the artists that resemble what Hip Hop culture is really about; Highly Intelligent People Helping Others Persevere through life and its struggles.

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30BEST band

logos

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5

W

hen I was in high school, more than one book, folder and suitcase got covered with logos of my favorite bands. These logos seemed to represent more than just the bands they belonged to. Some, like The Pixies’ winged P were true logos, while others were just recreations of the fonts used on album covers. But whether plastered on the front of a t-shirt or scribbled on a binder, there was always something deeply satisfying about identifying with the brand of a band— rather than a clothing line icon or just “Trapper Keeper.”

There’s a Golden Age of band logos, and unless you’re a big hardcore/metal fan— we’re not living in it. However, the band logo isn’t completely dead, and a few of the images we’ve compiled are from relatively new groups. Today, we celebrate that lovely intersection of visual art and music—the band logo

1. Blitzen Trapper Furr 2. Vintage Trouble 3. Emerson Lake&Palmer 4. Daft Punk 5. Radio Head 6. Red Hot Chilli Peppers 7. Nirvana 8. Dead Kennedys

7

8

11

9. Pixies 10. New York Dolls 11. Ozzy Osbourne 12. Tne Rolling Stones 13. Deadmau5 14. The Doors 15. Aerosmith 16. Led Zeppelin 17. KISS

9

10 13

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16

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18

21

18.

18. Muse Muse 19.

The 19. TheBeat Be 20.

Metallica 20. Metall 21. The Sciss 21. The Sc 22. Sex Pisto ters 23. Mastodo 22. Sex Pis 24. Pink Floy 23. The Masto 25.

Strok 24.

Pink 26. ACDC F 25.Ramones The St 27.

26. Grateful ACDC 28.

27. The Ramon 29.

Who 30.

28. Misfits Gratefu

19 20

29. The W

27

25

26

22

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tles eatles alica sor Sisters cissor Sis-

ols on stols yd odon kes

23

Floyd trokes s

Dead ones

ul Dead Who 24 29

28

30

Leilah Kirsten IMAGES BY

WORDS BY

FAYROS JAFFER

DANIELLE SCHEEPERS

In motion

You

stand firmly planted on a plateau and look beyond the horizon of our great city.

The sky is a blush pink with shadings of marigold. Your heart pounds as you inhale the breeze which embraces and congratulates you on your perseverance. You did it, you conquered the mountain. Your spirit soars, but not in singularity, you have forgotten that every fibre of your anatomy pulled together to position you here...on top of the world.

Even though this is no small feat, we take for granted our abilities to use our limbs and feel endorphins pulsate through us. Most of us perform pedestrian movements daily, completely unaware of the state our bodies are in. I say most, because there are exceptions; those that lead the charge in physical selfawareness and improvement. It was my pleasure to be given insight into the journey of a local mover and shaker, (pardon the pun) this past week. After a particularly expressive contemporary dance class, we strolled over to

the nearest cafe and enjoyed our lattes in the midst of customers caught in their daily dance.

I have known about Leilah and her work indirectly for a number of years and now sat looking at her serene collectedness, trying to discern what has made this inspiring woman who she is. It is clear that she is comfortable in her own skin and this puts those around her at ease. Translating this to the corporate world, Leilah became the owner of her own wellness related business. Through it, she has challenged the conventional training methods of those in the health and wellness industry. This is done by using her extensive dance background as well as personal training/ yoga/ pilates to work through restorative movement techniques. It is a kinder approach to movement and judging by the positive feedback and smiling ladies on her website, it seems to be working! Next year will officially be the second year of actively being a business owner, which apparently has not come without challenges.

According to her, much of the journey has been carved through trial and error, allowing it to constantly shift. ’It’s not really about me; I just want to create a safe space for my clients; anyone who

wants to come and move.’

Not only is she creating a safe space for those who are new to exploring movement, she has recently pioneered an effective way of assisting the larger dance community through a ‘skills exchange’ type environment. On Wednesday mornings in Rondebosch, you will find a studio full of Cape Town’s talented dance scene. A schedule is plotted weeks before the time and then posted on social media.

Different dancers teach weekly on a voluntary basis and those partaking each contribute to the hiring costs of the space. It is ‘donations’ based and the teacher in question inevitably leaves with an extra little sum. A great initiative by Darkroom Contemporary’s Artistic Director, Louise Coetzer called the artists to fund art by donating to an upcoming project. I daresay it gave some dignity back to those who know what a struggle funding arts in our country is; ie. every South African performer with buckets of talent but very little capital.

The department of Arts and Culture pledged to contribute R200 to every R100 raised through a Thundafund account. Through engaging those who are passionate about dance, there was a ‘fast-forward’ in funds.

With most of the attendees being professional freelance performers who constantly need to hone their craft but cannot afford exorbitant fees, it is the perfect long term soloution to periods of inactivity. The classes also facilitate connecting with like minded, talented individuals and possibly leading to collaborative efforts in the future.

I am honoured to state that Leilah and myself share a commonality, having both graduated from the Cape Academy of Performing Arts. This private college is centred around the Performing Arts and run by a team of lecturers who

highly experienced in their respective fields and lead by founding Director Debbie Turner. It is a very structured environment which includes classical ballet training six days a week. Upon graduation, one’s framed photograph is hung on a wall in the main studio as a commemoration marking your achievement.

I had looked up those portraits many times before attempting grande jetes, and wondered who they were and where life has taken them. Particularly Leilah, who’s dark stare held a gravitas and beauty which seemed untimely. Although her path lead away from the streamlined uniformity which is aspired to at CAPA, she is grateful for her years there as they set her up well for future ventures. Particularly studying under ‘Release Technique’ teacher and choreographer Ananda Fuchs and others in the same vein.

Thereafter, Leilah went on to attempt a year of Corporate Work which she describes as ‘soul destroying’; I tend to agree. Fortunately she then had the opportunity to audition for Jazzart Dance Theatre, and was accepted on a scholarship basis.

This was quite an interesting turn as she had come from a privileged environment where her parents carried her fees. Also, this brought her into contact with people she wouldn’t normally interact with. A group of individuals who all had something unique to contribute. It was in this freeing space that she was able to learn the skill of collaboration and be inspired by what can be done when movement stems from an honest place. She admits to spending most of her time at Jazzart in tears, ‘not because I was sad, but because I was so happy!’ So what is she moving into next? ‘I feel like I’m in motion, I’m bounding forward.

Sometimes I take huge leaps backward. I don’t know where I’m going, but I feel like I’m falling in love with dance again; it’s my first love.’ She has recently begun rehearsals with YAOTL Physical Art company on a work called ‘LUKAS’, it promises to be incredible.. will you follow? www.leilahkirsten.com Contemporary Dance Classes Cape Town- facebook https://www.facebook.com/groups/176788032479307/

music's most

memorabilia

What you wont find in your Christmas stockin WORDS BY CHRISTELLE SCHEEPERS

a

ng

So

the pesky Jingle Bell season is upon us. It’s gahd awful plastic trimmings, Santa’s little helpers and fucking snowflakes in South Africa (direct shot aimed at V&A Waterfront) we are going to have to put with bombardment of Christmas carols everywhere. No I am not dreaming of a white Christmas unless of course that means spending Christmas in Benoni.

Even though I might be channelling a bit of the Grinch right about now few things are awesome as seeing the reaction on someone’s face when you buy them a gift that they REALLY wanted. While we might be against “TheMan” in these here parts, I thought it would fun to compile the most epic Christmas shopping list. The kind of shopping list will cause Santa’s Workshop to have to file for Insolvency.

