Muse Magazine - Jun/Jul'13

JUN13 - JUL’ 1 3

L ATEST ALBUM

& GAME REVIEWS

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ANTI RETRO RETRO VINYLS

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TROUBLE WILL ALWAYS FIND YOU...

CHEVELLE

HOT WATER

ZONKE

TOMBSTONE PETE | JIMMY DLUDLU | ALBERT FROST FARRYL PURKISS | JEAN LUC PONTY

EDITION 25 | JUN/JUL ‘13 | Proud Supporters of SA Music!

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CONTENTS

lifestyle

Jimmy Dludlu

6 The Anti Retro Vinyls

CONTRIBUTORS: Dave Mac, Thomas Whitebread, Terri Love, Salomie Haskins, Johann M Smith, Mickdotcom, Paul Blom, Alan Ratcliffe, Alistair Andrews, Kurt Slabbert, Jess Henson, Jonathan Pike, Greg Bester, Sergio Pereira, Nicolai Roos, Eliza Day, David Chislett, Kalin Pashaliev and Damien Albetto

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Chevelle

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Hot Water

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From The Editor Better Red than Ded - I Remember You Well, From The Chelsea Hotel Singing The 6-string Blues: A Conversation With Jimmy Dludlu Trouble Will Always Find You: Introducing The Anti Retro Vinyls Zonke: The Ascent Of Glory The Chevelle Interview Farryl Purkiss Is Home jezebel's VPL: A Spoonful Of Frost Glenn Hughes: Sanity In Chaos Hot Water Burning Strings: The Jean Luc Ponty Interview Tombstone Pete: 21st Century Vagabond Inside The Machine: Music News George Clinton And Funkadelic's 'One Nation Under A Groove' Eruption: Hail To The Kings Eruption Album Reviews New Albums Game Reviews Venue Guide & Live Events Venue Guide & Live Events

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MAGAZINE PUBLISHERS: David McKinley, Thomas Whitebread MANAGING EDITOR: David McKinley - dave@museonline.co.za MUSIC EDITOR: Dave Mac dave@museonline.co.za SALES DIRECTOR: Thomas Whitebread thomas@museonline.co.za

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EDITOR’S NOTE | JUN/JUL ‘13 | Proud Supporters of SA Music!

IS SOUTH AFRICA STILL THE GRAVEYARD FOR 'OLD BANDS' TO COME AND PLAY BEFORE THEY DIE?

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rtists and musicians have been told for some time now not to expect to make money out of album sales, but to look rather at performance as a means to earn their living from music. Now we all know that people simply do not buy music like they used to, although I am still a firm believer that at the right price, through the right medium we do all intrinsically want to own our favourite artists’ albums and will pay for them. This of course is a debate for another day, but the recent launch of iTunes SA, coupled by such streaming sites as Simfy must surely have helped turn a buck or two for artists, both local and international?

The question may still be asked though; why are there not way more international artists passing through sunny South Africa each month? A quick gander at a country such as Australia’s weekly list of top international concerts will soon reveal the vast difference between their ‘live’ circuit of events and ours. Every week in Melbourne or Sidney (and a few other cities too I am sure) you’ll see a relatively strong list of shows going on at any given time. It’s pretty normal in Oz for someone interesting to be playing each weekend [or during the week too, actually].

Now in South Africa it is also true that there is always something on the go, but most of this ‘something’ is very often the ‘oldies’ we’ve been referring to. Right now on Computicket these are the ‘international’ shows they offer; Bonnie Tyler, Mike and the Mechanics, R Kelly, Kings of Chaos, Rihanna, Spyro Gyra and Chevelle. No prizes for picking out how many of those can be called current...

So, although I am heartened by the generally positive and philosophical outlook most of our writers have toward the subject, the facts don’t lie. Indeed, our journos do collectively and correctly point out that we’ve had a reasonable balance in the past 24 months between more current ‘indie/alternative’ bands and the older, more established mainstream cohorts but it’s still a trickle isn’t it?

To be honest, aside from a handful of major festivals that are doing their bit to bring out some cool and [reasonably] current bands, coupled with a smattering of ‘brand activations’ that do same, we’re pretty screwed down south. Add to that the less than stellar handful of decent venues - sorry I hate events at the casinos - Grand West is one of the saddest places to visit - and the obvious economic challenges of a country divided in its music preferences and one can see a part of the problem.

You see economically one needs 2 to 3 generations of fans to guarantee a good turnout for a large event (stadium or concert arena). Think U2 (massive), The Eagles, RHCP, etc. and you get just that; 3 (or more) generations of fans, predominantly white middle class.

Well then why not bring out artists that appeal across the race demographic you may ask? Rihanna hasn’t sold out yet! Lady Gaga did, but again predominantly a white audience. It seems the ‘big’ concert (pun intended) promoters are not prepared to risk a show aimed squarely at the black market. Why? Simple really; ticket prices are too high and right now the only dumbasses prepared to pay these premium prices are the white middle class. Sadly there is no quick fix for this problem. Even sadder is that the problem has this knock on effect of less new and unique bands/artists emerging, locally, as we exist in semi-isolation from the international music circuit. [The internet, as wonderful as it is, cannot have the same effect on young musicians as a real live concert performed by their heroes].

The truth is that the real problem is lack of world class venues and a world class live gigging circuit. Introduce this and we’d see 3 times more international shows (hopefully at more reasonable prices) coupled with a steady trend of local artists too. And with this a culture of watching live shows would return, rather than be isolated to casinos and brand activations.

Ironically in this edition we seem to have featured a somewhat older generation of artist across a range of genres, so are we perpetuating the problem? Well... thanks to our cover feature - The Anti Retro Vinyls hold up the youthful side quite admirably. Watch out for these guys... they’ve got something special! Enjoy.

Dave Mac

WRITERS' OPINIONS JEZEBEL It's less about 'old' and 'new' and more about markets and promoters that attract a diverse talent base that gives rise to higher calibre acts. e g. few promoters would risk R1 million to bring The Black Keys out, yet the show would probably sell out (albeit with smaller profit margins).

What we need is fresh ideas about shortand long-term business strategy based on past lessons and new inspiration. And to enable that we need to listen to more live music.

SERGIO PEREIRA No. We’re receiving a good mix of bands lately: from legendary acts, such as Metallica and Red Hot Chili Peppers, to the more current and relevant, such as Every Time I Die and Bring Me The Horizon.

Although, it does seem like it’s the “smaller” events companies which are bringing in the new breed.

MICKDOTCOM I think we've long moved into the latter terrain, especially in the Jazz, R&B and Rap areas. Die Antwoord even played here last year!! But, in all seriousness, more and more non-retiring, on the up-and-up artists and bands are gracing our live applause nowadays. We're becoming all hip and shit.

PAUL BLOM While Africa is surely on the bucket lists of many bands and performers, I am certain it would not have been a consideration if it wasn't financially viable for them. Not all parts of the globe can get covered, so if it takes someone decades before they reach a place like SA, and they still have fans to support them, why the hell not?

ELIZA DAY A decent mix. Sure, Bon Jovi and this new motley crue of has-beens, Kings of Chaos, like to tour here but that doesn't take away from the fact that last year we saw EODM, Grand Master Flash, Kid Cudi, Bloc Party etc. This year is going to be even better.

JOHANN M SMITH When considering the really big bands that are coming down, like Linkin Park, Metallica (et al.) then yeah, definitely.

Where are all the recently discovered heavy-weights like The Black Keys or Mumford & Sons? But when considering your more cult-status favourites like The Drums or Alt-J, then no. Either way, we’re getting better and more imports than last year and way more than before that. Most importantly, we’re the fans. Don’t tell us what to go and see, let us tell you. Black Keys anyone?

Better Red than Ded | I REMEMBER YOU WELL, FROM THE CHELSEA HOTEL | words: Eliza Day

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I REMEMBER YOU WELL, FROM THE CHELSEA HOTEL “...licking wounds was so 2012, something I did a lot of last year, in a self-prescribed rehab environment�

W

hen that inevitable question of 'What have you been up to?' comes around to your side of the social scene, it's usually the automated, banal response that is expected.

Often something about working too much, drinking too much and not having time for your passion.

But lately, since moving back to Cape Town, after taking a much needed sabbatical in the middle of nowhere, I find it makes more sense to just think about 'what I've been up to' as a track listing of several songs.

Basically, taking each five minutes as they come and remembering them because of the song that was playing at the time.

It's been a weird couple of months (years).

If you have a very selective memory, as I do and prefer to forget your mistakes, then music can become the only hinge that holds you to a certain time. Staring blankly at questions that refer to what country, planet, universe I was living in last year is very likely. But, I remember exactly what song I was obsessed with, at any given time.

Take today for example, transported back to my three year long stint of listening only to Muddy Waters, Buddy Guy and Nina Simone (2008 2011), when I was asked to work for a new company. The boss played some aggressive blues guitar to me on his iPad while I walked towards the elevators - an excellent gesture, I thought. The last time I'd heard that song was a few years ago during a bout of insomnia when I was painting my living room wall, Rolling Stone red at three in the morning.

A new offer and an old bluesy reminder of how fun things can be in this city was just what was needed.

Moving into a tall, pink Art Deco building in town and taking an overly arty and underly appreciated job on the spur of the moment, just to lose it the next, means only one thing: listening to Lana Del Rey's cover of Chelsea Hotel on repeat for a very long time. Edie Sedgwick may be a kindred spirit but I certainly don't want to be her.

At the same time there are eras which should just be done and never dusted off. For instance, I recently crashed my already abused car into my new boyfriend's, boss's red BMW. Classy. Nancy Sinatra ceases to sound quite so fabulous after that considering her sassy tones serenaded the disaster. I hope time will heal the hole she left behind because insurance and a weirdly understanding partner are the only thing that are helping my car

and integrity. I like Nancy very much but wounds are wounds and they're made for licking.

That being said, licking wounds was so 2012, something I did a lot of last year, in a selfprescribed rehab environment (folks house) that consisted of a reclusive address, the internet and some good quality speakers.

Travelling the electric landscape of Cyberia acquainted me well with all the music that is made in the in-between dimension of the on and offline worlds. Sea Punk, Chill Wave, New wave witch house and everything A$AP Rocky ever touched, took up all my non-working hours and turned me into a bona fide geekazoid, albeit a very happy, wellfed (thanks mom) one.

Transitions are eminent in life, especially if you're trying to make a career out of creativity and sometimes things are peachy, pink and cloudy, a la Daisy Buchanan and other days it's more like watching an episode of Girls (HBO) unroll in life-sized celluloid and projected through your bathroom mirror. The move from my reclusive hilltop in KZN bush to CBD Cape Town was somewhat soothed by the fact that Nick Cave And The Bad Seed's released their much awaited new album, Push The Sky Away which, at my moving time, was comforting. A dark room and new melodic material from my beloved Nick was always on standby, should things become too intense.

So now that the eye of the storm isn't looking at me (for the time being), when people ask what I've been doing with myself, I just say, "Well, I've been listening to music. And some other stuff was happening too."

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Artist Q ‘n A | SINGING THE SIX STRING BLUES | words: Mickdotcom | photo: Rashid Latiff (Courtesy ESPAfrika)

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he very first time I experienced the joybrimmed music of Jimmy Dludlu was around 2002, at that year’s Moretele Jazz festival, in Mamelodi. I was the white guy. It had been my first excursion into a township. Excuse the silly formality of the latter lexeme, but it’s sincere - at that time waltzing into a township conceptually conjured very dangerous vibes, even in the liberated minds of such idiots as myself.

I came away from it suffused with Vusi Mahlasela’s beautiful, haunting tune of the same name. Ma-melodi. Mother Melody.

Dludlu’s set was central to my newly revamped notion of ‘townships’, that and teeth - I had never before seen so many grinning teeth: Everyone was grinning, expressing their love of life via music and gleaming molars. It - the

“...I'd say my all-time favourite is Wes Montgomery. He plays the most beautiful blues.”

What have been some of your favourite musical experiences?

“Well, I must say, the one which stands out is Bebe Winans. I also did something with Ronny Jordan. Then sharing the stage with the likes of Pat Metheny. I was on stage with Al Jarreau and George Benson. Al Jarreau invited me to jam onstage with him and that was something else. I also love collaborating with musicians who have a style different from mine, like Bongo Muffin. It helps one to step away from one’s comfort zone.”

Who are some of your favourite guitarists, and why?

“Man, I’d say my all-time favourite is Wes Montgomery. He plays the most beautiful blues.

Then Jim Hall... Pat Metheny too. But I also listen to a lot of horn players, that’s where I get my inspiration from.”

What single album changed the way you thought about music,

SINGING THE SIX STRING BLUES: A CONVERSATION WITH JIMMY DLUDLU whole experience - affected me intrinsically.

Jimmy Dludlu has a way of affecting the crowd. At CTIJF 2013 he was conducting said crowd consciously, to the same degree that retro-R&B songstress Jill Scott was doing subconsciously. The man is a master of inducing howls and whoop and merry gyration into his audiences. His flowing, singing guitar lines feed into one’s soul and wakes a sense of peace and love.

Modest and erudite in person, he lights up onstage, sharing his gifts with all that have ears to listen.

We caught up with him for a fun, revealing chat about life, Wes Montgomery, and the esoteric narratives of certain fret-boards.

Mr. Dludlu, you’ve been playing guitar since forever - what prompted you to become a musician?

“Well, I grew up around a lot of musicians. But it was also all the music I heard, like Jimi Hendrix... I mean, he’s still the man. Of course, there was a lot of guitar music coming in from Central Africa as well... I can also remember back then I was listening to Top Ten, and I heard a track by George Benson and thought to myself, ‘Man, I’ve never heard anyone play guitar like that...’ It was like his guitar was singing, and I thought, ‘Alright, let’s try that.’ So you’ll hear, in my lines, they’re like vocals, but on the guitar. I was using my own African melodies, and when I heard it I thought ‘Ah, I can’t believe it!’”

and what can be done musically?