John Lennon’s Rolls Royce Phantom V sold for $20 000 000

Michael Jackson’s jacket worn in the “Thriller” music video was sold for a whopping £1 100 000

Jimi Hendrix’ Fender sold by Sotheby’s for $2 000 000

Our DS Christmas wish list: The most expensive music memorabilia ever bought.

Yes, it’s the kind of gifts that will result in us plebeians having to bust our chops ad infinitum to settle the tab. These items were randomly selected and every item is tantamount to the sheer awesomeness that is music. Drumroll please:

a leather case that Holly built himself, the guitar was sold at Sotheby’s in London for £139 658 (R3 075 476.) Holly died in a plane crash along with Ritchie Valens and JP (The Big Popper) Richardson in 1959.

The single most expensive piece of music memorabilia sold was the handwritten sheet music for Beethoven’s Ninth Symphony.

Whilst the piece has considerable historical significance, it is needless to say very old too. Taking these factors in account, it is no surprise that the piece was billed at an eye watering $3 000 000 (R42 000 000.)

with the Beatles) features readily on these lists. The two pieces of his that make it onto this list are also the only pieces of clothing to be featured, i.e. the jacket he wore in the “Thriller” music video and the glove that he wore when he introduced his ever popular Moonwalk to the world. The items were sold for £1 100 000 (R24 200 000) and $420 000 (R5 880 000) respectively.

The doodled sheet, complete with appointment reminders, was auctioned off

by Sotheby’s in 2014. The handwritten In 2004 Eric Clapton’s favourite draft of the legendary Bob Dylan’s lyrics of Stratocaster, called “Blackie”, was sold on “Like A Rolling Stone” fetched a gargantuan auction by Christies for $959 500 £1 200 000 (R26 400 000) on the auction (R13 433 000). The Strat was said to be his block. favourite guitar from 1973 – 1985. “Blackie” Another music icon who is an absolute used in the recording of epic tracks like must have on this list is Michael Jackson “Cocaine” and “I shot the sheriff.” and luckily for us, the King of Pop (along

Our second Stratocaster on the list belong to Jimi Hendrix. The guitar in question is the very same Strat that he played at Woodstock with. Bought from Sotheby’s by Microsoft’s Paul Allen, the cream Fender reached a cool $2 000 000 (R28 000 000) on the block in 2012 and was sold with a letter of authenticity signed by Mitch Mitchell, Hendrix’s drummer.

Having been assassinated on 8 December 1980, this list would not be complete without John Lennon’s Rolls Royce Phantom V. Bought by Lennon in 1965, the car was said to have had artists like the Moody Blues and The Rolling Stones spend time in it.

While it was originally sold for $2 300 000 (R32 200 000) in 1985, it is speculated that it could be sold for The lyrics to the heart wrenching song $20 000 000 (R280 000 000) today. John “Candle In The Wind” written by Bernie Lennon will always be remembered as Taupin were auctioned off in 1998 by more than just a rock star with “Imagine” Christie’s for £278 512 (R6 127 264.) The set still considered to be one of the greatest included the handwritten original, written songs ever written. “…Imagine all the for Marilyn Monroe, as well as the rewritten people living life in peace…” version penned after the tragic death of Memorabilia has always played an Princess Diana. Both were sung by the important part in connecting musicians incomparable Sir Elton John. and sports stars with their fans. I look Even though his name may be on the list of forward to see what else’s price tag could those who died too young and too soon, cause me to choke me on it, who knows…

Buddy Holly’s Acoustic Gibson has managed maybe the owner of Lennon’s Phantom to make it onto the list of most expensive might decide they no longer wish to have music memorabilia ever bought. Tooled in it in their collection.

James Franco in Springbreakers WORDS BY DAISY JONES FOR

best Indie movie http://www.dazeddigital.com/

The

soundtracks of our time

Kirsten Dunst in The Virgin Suicides

THE VIRGIN SUICIDES (1999) As the 90s drew to a close, French duo Air invented a new sound for suburban dysfunction and defined an era with their hopelessly dreamy original film score for Sofia Coppola’s dark and whimsical directorial debut The Virgin Suicides.

When Air spoke about the iconic soundtrack earlier this year, they said, “I think the real spirit of the soundtrack is this fascination with death and with having your spirit floating when you die and how you may suddenly feel free and liberated from earth, from all you are and the adult’s world that you actually hate.”

David Bowie in We Children of Bahnhof

ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004) Would Michel Gondry’s breakout film Eternal Sunshine of the Spotless Mind be so deeply gut-wrenching if it wasn’t for Beck’s bleak cover of “Everybody Got to Learn Sometime”, a song that manages to embody all the disappointment, hope and regret of real heartbreak? Who knows, but the Academy Award-winning soundtrack has become one of the most iconic (and tear-inducing) in the past decade. In a 2004 interview with Dazed, Gondry spoke about the film’s use of memories: “I was reading in a book about the brain that we have the feeling of nostalgia when we think of a memory because the mind knows it is DRIVE (2011) a moment of time that will never appear The most memorable part of Nicolas again.” *Sob* Winding Refn’s neo-noir indie thriller Drive was undoubtedly it’s TRAINSPOTTING (1996) soundtrack, a deeply atmospheric collection of electronic gems that has since become From the drawling drums of Iggy Pop’s iconic. From the lush, distorted synthesisers “Nightclubbing” to the heart-thumping, and bubbling piano of Cliff Martinez’ original pill-popping synth of Underworld’s film score, to the witching-hour ambience “Born Slippy” and the slow-burning of Kavinsky’s “Nightcall” and Desire’s piano chords of Blur’s most underrated achingly seductive “Under Your Spell”, this track “Sing”, the soundtrack for Danny was the soundtrack that spawned a wave Boyle’s Trainspotting is perfectly crafted of cinematic, French-style electronica and hugely influential. With its swaggering and set the bar high for musicians and (and depressing) ode to British drug filmmakers alike. Refn also spoke about culture, the soundtrack blends the gritty how he used the theme song from slavery realism and flagrant surrealism of the film doc “Goodbye Uncle Tom”, adding: “Nobody seamlessly, managing to somehow define knows unless I tell them.” an era and remain timeless simultaneously.

SPRING BREAKERS (2013) Has there been a better scene in the past year than when a gold-toothed James Franco rasped through Britney Spears’ “Everytime” on a piano by the beach in Harmony Korine’s Spring Breakers?

The rest of the musical fabric of the film is equally as bizarre but brilliant, from the barrage of trap kings Gucci Mane and Waka Flocka Flame to a previously unimaginable collaborative OST between cult composer Cliff Martinez and EDM megastar Skrillex.

GARDEN STATE (2004) Zach Braff’s American indie Garden State has a soundtrack that’s experienced a kind of low-key enduring legacy over the past decade. And while its twee-ness is not to everybody’s taste, it’s hard not to get completely drawn in by the hazy euphoria of The Shins’ “Caring is Creepy” or the heavy-lidded numbness of Zero 7’s “In the Waiting Line”. “Essentially, I made a mix CD with all of the music that I felt was scoring my life at the time I was writing the screenplay,” Braff told IGN, before promptly winning a Grammy Award.