“An album called Modern Days by Wes Montgomery. He took some classic Pop songs, and lent them his voice. He did (Miriam Makeba’s signature) Pata Pata on the album, some Beatles.., it reshaped the way I thought about guitar playing.

Also an album by Ernest Ranglin, the Jamaican guitarist.. Man! He’s a mindblower!”

Dludlu, who’s been slinging beaut guitar melodies with the likes of McCoy Mrubata, Hugh Masekela, Busi Mhlongo, Al Jarreau, George Benson and others, creates gorgeous lines that seem to celebrate life itself.

Six strings, eloquently celebrating happiness.

Long may he conduct crowds.

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Cover Feature | TROUBLE WILL ALWAYS FIND YOU: INTRODUCING THE ANTI RETRO VINYLS | words: Johann M Smith |

“...music has been taken too seriously and at the same time it’s not being taken nearly seriously enough. For a long while now.”

TROUBLE WILL ALWAYS FIND YOU: INTRODUCING

THE ANTI-RETRO VINYLS

H

ave you heard? The season of retro hipsters are done for.

Yup, that’s right. New and in vogue: 90s pierced punk rebel circa new-wave 1979. Basically, anything that’s not so-called vintage.

If the name The Anti-Retro Vinyls is anything to go by, that sounds about right. Either that or they’re just being that darn ironic. Who knows for sure these days?

But surely not four homeless ambitious boys from Durban, touring around in a VW Citi Golf, who call themselves The Otherwise? Sounds more like a massive culture faux pas straight out of teenville. Then again, since they’ve changed their name, moved to Johannesburg, got recorded by legendary producer Matthew Fink, they’ve been given the official export stamp by Just Music.

You know, the same label that carries the flag for Tailor, Shadowclub,

Dance You’re on Fire amongst others and has a licensing deal for South Africa with indie lords Rough Trade (part of the Beggars Group) - and if you don’t know them, they’re the ones who carry the flag for The Libertines, The Smiths, the Yeah Yeah’s and many more, and who also recently won retail brand of the year 2013.

Perhaps all that needs to be said about The Anti-Retro Vinyls is in the lyrics of their single Can I Kiss You? from their brand new album, Trouble...

‘What’s your name? Do you care? Do you like me? / Let’s dance, let’s do this the wrong way round / We can go, we can leave, we can grow up / We can stay, we can play, move it our own way’ …but best we ask the band also.

According to frontman Greg Allan, they’re not a Strokes effort on a South African scale: “I don’t think we can bring anything back, but we’ll just keep pushing our rock ‘n' roll into every gap, corner, opening, speaker, dance floor, ear, heart and soul that we possibly can for as long as we can.”

Sounds honest enough. The way the story starts is like this: In 2007 The Otherwise formed, toured and by 2010 released a 9 track album, She Doesn’t Care, She Wants To Dance. The album sported a tender teenage blond next to a disco ball, with red stockings and massive earphones. By most accounts, it was well received with significant radio airplay - insomuch that their first single went to number 1 on Jon Savage’s Local Rock Chart.

After going through the old rusty rock ‘n roll rollercoaster of being shafted by more venues and promoters they care to remember, as well as changing members a few times, the band signed to Just Music - and naturally the dynamic changed.

“We moved to Johannesburg in March this year,” explains Greg. “So we have been able to live here by basing our lives around the band. In Durban the hard part is that there isn’t enough for a band to do, it’s a small town.”

Photos: The Famous Frouws

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As everyone knows, in Durban ‘indie rock’ isn’t exactly the masala sprinkle of the week. But since the band got played on FM radio as far afield as Oregon USA, plus they discovered by accident and much to the band’s surprise, that their video for the single Can I Kiss You? was being aired alongside the likes of Van Coke Kartel on MK, it’s fair to say they are way more than just a flash in the pan.

Greg laughs: “Yeah... well we sent the video to MK, not knowing if it would get a nice rejection or even a word back about it. At the time none of us were very good with checking emails and the like. If we had, we would have seen the nice notification telling us the video was going to be play-listed. But yeah, we all either saw it or heard about it being shown on MK at different times. Never a dull moment.”

At least history teaches us if you’re odd, either be magical or work hard. “The fact that we have never fitted into any of the scenes in Durban and everywhere else for that matter, sure didn't serve the mission of building a fan base early on, but in the long run I think we have made a dent in the psyche of gig goers and music listeners by being the odd one out for so long.”

Obviously everyone in the band is stoked that their tunes seem to be getting attention so far from home and seem carefree as to whether they sound like a mix of Tom Delonge [Blink 182] and Stereophonics or anything from yesteryear’s dead rock catalogue. They’re

collectively supportive of bands that do their own thing - regardless of what the general idea of cool is at the moment.

But let’s admit: do we really know what’s cool these days? If Justin Bieber and social networking taught us anything, it’s that the fashion police went out of commission a while ago. As long as there’s honesty, right? Well, the title of their next EP, Would You Like To Pretend?, seems more like an invitation than ironic rhetoric.

Greg admits that the world might be lacking something inherently entertaining, like the sing-along drunk party anthem from their single, Can I Kiss You?.

“That tune has an honest sense of let-goand-cool-your-boots that the world could do with being exposed to, yeah.” But being the ever lost new-romantic punk rocker, he enigmatically confesses, “music has been taken too seriously and at the same time it’s not being taken nearly seriously enough. For a long while now.”

Whether this tongue-in-cheek named band keep doing what they’re doing, go on to change the times or don’t, they’re a prime example that it doesn’t matter if you’re pro-hipster or just in love with a girl and you like chanting about it in a punk chorus - it’s all about hard work and dedication.

And as the band admits: meeting the right people during the worst times.

“Just Music is the most forward motion bunch of people we have ever met.

They’re dedicated to the artists they sign.

To be honest, we didn’t think that record labels could be great people until we met them. It’s amazing what champions everyone on the label is as people. It’s a great family to be a part of.”

Recently, The Anti Retro Vinyls strolled down the yellow carpet at the MTN SAMA’s - four poor kids from Umbilo and Pinetown who let loose on a free bar and photo bombed some of the biggest music industry names in the country.

Call it what you will, this is South Africa.

And this is The Anti Retro Vinyls.

Read their album review on Pg. 34 and grab it on iTunes SA or at one of the few record stores that still exist...

Follow them on Facebook under the cryptic but somehow easy to understand name of...

Facebook.com/Theotherwisedurbandisc opunk

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Feature | ZONKE - THE ASCENT OF GLORY | words: Mickdotcom | photo: Rashid Latiff (Courtesy ESPAfrika)

ZONKE

THE ASCENT OF GLORY

S

o Zonke purrs lithely onto the stage, in a svelte blue dress - all casually elegant strut.

Her entrance is hypnotizing - she doesn't walk so much as glides, curvaceously, into the pool of light, where her band has already set up the musical frame for her opening track.