CHRISTIANE F. – WE CHILDREN FROM BAHNHOF ZOO (1981) This bleak German classic acquired cult status not only for raising awareness of western Europe’s heroin epidemic, but also for its beautiful Bowie-centric soundtrack, who also appears in the film as himself. On a side note, the film is based on the autobiographical book of the same name, and the real Christiane F. tried heroin for the first time at a David Bowie concert, which is a scene replicated in the film with the real David Bowie (weird).

DOGTOWN AND Z-BOYS (2001) As a documentary, Stacy Peralta’s influential skate film Dogtown and Z-Boys is a bit of an anomaly on this list, but the soundtrack is incredible. From the glitter-soaked glamour of T-Rex to the punch-heavy riffs of Black Sabbath and the throbbing, proto-punk brilliance of Iggy and the Stooges, each 1970s throwback track gives the film a woozy romanticism that makes you wish you were there at that particular time and place.

MOMMY (2014) Written down, the soundtrack to Xavier Dolan’s Canadian masterpiece Mommy sounds like a self-respecting music lover’s worst nightmare. From mall-rockers Simple Plan to over-killed track “Wonderwall”

by Oasis to Dido’s “White Flag” (yes, Dido).

But – bear with me – in the film, it works perfectly and reflects the tastes of its white, working-class protagonist. “Given the background and social strata that the characters come from, you can’t really imagine that they’ve gone shopping lately,” Dolan told Vulture. “We went for that very normcore, fashionless era in history, the early 2000s.” So essentially, the soundtrack is supposed to be basic, and we love it.

THIS IS ENGLAND (2006) Shane Meadows’ 2006 masterpiece This is England is best known for its grim, grey-skied realism and bleakly beautiful cinematography, but its skinhead-inspired soundtrack is too good to ignore. From the infectious reggae beats of Toots & the Maytals “54–46 Was My Number” to the dark romanticism of Soft Cell’s “Tainted Love”, the musical choices in the film define 1980s British subculture as much as the part-questionable, part-stylish outfits.

Follow Daisy Jones on Twitter @daisythejones

Cast of Trainspotting

Uncensored interview with a Comic Maestro

Andre

trantraal WORDS BY CHRISTELLE SCHEEPERS

It

was one of those random chance encounters that led me to meeting Andre Trantraal, one half of the epic Trantraal brothers. I popped down to my local, the Kimberly Hotel for a beer and some rugby. While sipping on my draught a recently returned expat starts chatting to me. We start talking politics and on my right sits Andre who can no longer contain himself and we all start chatting. I strike journo gold when Andre says that he is a cartoonist for the Cape Times. Immediately I ask for an interview. A few weeks later, set to the backdrop of the #FeesMustFall protest at Parliament, we meet and get our chat on.

DS Who is Andre Trantraal and where does he come from, etc.

AT Well, I am a cartoonist and a writer and I am originally from Bishop Lavis, but I grew up in Mitchell’s Plain, now I live in Lansdowne.

DS How did you get into cartoons/comics?

AT One of the first books I read at the public library was an Asterix comic and I kind of immediately feel in love with the medium. It was just something that from the very beginning I took very seriously and felt that I wanted to do. What I want to do and what I have done is comics, I kind of stumbled into cartooning.

We published a comic in 2010 called “Coloureds” and as a result of you know that becoming very popular in CPT, we were commissioned by the Cape Times to come up with a cartoon strip for them and the right cartoon strip called Richenbaums, we’ve been doing for past 5 years.

DS What is your artistic process?

AT Comics is very difficult, a very laborious process creating comics. My basic process is, because I collaborate making comics can be like working in a band, everyone does a specialist function. But the way the Nathan and I work is Oasis, it’s Liam and Noel Gallagher (he laughs), I do mean the fighting it’s two terrible fucking egos coming together, but then for the most part it’s also this exchange of ideas that kind of that makes it easier when you are working with your brother. It’s easier to be dismissive about shitty ideas.

DS You have your own regular newspaper cartoon strip, please tell us what are they are about?

AT The Richenbaums is about a family when my mom was growing up in Bishop Lavis. There was basically this family that lived next door. They were very weird.

She used to be a “huiskind” so they loved her and she knew them all very well. They also had some German fucking sounding surname, so we thought that we would go with that and just change it a little bit. We thought it was nice ‘cause when you are coloured then usually your fucking surname is fucking Adams or fucking Johnson or something like that. I thought that it’s almost an aristocratic sounding surname is nice, there’s congruity to it.

DS Has there ever been a time that you thought, I can’t a fuck publish this and then did it anyway?

AT Yes, Coloureds. I was astonished by the level of interest in Coloureds and it’s still selling, five years after we published. People are still buying it regularly and then come back to the bookshop and ask when the next one is coming out. (Available at any good

independent bookshop in CPT) DS How do you feel about the status quo, settling or doing what is socially acceptable?

AT I could never do that. I was involved with a German chick for a while, recently she told me because all of her friends are settling down now and because she is the only one who is not married. She asked me if I want to come and stay with her. She said: “I don’t care what kind of work you do here, ‘cause you don’t earn so much money in the creative field, it’s not going to be much less working here as a driver or in a supermarket.” She was willing to go full out, have baby together I could stay there, study there, but then she said that: “you would have to give up what you are doing now.” For me, that was never going to happen, because this is me and this is what I do. I am an artist.

DS What was the most random “a-ha!” moment that led to an epic ‘toon?

AT I might say one thing now and another thing at another time. So I’ll just say: one of the reasons that I am into art and film and music and the creative films that I love and I am very passionate ut is because you always find confirmation in there of who you are. Is it okay to be the way that I am?

So you are looking for people who have a similar outlook on life, similar paradigms.

For me there are a lot of different moments I can mention.

DS What subject matter that is deemed taboo would you still wish to write about.

AT It’s a question of how many taboos are left? I don’t know if there are still subjects that can be viewed as taboo, ‘cause people write about everything. Someone like Nabokov for example writes about child abuse, essentially, in a way that is extremely fucking entertaining ‘cause there’s no doubt that Lolita is one of the most entertaining books ever written. For me, I have a lot of stories that I want to tell that challenges the dominant narrative.

DS Digital or manual?

AT Both, it’s great cause it’s a combination of traditional ways of illustrating and also the digital side is where we put in the colour and the words. I would prefer to do the words by hand, but it takes too long.

DS Any plans on animating some of your ‘toons?

AT I am definitely very interested in animation, some of my favourite fucking films are animated.

DS You have released a few comic books, how have they been received?

AT We had an incredible response to “Coloureds” you wouldn’t believe. The biggest fans of “Coloureds” I was expecting to be, you know, Bruin mense, but that did not happen. The surprising thing for me that came out of it was that the responses were mostly from white English middle class, who would send me or Nathan emails, saying that: “We did not grow up in poverty like you guys did, but what you are describing there, the situation, the abusive father and that, that’s exactly what I had.” It was amazing that you could connect with people on that level. I was like wow, I am really connecting with these mofo’s.

DS Not wishing to make things political, what do you think about #FeesMustFall?

AT It’s fucking ridiculous. How can you fucking charge the fucking kids fucking R45k? How many people can afford that? There’s fucking two people that can afford in this entire fucking country. I definitely feel sympathy for the students and what’s happening right now at the campuses, I am very much in favour of everything that’s happening in terms of, kind of resurgence of political activism at universities. I am very much in favour of challenging the establishment, the university establishment as much as the political establishment.

The Richenbaums is published in the Cape Times every Friday.