I spy an almost shy smile as she enters said illuminative pool, and the warmly roaring embrace of the expectant crowd. It is, possibly, a crescent moment in her career - and, purely in visual terms - can rightly be imagined as an iconic moment in her life.

The stuff of dreams Just last year Zonke remarked on Noeleen's 3 Talk show that one of her aspirations was to be invited to grace a stage at The Cape Town International Jazz festival, whose stages, this year alone, played grateful host to such talents as our own Thandiswa Maswai, American retro-R&B icon Jill Scott, and Cuba's deservedly revered Omara Portuondo.

“CTIJF was on my wish list - to be asked to appear on one of these Jazz stages. Cheezy as that sounds!”

Over the years these stages have trembled in sheer delight under foot of such luminaries as Archie Shepp, Adam Glasser, Wayne Shorter, Youssou N'Dour and dozens of other World Music and Jazz legends.

Tonight a stage belongs to her alone. And, for the next musically charged hour, she - utterly - owns it. The crowd moves along to the essences of her songs - from cheer and delight to romantic, cuddly bliss.

A Moment in chime Zonke’s childhood was bathed in music.

Her current, sleek ascent - I predict she’ll soon be the new Lira, or, more apt, the first Zonke - was written in the stars, and in the troubled, impassioned soil and soul of South Africa.

During her press conference in the Cape Town International Conference Centre I sense, as all the other present

“CTIJF WAS ON MY WISH LIST TO BE ASKED TO APPEAR ON ONE OF THESE JAZZ STAGES. CHEEZY AS THAT SOUNDS!” journalists seem to do, her ordained future as a major SA musical star. It’s in her glowing composure, the silken sheen of her deft modesty. It’s - above all - in her composing voice.

When a very excitable journo asks her when we can expect another house groove, she indicates that although it was fun, she’s moving on to more challenging turfs. She recently produced two other artists’ albums, is on the brink of scoring an American feature film, and her recent, self-produced, -arranged, and -penned album Ina Ethe has gone double platinum, no small feat in SA, or anywhere!

Born in the Eastern Cape, Zonke grew up in a musical household - her dad, for whom she has composed a song, was an internationally active drummer, appearing on a Simply Red album, and mom Anneline was in the group Joy who had the 1980 hit Paradise Road which spent 9 weeks at No.1 in South Africa.

At the press conference she stresses the importance of musical selfidentity, something she has worked hard at achieving, by learning the technical

aspects of production, arrangement and marketing. She seems humbly proud of her hands-on approach to her music very few local bands/artists self-arrange and self-produce... meaning their work is subtly affected by the producer’s taste and whims.

Her eyes fixed brightly on the future, Zonke is riding her first proper wave as rising African star, she says she’s already busy with various projects that, “unfortunately I can’t go into detail about… yet.” Rumour has it that one of these has something to do with her meeting up with acclaimed R&B/Soul singer Anthony Hamilton during a recent visit to the States.

Future Roots Back at the conference Zonke speaks about the extensive musical nurturing she was afforded via her parents’ musical careers and passion. Asked about a concept that resonates with her, as a kind of life philosophy, she cites a ritual term, ‘Mimshek’, which she says means something like “expansion”.

‘Dynamic’ sells her short - when asked about her work-ethic, she says: “Just keep putting tracks in the vault, just keep putting tracks in the vault...”

She is staying true to her roots even as she intends to cultivate Future, Afro roots.

see us at

www.audiosure.co.za

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Feature | IF YOU EVER ENTER MY MIND, STAY THERE; YOU’LL LIVE: THE CHEVELLE INTERVIEW | words: Sergio Pereira

If You Ever Enter My Mind, Stay There; You’ll Live:

THE CHEVELLE INTERVIEW “WE WERE REALLY SURPRISED AT HOW MANY PEOPLE WERE INTO OUR BAND IN SOUTH AFRICA…”

go to places where people want you but it all depends on where your label is going to promote your music, too.

Sometimes, you’re able to get a good part of your label in a country, and they say, ‘we’re really behind this band; we’re gonna promote it.’ And I think that is part of what happened, which is great.”

Shadowclub and Seether

I

n 2011, Chevelle was scheduled to perform in South Africa, but ended up postponing the dates, in order to complete their 2011 release, Hats Off to the Bull. The social media trolls rioted with badly worded insults, a few homophobic slurs, and blamed it on the boogie - you know, the usual - yet now, all has been forgiven and forgotten, because Chevelle did reschedule as initially promised.

No Comfortable Lying Drummer Sam Loeffler doesn’t give us a spin doctor’s response about the postponement, but the truth instead.

“We knew that it was going to be very close with finishing the record and getting out on tour. I think there was a little bit of a mis-communication with our agent, because they didn’t [lay] the proper groundwork and tell the people in South Africa, the promoters, that there was a possibility that we weren’t gonna be able to do it. What it came down to was we said, ‘oh, we’re not gonna make it,’ so we told them. After that, that’s when we found out that it had all been announced and everybody was all ready, which we didn’t actually

know. It was pretty difficult, because for the next year and a half, we got every other Facebook comment harping on [about why] we didn’t show up (laughs).”

Inspiring a Generation Fortunately, Chevelle did show up - and that was a big thing for many local musicians. When you look back at the past decade and consider one of the bands which have significantly shaped the sound of alternative rock in South Africa, Chevelle is the name listed by many local musos as their primary influence.

Groups, such as Deity’s Muse and Blue Bird Theory, wouldn’t sound anything like they do if it wasn’t for Chevelle. Does Sam even fathom the influence of his band’s reach in South Africa?

“No. That’s actually kind of new to me,” he declares. “We were really surprised at how many people were into our band in South Africa. We didn’t know until it came up through some people contacting us via Facebook, and just saying that we were having a really big impact - but that’s great. You want to

Opening act announcements turn into hilarious threads, purely because someone will always be butt-hurt that their band, or friend’s band, wasn’t chosen. Sam dispels the rumour that it’s the organisers that pick their buddies as opening bands, as he explains how Chevelle was instrumental in choosing Shadowclub.

“We actually had a pretty good size list of bands to go through, and choosing who would be on the show.

Gosh, man, it’s hard to go through a list of fifteen bands and remember every single one as you do - but you have to keep [narrowing down] and figuring out what works best and everything. We’re glad that it worked out, actually. It’s like [South Africa] has rock bands that want to play with our band, and we want to play with them. And that’s very cool.”

Speaking of South African rock, is there any other local artist whom Sam is a fan of?

“I don’t know if I’ve ever really checked to see where a band, which I’m a fan of, is necessarily from... I don’t know; it’s possible. I guess I’ll have to look at all my favourite bands and figure out where they’re all from.”

What about Seether?

“Yeah, that’s correct,” he chuckles, “there we go. We have a great relationship with those guys.”

The Clincher In closing, Sam admits that the band did try to add another show to their South African tour, but couldn’t work out a venue, so that means they’ll have to come back again.

Naturally, I put him on the spot and insist that he promise Chevelle will return.

Sam laughs, “I promise we will come back at some point. I just don’t know when.”

There. It’s now in black and white.

You’re welcome, South Africa.

For more information on Chevelle, please visit www.chevelleinc.com.

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Artist Q ’n A | FARRYL PURKISS IS HOME | words: Eliza Day

FARRYL PURKISS IS HOME

F

arryl Purkiss is the man wearing red jeans and glasses in the Black Ram on Kloof Nek. His dress code is how we manage to find each other in the crowded room to talk about his new album, Home, his recent tour and Yuliya.

How has your progress as an artist been, since you first went on tour?

My first trip overseas was to Australia and I went there very arrogantly. I was playing with a guy I'd never heard of and I didn't care, yet I was opening for him! I got absolutely schooled!

The level of music in Australia was like you cannot even imagine. The arts and culture fund for the government is millions of dollars. They have super stars in Australia who have never left there because they didn't need to. It's a pity because in this country you don't have that. For me, Gary Thomas, Guy Buttery, Nibs Van Der Spuy (who all feature on Home), all of these guys who are world class yet ‘struggling’. It's not fair. I get to travel and play but it's not because I'm better. It's just right place and right time; to have someone who believed in me then.

You've just got back from a national tour for Home...

Yes! I forced myself to write this album so [that] I had to perform it with a band.

Usually it's just me or a duo and it was the first time I played with my full band in ages.

Home, lyrically sounds like you're reminiscing about growing up...

I remember from the time I wrote for my first album, (please don't ever listen to it. I paid myself to never listen to it again) as a teenager. I wrote it in a bedroom before I knew I was going to perform or record it. I'd always said that when this whole thing started happening, that I wouldn't be writing for anybody and I'm not. I write music that I enjoy singing and playing. Of course, there's influence from the label but my wife and I live out on a farm in the middle of nowhere and I'm not in the mix anymore. There's no cell phone reception, internet or T.V. The only time I come out is to play. I've got good friends and an amazing family. They all keep you on the straight and narrow. Not that I'm big headed, I'm talking about making music.

One of the tracks on Home is entitled Yuliya. Who is she?

She's my wife. She's an incredible person. My biggest inspiration and fan but also my biggest critic. She was very involved in the songwriting process on this album and we did a bonus track together where she played drums.

“...WE PLAYED THIS SONG AND WITHOUT US KNOWING HE RECORDED IT AND PUT IT ON THE ALBUM.” We were drunk on red wine and our producer knew we played this song when we were drunk. We've got a music room in our house, full of drums, guitars, piano - everything. Our producer told us to go jam and just have fun. So we played this song and without us knowing he recorded it and put it on the album. Yuliya did all the artwork for it too. Just to have her as my team mate is the biggest blessing.

You were recently asked to do the soundtrack for a film, Ways To Live Forever…

I was commissioned to write the theme song for this movie. It's about a [9 year old] boy who has leukaemia and [is] given a year to live.

He tries to do all these things that teenagers do: smoke his first cigarette, have his first kiss, etcetera. It was a true story and a huge honour. I was in kind of a weird place in my life and it all came together. I did a demo and they used it for the movie and then I recorded it again for the album.

If Home was looking back, what does looking forward, hold for you?

My only goal as far as my music career is to do it for the rest of my life and raise a family with it and support them and not sell out - then I’ve achieved it.

Home is out now in all good music stores and online. Read our review on Pg. 34

see us at

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www.audiosure.co.za

16

jezebel's VPL | A SPOONFUL OF FROST | words: © jezebel | image: Pierre Rommelaere Photography (Facebook:PierreRommelaerePhotography)

A SPOONFUL OF FROST

AT HEART, THE GENIUS IS A TRADESMAN. HE'LL TRADE ANGST FOR AWE, SILENCE FOR SONG, AND EXPECTATIONS FOR EXCLAMATIONS THAT CAN'T BE PRINTED HERE. FAIR GAME, FROST. LET'S PLAY. frequent; keeps it interesting for the audience as well as myself!

Is an audience one entity? It sounds like one, but does it respond as one?

Every night is different.

What must every Frost show have besides you?

Good sound!

You’re a full-time independent artist. In your experience, what does it take to make it? Is Facebook enough?

No, you have to go out there and make fans, social networking is an incredible tool but will only get you so far.

P

reacher and player, Albert Frost gives a guitar birth, breath and death in a single song. A session under his influence washes away the worst and leaves room for the rest and a little bruise that’ll bring you back for more. I guess that’s why they call it the blues, who can blame a boy who grew up with holy fingers and dirty chord progressions? Take it away, Brother Albert. jezebel: You just about grew up on stage. How has your first and longeststanding professional band, The Blues Broers, contributed to your career?

Al: The biggest thing I got from the Blues Broers is experience. Not only from playing shows but working with guys who have been in the industry for so long they gave me a rare education on how to do it.

Did it feel natural to go solo or was there heartbreak?

Wait. What are we talking about?? Haha!

Going solo was a way for me to pay rent initially but I have always wanted to do my own thing, in a way, so it turned out alright.

While you have albums out, it’s only more recently that we’re seeing more of your own material stealing the stage. I love the personal input in your songs and the scope in your song writing.

How are you feeling about it?

I've always struggled with the fact that

presenting a song is such a personal and bare act but I have steadily grown in confidence and am working on my own stuff. I tend to jump between genres all the time so [I’m] trying to focus on one feel.

Did learning to play others' compositions contribute to your song writing or raise your expectations of your own material?

Definitely both, one learns to play by playing others’ songs. That's what's so tricky about writing blues, it's so well done already.

Do you think you’d ever want a full band for your original, solo material?

For sure, things will naturally veer towards a larger band. I've survived in this industry by keeping things mixed up - doing shows as a trio, big band with The Blues Broers, solo with loop station or shredding acoustics with Arno Carstens for instance.

What have you learnt about audience expectations?

I have a set 'menu' I provide at shows but no two shows are alike so I do tend to adjust things slightly (sometimes it’s a more Afrikaans crowd, sometimes it's an older crowd). I generally use a bit of humour just to lighten things up as well as stories related to the songs I play.

How often do you change the format of a show?

I try playing different sets at venues I

Is there an invisible glass ceiling in the solo-artist circuit or can a musician reinvent the deal?

There are so many little places to play you could just go on forever! Best is to try reinvent yourself every now and again.

What does being a professional really mean in [a] self-regulated industry?

It is hard sometimes. People still look at musicians as hobbyists or at music as a way of life that isn't really part of the real world. Fact is I have bills to pay and rely, therefore, on being as professional as possible so I know I will be supported by people. I try to keep my integrity intact as far as possible.

What do you wish journalists wouldn’t ask you?

“So how long have you been playing guitar?”

What question do you want to ask journalists?

“So how long have you been writing?”

Hahaha!

In my case, long enough to layer it like a loop station. Thanks, Al. Expect improvisations. Expect strings and things sometime. Expect to be blown away. He does mainline Orff and Rachmaninoff after hours, after all. And he’s not far from the truth when he decodes jezebel as a Very Persistent Linguist! Déjà vu, darling?