Didg

WORDS BY CHRISTELLE SCHEEPERS

Instrument(s) of the month

Djembes

& geridoos

With

the Summer season finally on our door step, the time for crazy outdoor festivals, moonlight meditations and fire poi on the epic beaches of the Mother City is upon us. As we prepare ourselves for long hot summer days of partying from sunrise ‘til sunset and vice versa, we start dusting off our tents for outdoor trance festivals, shaking the cobwebs and spiders out of our cooler boxes and of course making sure that our bongs are in perfect working order.

Of all the things that we are ticking off our summer prep list we definitely cannot forget our musical instruments. Seeing as how I already told you dudes and dudettes how the acoustic guitar works what else, when you and your homies and their cherries are chilling around a bonfire sipping on cold ones and making music, would you see … possibly a didgeridoo and definitely a jembe or two.

Let’s turn our eyes to our neighbours way down south, that pebble in the pond where kangaroos and the world’s largest collection of dangerous animals dwell. I’m talking about the land down under, home of the didgeridoo. According to archaeologists the earliest date of a didge being used is roughly 1000 years ago. Originally used by the indigenous people of Australia, the Aborigines, the didge has now become common place across the world.

Didgeridoos are produced from a hollow hardwood tree trunk or branch. The piece is cut off, the bark stripped and a rim of beeswax, which can be moulded by the heat

of the player’s lips, added to the mouthpiece end of the didge. The didge can be decorated or not and non-traditional didge’s can be made from materials like PVC. The sound of didge is created by means of series of vibrations, created by the player’s lips, down the tube of the didge. Unlike Western wind instruments, the didge has a non-harmonic spacing of it resonances, which means that notes produces are not assisted by the instrument. Notes are produced by means of a constant vibrations, which is created in the same manner as Western brass instruments, by the player pressing his lips together and blowing wind through the mouthpiece. This continuous nature of the songs played is possible though a technique known as circular breathing. By replenishing the air in his lungs through his nose while expelling it through his cheeks and ultimately mouth, the player is able to create the continuous flow of air that is necessary to create the vibration needed to create the didge’s signature drone sound.

It is also possible for players of the didge to replicate other sounds by introducing a vocalisation to the drone.

Next I wish to turn my attention to the ever popular jembe. Now I am sure that most of you have at one stage in your life, perhaps drunk AF at a pool party or even chilling in a varsity dorm room, attempted playing a jembe. While most people are rather skilled at it, to the extent that they have their own drums participate in drumming circles, etc. the rest of us are sadly rhythmically challenge and therefore incapable of drumming a beat. *SIGH*

The jembe drum finds its origins in West Africa, Mali to be exact, and has been played since 1200 AD. Oddly enough, the jembe only made it into western culture in 1952.

Due to its goblet shape, it is believe that the jembe may have started out as a mortar and have been used in the production of food. The construct of the jembe includes the drum body, usually made of hardwood, covered with a skin (most commonly goatskin) and rope-tuned. The jembe (je = gather + bé = peace) is traditionally 30-38cm in diameter, clocks in at a height of 5863 cm and can weigh anywhere between 5 and 13 kgs.

Not only is the jembe a versatile drum, ‘cause of the wide range of sound frequencies that the drums can produce, but it also has an incredible range as far as its volume is concerned. With the size of the drum

a determining factor, the jembe is a Helmholtz Resonator. The pitch of the tones is directly impacted by the tension of the skin. Different sounds are produced by striking the drum on different parts of the skin with different parts of the hand: Tone and slap are created by striking the edge of the drum with the fingers whereas the bass sounds are created by hitting the heel of the palm or fingers at the centre of the drum. It is very capable of producing up to 105 dB (roughly the volume of a chainsaw at 1m away) if the jembe is struck by a more skilled player.

So now you guys are on par with how the instruments you’ll be seeing around this party season work.

On behalf of everyone here at DS we wish you an awesome December. Here’s to one long, epic party!

WORDS BY YOLANDE GYPSYCHILD

The

SeXT

TonS

At

the age of 5, Jamie Lee Sexton’s father played Nat King Cole’s “Unforgettable” for his daughter. This was the moment it became clear - she would become a singer, it would be her destiny.

Today she owns a recording label with her partner called Stella June PTY Ltd., and has been performing with her band, The Sextons for 5 years.

I catch up with Jamie Lee Sexton to talk about her love of music, passion and inspiration DS: Have you released any EP’s, albums or tracks?

JLS: Yes, just released The Sextons debut album Welcome to forever. Very exciting!!

with such precision and it projects a sense of expression that I get lost in every time. It’s feels like I’m floating on a boat, going out to the ocean and never coming back.

DS: Please describe your sound as you would to a person who has no frame of reference to what music is.

JLS: “Music, what emotions sound like” I think this quote is a great reflection of our sound...

Our is a combination of singer/songwriter, folk, jazz, reggae, progressive rock, blues and funk. All of these elements and varied genres inspire our sound. All the different influences musically is a great combination for a unique sound... Also as a song writer, the sound/ mood of the song is depicted by the contents of the lyrics. The story more often then not displays the mood and sets the scene.

DS: Why? Why do you do it?

JLS: I don’t have or want to have any other choice. This is what my mind, body and soul will allow and want me to do.

Why do I do it? I am completely obsessed and in love with music, performance, acting anything that is related to art! Ever since I was a kid I knew my life would be different, I knew I thought and saw the world differently and I truly believe music is therapy. I hope my music can touch and change some one else’s life the way it has touched and uttered my life.

DS: Do you have a day job?

JLS: Yes I do, I am a part time music teacherVocals, piano and guitar. It’s loads of fun!!

DS: Do you pre-plan set lists before gigs?

JLS: Yes and no.

70% of the time we do, because we like to be prepared but the set never stays the same.

There are always changes during the set, and that’s what makes it exciting! Change it up unexpectedly and magic happens... For the rest of the 30% winging it is fun!!

DS: Your biggest gig played to date?

JLS: The biggest show I have played would definitely be Oppikoppi. I was fortunate enough to play two shows on the same day Skelem stage and Top bar stage and both where insane! Crazy beautiful! A surplus of emotions and people!

DS: Tell us about the best gig you ever played?

JLS: I’ve got two. The first one was in Durban at Zimbali estate. The crowd was hungry for music! The wanted to get down and nasty. The stage and lighting was incredible and the crowd was exuding such DS: Have you ever heard a piece of music an infectious energy that spilled onto the that really moved you? If yes, please tell stage and into the music. It’s was crazy!

Then the second one was the old Bohemian us about it?

JLS: Fantastic question! There are so many in Melville, as a student i used to play there pieces but I will try only mention one. “Clair often and those nights were priceless. Just de Lune” by Claude Debussy. The first time I me, my guitar and my stories. Playing there heard “Claire de Lune” I cried, his use of was like watching a play. Familiar faces, old structure and proportion with in the suite is spaces, cheap beer, egg boxes and smells that stifling! And the reason I love this piece so is may or may have not been part of the because it plays with time and space through ambiance. music, it shifts from one thought to the next Timeless...

pin point which one is the greatest!! I don’t think there is one, but if I had to pick I would say Joni Mitchell. She has been an immense inspiration since I can remember. Joni Mitchell had polio as a child, so this made it very hard for her to form traditional guitar chords. She made up her own tuning and her own chords, and sometimes played a dulcimer, which is why it is so difficult to figure out many of her songs on guitar. The shift between key signatures instrumentally DS: Who, in your opinion, is the world’s and vocally and the change in her constructs make her melodies untouchable, inimitable, greatest artist of all time?