Website: www.albertfrost.co.za Twitter: @alfrost

18

Exclusive Interview | GLENN HUGHES - SANITY IN CHAOS | words: Paul Blom

GLENN HUGHES SANITY IN CHAOS

G

lenn Hughes is a bass player and singer who can boast a history to which not many Rock musicians can lay claim. Besides having been a part of legendary acts like Deep Purple (in the '70s) and Black Sabbath (in the '80s), he is also a member of the super-group Kings of Chaos, hitting South Africa in June, also featuring Guns 'N Roses members Slash, Matt Sorum, Duff McKagan & Gilbey Clarke, Velvet Revolver's Dave Kushner, and singers Joe Elliot (Def Leppard), Myles Kennedy (Alter Bridge), and Collective Soul's Ed Roland.

Amid a Kings of Chaos rehearsal session in LA, Glenn chatted with us about this exciting project and his life in Rock music, spanning nearly half a century. The first point of departure is naturally Deep Purple and Black Sabbath.

"Yeah, the iconic stature of those bands - not many people have been in two of the top 5 bands in the world," Glenn reflects, "I was very young, I was 21 when I joined Deep Purple (and they became the biggest rock group in the world at that time). Before that I did what I'd call my apprenticeship for several years in the band Trapeze, so I was ready for that jump up, you know?”

While the excesses of Rock stardom did get its hooks into Glenn, he was always in it for the music. "I studied really hard - some people would say you get into music to f*ck all the chicks and drink all the booze, but I really just wanted to play music - that's always been the main ingredient for me, and the art form of writing music. "And then with Black Sabbath, it was a different time for me let's just say I was 'over-served at the bar' a few times and found myself in a bit of a different situation, but it was still a very good learning curve for me.”

And what a learning curve that must've been! Which brings us to the creation of what Glenn refers to as a band, a proper band, not a project or collaboration. So, how did it all come together?

"I'll tell you exactly how it happened two Christmases ago, Matt Sorum and myself were flying back from New York and we started talking about putting this kind of band together and who we would put in this band. We started making a list, and funnily enough the people we were

“... If you look at the history books you'll know that some strange things have happened in my life... But that's old news, I've been clean and sober for 20 years.

The dark stuff got me to where I am today.”

speaking about are now in this band!" he beams.

But with all of these musicians surviving the Rock & Roll lifestyle, one may wonder if a collection of such strong personalities may be a powder keg waiting to explode...

"Most of the people in our band have known each other for decades - we've partied together, got sober together, laughed and cried together... and we've

all been in these hugely popular bands (collectively selling almost a billion albums)... The key ingredient here is the fact that we're all such good friends there are a lot of personalities involved here, but we leave all the egos at the door. There will be no jackasses involved in our organization, because we're a welloiled machine and really family orientated.”

With his talents on both bass and vocals, Glenn will be sharing these duties at the Kings of Chaos shows. "For the Cape Town shows Duff will play most of the bass, while Hughes shares vocal duties, and the Sun City shows I'll be playing bass all night, because Duff won't be available.”

One also expects most of these guys to have passed through South Africa by this time… "No, some of us haven't been down there before, I'm one of the guys that haven't. I know people have been buying my albums there, so now I can come and thank them all for supporting my music," he smiles.

And for those whose tickets are already burning holes in their secure storage locations, the set-list remains undisclosed.

"I can say this," Glenn replies, "it will be really silly if we don't do the big songs everybody knows. "We'll be tipping the hat to Guns 'N Roses, Def Leppard and Deep Purple of course, but then we'll also be tipping the hat to Led Zeppelin and a few other things we think we need to do because all the rest of the music we'll play was written either by friends of ours or people in the same genre of music.What people can expect is a high performance of classic Hard rock - a tribute to the great '70s and '80s Rock classics. We're really excited to bring that to you.”

In this new digital age, do people have a hunger for good, traditional live Rock music?

"Yeah, today I think it's coming back to an organic feel - not really a lot of Wizard of Oz stuff behind the curtain, like lip-syncing. What you hear with our band is really raw and organic, real playing in real time, no tomfoolery or trickery. It's a good thing.”

With a career of ups, downs and madness, are there any regrets amid the achievements?

"I have no regrets my friend. If you look at the history books you'll know that some strange things have happened in my life... But that's old news, I've been clean and sober for 20 years. The dark stuff got me to where I am today. I'm a responsible man and stand up for my actions and I try to live that way. I don't do this for financial needs, I do it because I really love the art of making music, and my biggest achievement would probably be getting sober and then having success again after I got sober. But most importantly success as a human being - I find myself writing even better music now, I think. Some people have said my voice is better now than in the '70s - that's simply because I'm not getting high.

Although my life is pretty fun, I take it quite serious when I'm up on stage.”

For an in-depth summation of the Kings of Chaos tour in South Africa, check out Paul Blom’s Eruption on Pg. 30.

19

Duff McKagan Matt Sorum

Myles Kennedy

Gilby Clarke

Slash

Ed Roland

20

Featured Interview | HOT WATER | words: Eliza Day

Womad Spain: 2013

HOT WATER

“You can mention I don't take sugar," he smiles, "I'm just practicing for being really famous. You can say how ‘He doesn't take sugar with his cappuccino by the way. And he's an asshole!’”

B

eing interviewed during an interview I am supposed to be conducting is not a position I often find myself in. Ever. One thing you get to learn about creative types, after you meet enough of them, is that they never fail to use every opportunity to promote themselves.

Yet, Donovan Copely, the heart of Afro-centric band, Hot Water, insists on a two-way discussion as opposed to a typical Q and A. What comes to focus is more than the band's prospective new album and is rather the idea of music as a language of passion, business and balance in order to reach fulfilment as a musician, especially in South Africa.

Donovan is late to meet me because a literal shit-storm brings the traffic to a standstill on the N2 into

town. People heave buckets of human excrement onto the highway in protest of the fact they have little or no sanitation (a human right) in their townships. I find it incredibly ironic, considering this man's music and work is devoted to uplifting an essentially proud, South African culture. What are the odds and what's coming next for this country?

He's apologetic, dressed in shweshwe and has just got back from his sixth consecutive overseas stint where Hot Water played to 12 000 people at WOMAD in Spain.

"WOMAD was big, about twelve to fifteen thousand people in the audience. They gave us a Saturday night, on the main stage in a 9pm slot.

I thought it was going to be pretty intense trying to fill that but it was great. I even crowd surfed which doesn't happen in my music genre.

Our show is a very dynamic, 'event' sort of project. WOMAD was perfect for us. The crowd was heaving hours before. We knew this was going to be a hell of a show.”

When I ask about the possibility of signing with an interested label in the US, something Donovan has steered clear of entirely up until now, he says, "We've been receiving a lot of interest from different parties in the US through our agent in Europe. It's exciting. The record label is called Putumayo and they're responsible for finding artists around the world.

Specifically world music.”

To me, 'world music' can mean anything but in Hot Water's case, it focuses on reconstructing the essence of various kinds of roots music that originates in South Africa, into something fresh, free and fun.