JLS: Very tough question! There are so fully recognizable and thought provoking to many great artists in the world!! It’s hard to say the least. Many musicians use the minor DS: Which artists have you been listening to lately?

JLS: Here’s a list: Simon and Garfunkel Rumer Kendrick Lamar Stevie Nicks Feist Sipho Hotstix Mabuse Joni Mitchell

as a sad chord or key to write for a lack of a better word “sad” songs. Joni Mitchell was one of the first musicians to turn that on its head. Her melodies, vocal ability and subject matter are always, well most of the time in a juxtaposition, and that is what I love about her music. The thought process behind the music is challenging!

A lot of critics refer to her music as ‘Sad girl’ or ‘Broken hearted’ music but in my opinion it’s brave music. She has no fear, her life experiences are her songs and vice versa.

She has sold millions of records and continues to, she has had a massive influence on female singers and song writers and has

changed the way we view a broken heart forever.

DS: Any big gigs or releases in the near future?

JLS: My biggest release was the release of our debut album ‘Welcome to forever’. It was released on iTunes and many other streaming platforms on the 23 Oct 2015.

I-Tunes: Listen to Welcome to Forever by The Sextons- https://itun.es/za/eykzTwitter: @WeRTheSextons Instagram: Jamieleesexton Facebook:

Rick Burg Featured Photographer

Rick Burg’s first joy in photography started when he was only a youngster.

He got his first Kodak Digital Camera in 2005 for his 13th birthday. In 2006 his passion had grown rapidly when he won his first Wimpy voucher at a local newspaper for photo of the week. He then dappled in a couple of genres in the photography industry following some more experienced photographers trying to compare their level of quality to his own.

Nevertheless, his eyes did not miss a thing. His lens became his third eye and sixth sense, never doing a single thing without his camera in hand. “I believed that every one of my images were masterpieces. I ended up printing and framing as many as my allowance would allow. I to this day argue with myself for hours trying to convince myself that it can be done.

Often frustrated and despondent my stubborn nature provides me with positive results.”

Rick recently started a new journey on the road to building his legacy, enjoying the taste of amateur filming and video production. Although not a master at it… yet, he firmly believes that persistence and dedication will make the dream come true.

“My devotion to capturing the soul of every inch that enters the ends of my lens will probably be the one thing in life that I will always pursue.

I take pride when I finally hit the snap button just in time to seize that breath taking moment and call it my art and see the joy and delight that it brings over others.

I think it is safe to say that my life has been dedicated to the body of my camera.”

Please view my latest work on my Facebook.com profile and feel free to add me as a friend or pop a message to my inbox.

Visit: www.facebook.com/rickburgphotography

Drive car my

Disco Edition WORDS BY CHRISTELLE SCHEEPERS

e r

n

Seeing

as how this issue is our party issue, I have decided to dedicate this edition of Drive My Car to one of the biggest decades in the history of party: the 70s. In terms of music and cars, the 70s saw a couple of remarkable shifts and changes in that which was considered the norm at the time. While the decade may be responsible for yielding some pretty spectacular music and musicians, this edition of Drive My Car I’ll be focussing on bell-bottoms, gold chains, hairy chest, dance floors made of lights and falsetto voices… that’s right were are talking Disco, baby.

The 70s was in essence the decade that Rock music dominated the international music scene and there’s no surprise there as bands like Led Zeppelin and Pink Floyd were on top of their game at that time and while I love to rock, I was surprised to find that the Disco movement was in fact established to rebel said domination.

You know how we love a good rebellion here at DS. Disco music was a variable melting pot of different get-off-yourass-and-shake-it musical genres. These genres included soul, salsa, funk and pop.

Disco, however, was way more than just the music, Disco was a movement, it was a style, it was an underground way of life that was embraced by minorities such as gays, Italians, blacks and even women. Many of the early practitioners of Disco were admirers of the hippy movement of the 60s and they subsequently incorporated facets of the psychedelic way of life into that of Disco such as the free-form dancing and use of hallucinogens. The Disco way of life soon made its way to mainstream popularity largely thanks to the epic movie “Saturday Night Fever” starring John Travolta and featuring the Bee Gees written soundtrack, which is still one of the greatest selling albums of all time. I can still remember how I felt the first I heard the Bee Gees’ “You Should Be Dancing” (and this was in the 90s as a tweeny, one cannot deny the power of Disco) can you say a goosebumps cascade?

Disco is also responsible for cementing the roll of the Disc-Jockey

(DJ), transforming them from radio presenters to those we have come to associate with playing at nightclubs, and taking turntablism to the masses. With the spread of Disco many Discotheques (originating in France, where jazz halls in Occupied France had to play records as opposed to having live music) had popped up all over the US and Europe. The term Disco was used to describe both the nightclub and the type of dancing that took place there.

By the mid to late 70s Disco dominated the music scene, the extent of said domination was that massive that even traditional Rock artists such as Rod Stewart “Do Ya Think I’m Sexy”, Pink Floyd “Another Brick In The Wall – Pt. 2”, Queen “Another One Bites The Dust” even KISS “I Was Made For Loving You” joined the party with Disco-styled or infused tracks and while said tracks may have achieved huge chart success, it garnered epic backlash from the anti-disco movement.

Many pro-rock followers branded these Rock giants as sell outs for having opted to dabble in Disco.

Even though Disco died an unpleasant and painful death on 12 July 1979 known as “Disco Demolition Night” we all know that Disco did not disappear from our hearts and minds instead it has evolved and brought us many a new derivative such as House in the 80s, a resurgence of the Disco sound in the 90s by bands

like Blur, U2 and Pulp and nu-disco in the 2000s gave us hits like Spiller’s “Groovejet” even Queen Madge went nu-disco with her awesome album “Confessions On a Dance Floor.” In the 2015 Disco is still very much influencing the Dance and Pop scene with musicians like Mark Ronson feat Bruno Mars “Uptown Funk” (my current earworm/anthem), Katy http://www. ektoplazm.com/index.php?s=darkblasters Perry and Maroon 5 sampling Disco in their respective hits “Birthday” and “Sugar.”

But before I get too carried away by all things Disco, Drive My Car should include at least one car The 70s brought about a shift in gear for the global automotive industry. Due the tumultuous nature of the global economy and the sky rocketing of fuel prices Fuel Efficiency became the buzz term around car design and many car makers were forced to bring about changes in order to make their cars more conducive to the times. Other issues that were of concern with the early 70s models included insurance costs and vehicle safety performance.

The 70s had seen the muscle cars falling from sales grace in favour of smaller compact and subcompact models. Of the most popular models that were launched by automakers, many of which are still around today included the Volkswagen Golf, which was first

launched in 1974, as well as the Japanese automakers Datsun and Toyota rising to global popularity for its reliability and fuel efficiency of models like the evergreen Corolla.

But in spite of the oil crisis there were still some pretty impressive cars that saw the light of day during the 70s. These included the ships in the night: the Lincoln Continental and Cadillac Eldorado both reaching a monumental 5.7m in length (just imagine trying to parallel park that), the Pontiac brothers GTO and Firebird, the Dodge Twins: Challenger and Charger and my personal favourite Chevrolet Corvette Stingray.