21

A

t this point the waitress brings Donovan a cappuccino, smiles and removes the sugar he doesn't need.

"You can mention I don't take sugar," he smiles, "I'm just practicing for being really famous. You can say how ‘He doesn't take sugar with his cappuccino by the way. And he's an asshole! Look how he shouts at the waiter! Bring me some fucking water with that, do you hear me!’" he yells into the air, far from the waitress's earshot. He's kidding.

Hot Water have been hot-to-trot since Donovan began the project on his own steam, seven years ago.

"This is the sixth year we've been overseas to tour, consecutively. The first couple of years, we were up against big acts and it was very nerve racking but now we're comfortable out there. If I was just a jazz or rock or pop musician, I would be terrified, because it's breaking into America and the UK which is where that kind of music originated from. But we use South African roots to remain authentic. It means I can stand next to a major rock band and hold ground comfortably.

Because I've got something original and unique. This makes me confident and I've gotten more so as I’ve understood it over the years."

Hot Water have just finished a track for a resort in America. Right now, they're back in Cape Town, in pre-production for the next album.

Europe seems to love an African influence when it comes to music and this is something Donovan agrees on,

"You can see it with bands like Vampire Weekend and other pop outfits. They're really incorporating African sounds lately. They're very into it overseas and I'm honestly confused as to why South African bands don't embrace their roots more, musically. I mean who else is really doing what I'm doing? Really do you know of anyone else?”

This is where he genuinely seems interested in what I have to say and for once, I get to talk about what I think. I mention that Freshly Ground may have once been something that you could relate to Hot Water, before they went in a new direction with their latest work. Clegg is too kitsch but The Brother Moves On harness the same vibrant, raw, African energy, Donovan likes to exude musically.

He responds, "Why don't we do it more? We've got something special and we're not using it. We're not confident enough. Maybe it's uncool to some degree. I've felt that a little bit before with the thing I'm doing. I've taken the feeling of being South African and brought it into music. I'm English and Afrikaans and African - it's all in me and how do I bring myself together? It's an identity crisis. I've found through making music, there's a place that connects those things. That feeling of being 'home' which is the name of my first album. That's why I got into music. To find peace. To uplift myself and others. I've worked really hard to put this whole thing together.”

That last bit brings me to ask his advice on behalf of other South African musicians and artists. How do

you make a career out of your creativity and get away without compromising yourself and your finances?

“I've got to do the music and I've got to do the business in order to find a balance that will satisfy me. I need to make a career and do well financially but also hit the feeling of artistic fulfilment personally. I've done whatever it meant to make that combination work. It's a commitment to making my passion work and doing whatever it takes. It's a heavy load and balance is key here. You have to realise that even if you do have a manager or a record label, that it's all you at the end of the day. You're all of those things and I had to learn to understand that.”

So does this mean he is wary of signing with a label, after going it alone and so well for this long?

He replies, "Getting signed could easily sink you. You don't hear about it often but it happens all the time. I've seen it. It will come down to a relationship with myself and the people at the label. It's a level of trust and I'm wary because it needs to work. I won't do it unless I know that it's clearly going to make a big difference. If I give away power, it can't compromise anything. Balance.”

Wise words from a man who is already starting to sound like an old soul, despite his relatively short career.

Find out more at: www.hotwater.co.za

22

Artist Q ‘n A | BURNING STRINGS: THE JEAN LUC PONTY INTERVIEW | words: Mickdotcom | photo: Rashid Latiff (Courtesy ESPAfrika)

BURNING STRINGS: THE JEAN LUC PONTY INTERVIEW “...I first started amplifying my violin for no other reason than to play louder than the audience's conversational volume!”

T

he composition was entering its fifth mood, a diabolical, gleeful, lurching rhythm, led by deep-ploughed violin.

The song was Revised Music for Violin and Low Budget Orchestra, it was written for Jean Luc Ponty by Frank Zappa. A new instrument dawned into my framework as that composition wheezed and moaned and ranted and spun - that classic, demure, genteel pansy of an instrument had been plucked from its staid Old European stand and forged into a complex, eloquent and savage beast. A potent instrument of sound that could howl piercingly and stagger drunk and ominous, and still weave elegant swathes of pure, shining sound...

Ponty started out playing violin as a contemporary of the great Stephane Grappelli, who was the pioneer of Jazz violin. In the late Sixties he moved to America, and became profoundly affected by the shimmering electricity of Rock, Funk and the still embryonic Fusion genre. By the mid-Seventies he had recorded several compositions and LP’s with Zappa’s Mothers of Invention and worked with seminal Fusion outfits - the supersonic Mahavishnu Orchestra, with John McLaughlin, and Chick Corea’s Cosmic Medieval group Return To Forever, moving on to release acclaimed solo work over the next two decades.

We caught up with him the morning before his ear-blazing set at this year’s Cape Town Jazz festival (CTIJF), where he spoke about working with Zappa, turning up the volume and the beauty of sound.

Muse: You’re the godfather of electric violin, and eventually employed an array of electronics in your compositions.

How did this electrification come about?

Jean Luc Ponty: “Well (laughs), I first started amplifying my violin for no other reason than to play louder than the audience’s conversational volume! Later, when I was in Zappa’s band, we were approached by all these young, crazy inventors, like Robert Moog, who would bring their latest prototypes to us to experiment with, so Zappa got Wah-Wah pedals, and I think he got the first Phaser – it was the boom of electronic gadgets in Jazz and Rock, especially in California, so that was great! Because I could play keyboard I could access all these synthesizers coming out, and immediately experimented with them, and on and on. Experimenting with sound started to trigger my imagination, because sound - new sounds - stimulate new compositional perspectives. There actually were other electric violinists in America at the time, but I guess I was the first one to push as far with experimentation.”

How do you compose?

“Well, I’m a pianist too, I played piano in my youth. That strongly guides my composing, I compose my main ideas through piano. If I had only played violin my composition would not be as strong...”

What band are you here with, what is your current set-up?

“I have a band, mostly European, I use American musicians too, of course, but

this year [at the CTIJF] I’m using my European band, which includes the French pianist William Lecomte, who’s been with me for 17 years, the bassist Guy Akwa, from Cameroon, who I met in 1991, when I did a special project with West African music, and a phenomenal drummer, Damian Schmidt - I don’t say he’s phenomenal because he’s in my band (chuckles) - he does drum clinics all over the world.”

You’ve collaborated with everybody from Stephane Grappelli and The Modern Jazz Quartet through to Chick Corea and John McLaughlin.. What have been some of your favourite collaborations?

“It’s always hard to say. Okay, Frank Zappa was the furthest away from my initial musical world. I feel a lot closer to Chick Corea in style, but the improvisational approach in Zappa’s band was just so much higher, I mean he was such a brilliant composer, some of his pieces were very impressive, very original. He was just way ahead of his time, and really a pioneer of fusion music, in general. I was already a mature musician when I worked with him, so my little inputs were also there, it was a real collaboration.”