It is undeniable, whether you are fan of the decade or not that, that the 70s has had a lasting effect on modern humanity as a whole. It was the gateway decade for a great very many advances in the fields of science and technology, it gave us cars that not only saved our pockets but also ones that made our hearts race. However, it is by far the musical influences that are by far most lasting. “What you doin’ on your back? You should be dancing, yeah!”

WORDS BY

At m Band NATALIE MENTOR

Atom

Band is a new on the scene South African Indie / Alternative rock band who was kind enough to spend some of their time with us. Their debut was at this yearâ&#x20AC;&#x2122;s Oppikoppi festival and was a real crowd pleaser. Their music is expressive, dark and touches a myriad of topics ranging from society to politics and our economy.

They prefer to swim upstream and would rather create music they love instead of conforming to standards and opinions of others.

IMAGE BY PANCIA PHOTOGRAPHY

DS: How long have you been playing versa. A strategy for getting the music out together and could you please tell us to as many as people is vital but we should remain a band and not a brand. who plays what?

RYAN: We fully formed in 2014.

DS: Do any of you guys have musical Vassan Nirhoo - Vocals background?

Robert Krause - Lead Guitar BERNARD: I've been part of the postRiaan Nirhoo - Rhythm Guitar punk Manchester scene from 1978 to 1995 Bernard Burg - Drums and played for a band called The Distractions Ryan di Domenico - Bass which shared the stage with Joy Division, DS: Besides playing music, do you guys The Fall, Happy Mondays, Magazine, Sisters have any day-jobs or do you solely rely on of Mercy and Echo & The Bunnymen among others. the band for an income?

ROBERT: We are all working or studying.

I work as a researcher at a social justice DS: How about musical organization and Riaan is a Programmer at influences? Who did you an IT firm. Because we have other income listen to when you grew streams we can play the music we like and up and more currently?

RIAAN: Radiohead has been not what we think sells my favorite band since I was 9 DS: Do you think it is important to treat years old and I still think they are best band of all time. your band as a business?

ROBERT: The business side is unavoidable Current bands I'm into are but it must serve the music rather than vice Grizzly Bear, These New

Puritans, The Horrors and Danish punk band, Iceage. Current S.A. artists I love are Bye Beneco, Medicine Boy and Sannie Fox. ROBERT: For Songwriting Beatles, Bowie and The Smiths. The main streams for me growing up were The Beatles tradition of melodic art rock and heavy rock. Like The Beatles, I believe that every song can be approached differently songwriting-wise.

Like the varied individual tracks on any Beatles album, Atom Band can shift from a country ballad to more edgier songs like Betsy or Description of a Struggle. The ambition The Beatles had of fitting all those genres into one album we share and our 'sound' can vary as much as them. Or Radiohead for that matter.

DS: At Digital Soul one of our aims is to create a platform that brings forth

more exposure for South African artists and a greater sense of appreciation.

How do you contribute?

RYAN: We play with many diverse upand-coming bands and support just as many attending regular gigs.

DS: How would you describe your music to people?

RYAN: Apocalyptic Pop. DS: Can you tell us what your songs are mostly about?

VASSAN: Either our songs have an overt political message slanted towards anarchism (our songs are rarely optimistic) or they are attempts by me engaging in avant-garde symbolic cut and paste experiments. We are quite irritated by what we call the 'goofy scene' bands who make lame jock humor songs, those dismissive 'Gee-mom' bands. That's not rock n' roll.

â&#x20AC;&#x153;... our songs have an overt political message slanted towards anarchismâ&#x20AC;?

IMAGE BY PADDY ERIKSEN DROP YOUR DRINK

IMAGE S BY PADDY ERIKSEN DROP YOUR DRINK

DS: Do you have a specific group of followers in SA or how would you describe your fan base here?

RYAN: Our followers mostly see us as the antidote to the 'Goofy Scene'. Our fans are people that are into Radiohead probably, post-punkers mostly. They seek more than something to dance to, something more intellectual, to chew on. Our fan base is growing faster and faster, people are moving in our direction because of our layered approach to music in opposition to the bubblegum immediacy of current S.A. music.

DS: What are your long term goals?

BERNARD: Due to our connections with the U.K. we are currently recording material for a couple of British indie labels who are keen to release our stuff. We have to decide which label represents our best interests however. As with regards to S.A. we will continue to gig whenever we can but it’s hard to say if any product will be available on the shelves over here as we don’t seem to fit into the accepted “scene” in S.A. Square pegs in round holes etc.

DS: How was your Oppikoppi experience?

ROBERT: It was a thrill having room to move on the stage and being able to feel the crash of power chords through a cranked stack. We got to see many great acts as well. Highlights for me were Johnny Clegg, BCUC and the collaboration between Toyah Delazey, Albert Frost and Lee Thompson. One of the best aspects of festivals is that it provides opportunities for artists with different genres and approaches to collaborate.

DS: Do you do regular gigs and where?

RYAN: We gig regularly, mostly at the Bohemian and Rumours in Joburg.

DS: Any upcoming gigs / new music releases?

RIAAN: We are busy recording an EP. Very excited about the results so far, it captures our sound far better than anything before https://www.facebook.com/atombandsa http://soundcloud.com/atom-band http://atomband-sa.bandcamp.com/ https://twitter.com/atomband_sa

WORDS BY YOLANDE GYPSYCHILD

IMAGE BY NATASHA GLADWIN - DEAR CREATIVE

IMAGE BY

TheW zrdHarry

WORDS BY YOLANDE GYPSYCHILD

Kyle

Watson has surpassed the point where I would refer to him as a house-hold name. A DJ/Producer who, as anyone who has attended any of his gigs will tell you, is bound to “get your back off of the wall” and freeing your kundulini. I had a chat with Kyle about processes, planning, inspiration and production.

DS – Please describe your sound for again? Has that changed the way you those readers who may not be familiar write music?

KW: I don’t use hardware at all, there with your music or genre.

KW: Deep, tech and electro house are so many good emulations out there fused together into a fun and chunky now that one doesn’t need to have the clunky gear hanging around in the studio version of house. anymore. It isn’t as cool though, DS – Where do you draw inspiration sometimes you wanna feel like you’re sat in the cockpit of the space shuttle. It is so from?

KW: Listening to different styles of easy to write and tweak things when it’s music, from rock to reggae to electronica. all done in the box.

Reading up and watching the stories and DS - How many of the artists you have workflows of other artists. worked with are able to match live DS - Was there a pivotal moment or what they’ve done in the studio? Is epiphany when you realised that this this the norm?

KW: Today it’s easier than ever to hide is what you want to do?

KW: Not really, it all grew very your shortfalls behind shiny production organically. My parents started me on tools. Luckily most of the people I have this journey by putting me through worked with hold their own when they’re doing their thing. music at school, and the rest is history.

DS - Why? Why do you do it?

KW: It feels good, music makes me feel something inside that’s hard to put into words. There is something really unique and special about creating a piece of music that has the ability to influence how people feel.

DS -. Do you have groupies?

KW: Does getting a bra thrown at me at a Kraft beer festival count? Erm… DS - Have you ever needed to switch from using hardware to using software for making music – and maybe back

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

KW: Difficult to pinpoint really, I guess it was when I first started going to clubs and hearing the music that I had on repeat at home. When you’re younger and listening to mix CD’s at home, it’s completely different to the feeling you get when hearing the tracks in a club. It’s exciting when you’ve just started clubbing - you’ve been waiting for that one particular track the whole night, and you hear the first signs of the elements coming through as the previous track plays out. I won’t forget that feeling.

"You would think making something simple would be easy, but itâ&#x20AC;&#x2122;s actually one of the most difficult things to get right."

IMAGE BY NATASHA GLADWIN - DEAR CREATIVE

IMAGE BY NATASHA GLADWIN - DEAR CREATIVE

DS – Have you ever considered throwing in the towel, just giving up? What gave you the motivation to stay with it?

KW: No, looking back even through the slow times I never really thought about quitting. Writing music feels natural to me, like an integral part of my life.

DS- What are some of the biggest mental tools one can obtain to be successful in this field?

KW: You get to meet a lot of different types of people, you learn how to negotiate.

And you get really good at time management!

Plus you learn how to perfect the disco nap.

saying actually.

DS - Where did you learn your skills from? Self-taught or did you opt for the education route?

KW: My music theory was learned through education at school, but the technical side of producing as well as DJing was all selftaught.

DS - What is your current studio set-up?

KW: I’m running a really simple setup at the moment. A new iMac running Cubase with the Native Instruments Komplete collection and a few Waves plugins. All controlled through NI’s new Komplete Kontrol keyboard, and KRK Rokit monitors.

DS – If you had to list one habit that could It’s definitely not the most advanced setup, possibly ruin or stall a producer’s career, but I know it inside out! what would that downfall be?

KW: This industry is moving so quickly, DS - What made you decide to use your and if you don’t keep one step ahead all the current DAW? KW: It was the first professional DAW time then you will be left behind and that I used, and I figured it out really quickly. forgotten. If you don’t keep trying I know exactly how to do what I need to do, DS - What do you usually start with when and that’s what’s important. preparing for a live/DJ set?

KW: I am playing DJ sets at the moment, DS - Talk us through your typical work so before every show I put a playlist together flow from idea development to creation…..

KW: I usually start by laying down a of tracks that I am likely to select from throughout the set. At the moment in my drum loop and bassline, getting them to general playlist I have about 150 tracks, work together. Once I’m happy with that I about 40 or 50 of those are mine. I used to start working on a buildup to that loop and actually spend a lot more time finding the filling out the sound spectrum, and the rest keys, arranging individual tracks into an of the structure just comes from those order that worked technically, but over the elements. I mix while I write, but do a last years I realized that was entirely the wrong mix down pass right at the end before way of doing things. You’ve got to be organic bouncing down a pre-master and sending and feel the energy the crowd is putting out to Ozone 7 for a quick master. to gauge your direction. Goes without

DS - What part of the production process do you find the most challenging?

KW: Getting a strong enough idea down! I’ve learned to become hyper-critical over how strong the track is as a whole when you take a step back and look at it as a unit. Over the years I have really figured out for myself how to focus on all the individual elements, like getting the drums, basslines or vocals to sound good in isolation. As a producer it’s easy to get lost in how happy you are with a certain element (like your bassline), but the challenging part is actually taking a step back and listening to it with a completely objective ear. Listeners aren’t going to appreciate your cool sounding cowbell loop that you worked on for hours if your track as a whole is weak.

- DS - What piece of equipment would you most like to own?

KW: I definitely wouldn’t say no to some Yamaha monitors or a Maschine Studio!

DS - What projects are you currently working on and what can we expect from you in 2016?

KW: 2016 looks like it’s going to be an exciting year. I’ve got an Australian tour coming up which should be great. On the production side I’ve written

IMAGE BY

TheW zrdHarry

a new single with local act Pop Art, as well as some cool releases on a few international labels. I’m also looking at putting together a live set using the new Stems format Native Instruments have just come out with.

DS - “There’s a lot of homogeny in “EDM.” What are your thoughts on this statement?

KW: Well yes, all the genres and sub-genres and even the sub-sub-genres your mom’s dog invented all stem from the same place. Who would have thought that Donna Summer and Kraftwerk would lay rise to David Guetta?

DS – Your favourite track produced by yourself?

KW: Probably the track I wrote with Pop Art called “So Alive”. The record is so simple, yet so effective.

You would think making something simple would be easy, but it’s actually one of the most difficult things to get right.

DS – Have you been listening to any emerging producers lately? Who are they?

KW: There are a bunch of guys based in SA that are doing really cool things musically. So Schway, Mike Kelly and L.A. Cruz are all doing

WORDS BY YOLANDE GYPSYCHILD

IMAGES BY MIKE BELL PHOTOGRAPHY © www.mikebellphotography.co.z

In

the words of MK Ondergrond: “from the ashes of 16 Stitch comes a whole new animal…”

The name Newtown Knife Gang had come to me before, but admittedly, I did not pay it much attention. As a result of my ignorant, prejudice and preconceived (mis)conceptions I denied myself 4 years of absolute rock & roll gratification.

Mortified, I must admit that I associated a title such as theirs with a Zef ensemble such as Die Antwoord or a “ghetto gansta” Hip-Hop crew.

To place NKG in a definitive box would require that you allow yourself to listen to only a single track and do not research the band whatsoever… Stop reading now.

Do not give yourself any further frame of reference. Their music is so diversiform, ‘most every track could fall into a different category or sub-genre of rock and/or metal altogether. Some devout hard-core metal heads would regard this a con rather than a pro when roped into a “battle of the bands” type debate as such diversity means that although they would surely attract more fans across the board, many may also find themselves disappointed after purchasing an album and finding several tracks on there that simply do not appeal to their rock preferences. I can imagine some of the hard-core aficionados even going as far as attaching the “Sellout” label to NKG when hearing those tracks which inevitably end up charting and as a result are killed, pulled from the grave and killed again by our beloved radio stations.

Although they categorise themselves as “Rock / Progressive” as per their facebook page, in my opinion Newtown Knife Gang could be the quintessential metal-core band. Although their lyrics are a tad on

the emo-romantic side, you have to take a step back and ask yourself: “isn’t Love, or rather the loss thereof, the subject of the greatest rock/metal tracks of all time?

Upon first listening to “Catacombs” and “Chernobyl” the first references which came to mind where Atreyu and Bless the Fall.

This is a band that undoubtedly holds reverence for, and resembles the guitar teams of metal’s classic era i.e. Iron Maiden or Judas Priest. Guitarist Paul Norwood and bassist Gareth Norwood are an amazingly talented duo who deliver seamless, poignant riff after riff while Nick Argyros keeps the momentum going with the impetuous vivacity of his drumming.

Spencer Martin, who used to front We Shall Embrace, adds the final, encompassing aspect with his youthful yet powerful and vocals.

Their passion for their art becomes apparent when you take note that all band members have demanding day jobs and whether playing a gig over the weekend or on a school night, they irrefutably perform without any reservations or restrictions, each track polished, sculpted and finessed, guaranteeing fans a memorable and satisfactory experience.

Their debut single “Listen”, which was released in 2011 is standing on 39 664 views on youtube, while “Anthems”, posted in 2013, has accumulated 11 250 views. On Wednesday, 2 December their latest single “Silver and Gold” made its debut on 5fm and I am yet to come across a negative review.

I am utterly pleased at the notion that Newtown Knife Gang are in it for the long haul as I am officially a devout fan and hope to see them playing at Red Rocks and Madison Square Garden in the future.

https://www.youtube.com/channel/UCK2Mx2o-Z8U08GoKSb_e4Tw https://www.facebook.com/NewtownKNIFEgang/ newtownknifegang.com https://soundcloud.com/newtownknifegang

WORDS BY CHRISTELLE SCHEEPERS

On

the Eve of 28 August armed with one of my besties, camera wielding Alicia, I headed off to the EP launch of The Frown, the EP entitled “We Are Not Dead” (W.A.N.D.) hosted at the KnexT Gallery of the Knobs and Tassels group.

And boy oh boy what an experience it was…

The Frown is a Jozi based electro duo comprising of the adorable Eve Rakow and beats mastermind Nick Nesbitt aka Kleinbaas.

The duo have been blowing shit up on the SA electro scene since 2011 and have amassed a loyal local fan base, the Light People are they, the Light People are we. Falling victim to their addictive rhythms and her angelic voice it is easy to see why and how the pair have been able to grow said following.

I had first been told about the upcoming launch by Ray when I popped in for the chat that led to the Primal Herd article in September’s issue of DS. Ray seemed pretty assured that I would like their style, so I figured I may as well follow the heed. In my ensuing research the first piece that I read about The Frown was an interview that Eve had conducted with the Fuss’ Eliza Day on 13 July 2015. Reading the Q&A I was immediately taken by her, she is the kind of role model that could do wonders for the self-esteem of people the world over that mainstream celebrities could only dream of. My interpretation of The Frown and “W.A.N.D.” is a tad erratic, but what I can put to paper is: How about we never stop dreaming? How about we remain tapped into our imaginations and find those places of beauty that we created for ourselves when we were little, the Frown has provided us with the perfect soundtrack after all, but what I appreciated most of interview is Eve stating that she did not wish for the cover art of “W.A.N.D” to be sexualised. In an oversexed world using tits and ass to sell just about anything or to stay trending it is lank refreshing to come across an artist who is “…known for being a never-nude…” and yet when it came down to the wire she did what she had to create the full artistic impact and shrugged that kit off. Respect for that. But I digress… back to the EP launch.

IMAGES BY Š Nina Zillah Bekink www.citysoiree.co.za

IMAGE BY JUSTIN MCGEE

After hanging about and chit chattering with other attendees we are finally called to order and everyone files into the gallery. The pure white walls are lit up in a blue hue as the music starts playing. The mood in the room is tranquil with an undertone of great anticipation.

With landscaped imageries flashing by and hushed tones whispered in the background, we are introduced to the start of The Frown’s EP launch.

Nick enters wearing what can only be described as being tantamount to a space suit (or a cat burglar dressed in all white) the music is capturing and mystifying when Eve steps onto the stage. Her presence is captivating, vocals gorgeous as the lady herself and the bass filled melody surrounds the room and the statuesque audience begin to thaw entranced by the rhythm.

The tempos of the initial tracks are slow and steady and The Light People are in a zone. As they increase the tempo I am in complete understanding as to why they are so popular and I am bitterly sad that I had not discovered them before. Better late than never, right? My respect level for the Frown went off the charts, however, when Eve introduced to us to a track dedicated to three of their friends who lost their lives by their own hand; as this is a one of those prevalent issues that have touched many of us through the years. It is absolutely fantastic that not only do they provide us with epic party vibes, but food for thought too by addressing an issue as heart breaking as this by means of their music and that is some real deep shit right there.

With the international launch date of the EP having taken place on 8 October, I know that these guys will only get bigger and better and cement their names to an already extensive list of Saffas who are boldly flying the flag on the global scene. With tracks like “Baby”, “Palace” and “Light People” the EP can only but go places and melt faces. Wishing The Frown nothing but the greatest of successes and blessings.

It is because of acts like The Frown that I started writing for DS in the first place and my introduction to them and all the other great acts I have encountered I find myself exceptionally inspired. To The Frown and K&T I wish to say a very special thank you for a very special evening.

For now I am happy to myself living in the Haus of Frown.

KINKY SUMMER NYE PARTY

www.facebook.com/KinkySummerNYE La Paris, Franschhoek Tickets: From R550 Party the night away in a lush paradise, where imagination and whimsical delight are cherished and nurtured.

Featuring five international artists, an extra special revival stage, a beautiful island and festival food area.

Transport to and from the venue available (R150) and you can opt to spend the night in a tepee (R1500, sleeps four).

KIRSTENBOSCH NYE CONCERT

www.sanbi.org Kirstenbosch National Botanical Garden Tickets: R330 per person

cape town

This year sees two of South Africa’s best-known performers with Grassy Spark (rock, funk and reggae) as the opening act and Jeremy Loops (folk rock) as the headline act. This is a picnic-style concert, so don’t forget to take a blanket and a picnic basket.

PACHA IBIZA PARTY www.facebook.com/PachaSouthAfrica Grand Café & Beach Bar Tickets: From R750 Ibiza’s most famous nightclub returns to Cape Town this summer, for an exclusive event to celebrate New Year’s Eve in style. This year sees Ibiza resident DJs Danny Wade and Josef Bamba along with selected local DJs, while the famous Pacha Ibiza dancers will also be in attendance.

GERAASPLAAS

www.facebook.com/events/624726167669005 Riversdale Tickets: From R120 per person Held on the farm of lead guitarist Wian Bester, where all creatures of the night, and alternative creatures alike, may find peace and beauty while enjoying their passion for music. There will be camping grounds, food, booze, metal and alternative bands and activities like karaoke and beer pong with great prizes up for grabs.

Four music arenas, magical dĂŠcor, world class sound system and the perfect space for reckless abandon and general mayhem with the hottest local psy trance, progressive, drum & bass, techno, chill and dub step acts. Plenty of food options will be offer as well as a flea market with jewellery, clothing and more.

REZONANCE rezonancefestival.com Contermanskloof Farm Tickets: R630

ballito BALLITO NYE STREET PARTY www.newyearsevesa.co.za/ballito Ballito Street Party and Crush Night Club Tickets: From R350 per person

The biggest and loudest New Year’s Eve street party hits Durban’s North Coast with four dance floors and cutting-edge design and production. Goldfish and Das Kapital have an incredible live component planned that you won’t want to miss!

ELECTRIC VINES www.electricvines.co.za Wildekrans Wine Estate, Bot River Day pass R490, weekend passes from R790 Swing into 2016 with Goldfish, MiCasa, Nomadic Orchestra, Desmond & the Tutus, Al Bairre, The Kiffness, Shortstraw and more. You can camp or glamp and thereâ&#x20AC;&#x2122;s transport provided to and from the venue (R300 per person).

“the kei” THE RUINS - ST FRANCIS BAY www.theruins.co.za The Ruins, St Francis Bay Tickets: From R350 per person This year’s festivities include 3 mindblowing experiences with each stage providing leading local acts with its own signature vibe, offering a mix of music genres to each unique zone in the Ruins Village. In addition the all-new event layout offers a ‘free to roam’ experience with loads of bar space, mind-blowing décor and local food court.

magalies REVOLUTION OPEN AIR MUSIC FESTIVAL https://www.facebook.com/ events/516943235148816/ Hornbill Lodge, Magaliesberg Tickets: From R300 per person Psytrance and Electronic outdoor festival bringing us two international acts: LOUD (ISRAEL) EITAN REITER (ISRAEL), Line-up also includes: Broken Toy, Sad Paradise (Cape Town), SWITCHCACHE (Cape Town), Prefix (Cape Town), Broken Switch (Cape Town), Manifesto ELECTRONIC FLOOR: Rudeone, Nick Grater, Metro Ticket, Andi Dill, Mr Mon and more...