Ponty went on to blow some hats off with his eloquent, rapid-fire solos and lucid compositions at the Basil ‘Mannenberg’ Coetzee stage, alongside his lean, hungry band of virtuosos. Proof you can still swing, and Rock, at 70-something!

24

Artist Q ’n A | TOMBSTONE PETE:

21ST CENTURY VAGABOND | words: Johann M Smith

“THERE'S A LOT TO BE SAID FOR WRITING MUSIC ON DRUGS, TRASHING HOTEL ROOMS AND FISTING HOOKERS.”

TOMBSTONE PETE 21ST CENTURY VAGABOND

A

s 21st century musician and vagabond, Tombstone Pete, defies the perpetual concept of the travelling guitarist.

He talks frankly about his music and life, makes jokes about balls and gyms quite often and proves solo musicians have social skills too...

What’s the weirdest place (where few have gone) that you’ve played?

In New Zealand I played a show at the headquarters of a gay and lesbian political action group for one of their monthly soirees. It was bizarre.

You’ve often made frank references to balls. What’s the best one so far?

I used to call my Aussie bandmate’s girlfriend “DogBalls”. She was fun.

Do you find that the modern-day guitar toting troubadour is a better vagabond online than in real life?

When I was hopping from place to place with my guitar I just arrived, started busking and hitting open mics to get peoples’ attention, but that was because I never really had enough cash to spend much time in internet cafés. I reckon, had I used it more, it would have made my wanderings a little less aimless.

You were at The Breathe Sunshine African Music Conference. You’ve experienced more than one music industry, what can you say about South Africa’s?

I met lot of good people at Breathe

Sunshine who’ve been in the local industry for decades - and there’s definitely a drive and vision. It’s all about rising out of the cockroach circuit where everyone’s a “manager” and everyone thinks they’re owed something. Our industry’s a lot better off than it looks from the bottom. There’s a lot of work to be done, and there are good people willing to do it. I’d like to hear less complaining and more working from the musicians I encounter every day.

Success takes hard work, and that seems to be an alien concept to a lot of people.

Trenton Birch and everyone else that put that conference together, exemplify the kind of work ethic I admire in an SA muso.

Do you think the name Tombstone Pete has become solidified as proudly South African?

Certainly proudly Capetonian. I’m working on the rest of the country. This is where I belong. Maybe I’m getting old, but I like having roots now. The dream is of course to spend SA’s low season over in the UK and Europe, but SA will always be where I come home to.

Having been around the block with substance abuse and now that the times have gotten greener and more socially responsible; do you think it’s high time we change the tagline of our culture sex, drugs and rock ‘n’ roll?

No Way! There’s a lot to be said for writing music on drugs, trashing hotel rooms and fisting hookers. And the Greens can shove their carbon footprint right up their ass. That is the rebellious passion of youth that fuels rock ‘n roll.

And there will always be a time and a place for it. There are unfortunately some of us who don’t have an off-switch, and refuse to accept that there is also a time and a place for co-operation, compromise, and daily exercise. For us there is much pain and heartache until we are ready to learn.

Do you think the songwriter and his guitar will ever be replaced by a 21st century incarnation - the DJ and his decks?

No the songwriter and his guitar will never be replaced. In fact the internet has made it possible for ever more people to find someone who will like what you do.

The mainstream charts only reflect the lowest common denominators.

Have you managed to make contact with your old artistic foil and friend Blake?

Blake and I remain in contact and will hopefully one day jam together again. His solo effort is going well over in Seattle, Washington, where he is now based.

Before we have to love and leave, give us a report on your latest recordings.

I haven’t recorded in a while. The percussive, instrumental stuff is a visual show and while it will be represented on anything I release, it is more suited to a live concert DVD, so I have been writing more lyrical works of late and just putting down rough ideas on the home PC. I’ve been exposed to so much blues since I began co-hosting the Blues Zone on Zone Radio that it has inevitably influenced these new works, but I will be sure to retain the balls.

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26

Music News | INSIDE THE MACHINE | words: Johann M Smith

Inside the MACHINE KIDOFDOOM IS BACK Photo: Liam Lynch

performances with visuals, strobe lighting, live synths, triggered samples and beautifully effected vocals. Their debut album Dumb Dumb is out now on Just Music.

FOR MORE: FB - Death by Misadventure

TERMINATRYX TO FINISH NEW ALBUM “SHADOW”

A

fter a near three year hiatus, Kidofdoom returns to the stage. The unique soundscape hipsters from PTA are set to tour South Africa this June. The band, currently consisting of members Richard Brokensha (from ISO fame), Ryk Benade, Matthieu Auriacombe and Johan Auriacombe, have expressed their excitement and said they’ve missed playing and making music together. And thus came up with the reunion tour.

According to the official press release, they’ve been working on set lists and dusting off old tracks which have not been played in a while - not even on their last album launch tour.

Real question is; what can fans expect?

A new track, or two, perhaps? Their sets will comprise of a good balance between their first and second album - here it comes - including unreleased tracks.

“Fans can look forward to loud and energetic shows accompanied by a celebration of lights. It will be a nostalgic couple of shows but we are most excited to see our friends from all over the country.”

The official dates for the Red Heart Rum presents: KIDOFDOOM Reunion Tour 2013: 14 Jun @ The Assembly, CT 15 Jun @ Town Hall, JHB 12 Jul @ Arcade Empire, PTA 13 Jul @ Live the Venue, DBN 9 Aug @ OppiKoppi FOR MORE: kidofdoom.co.za

A CELEBRATORY SAMAS FOR JUST MUSIC Just Music proudly announced that their

artists received a record 11 nominations for the 19th Annual MTN South African Music Awards (SAMA). The independent label, that’s nearing their 10th anniversary, were absolutely thrilled and extremely proud to be representing these fine and diverse South African talents.

Some of their nominations included: The Muffinz (Have You Heard) Album Of The Year, Newcomer Of The Year, Duo or Group Of The Year, Best R&B/Soul/ Reggae Album; Tailor (The Dark Horse) - Best Alternative Album, Newcomer Of The Year; Zebra & Giraffe (The Wisest Ones) - Best Rock Album; Yoav (Blood Vine) - Best Alternative Album; Fetish (Little Heart) - Best Alternative Album.

FOR MORE: justmusic.co.za

TAMARA DAY STARTS ELECTRONIC DANCE DUO WITH SHADOWCLUB MEMBER They’re called Death by Misadventure or DbyM (pronounced dee-by-em), and they have a new album out that was mixed by none other than LA’s Dave Cooley - the very same who worked on M83 and The Presets. The new 2-piece electronic dance outfit made up of producer/songwriting team - Isaac Klawansky (Shadowclub) and Tamara Dey (Flash Republic) describe their sound as alternative electronica with influences ranging from hip-hop and electro to pop and techno. The pair’s dark dynamic resonates through songs driven by soaring synth lines and Tamara’s moody vocals.

Fans can expect to dance to powerful, soulful and often intimate live

This June Terminatryx will wrap recording for their offering Shadow at Bellville Studios with Theo Crous. To go with the digital times, Theo is adding some analogue magic with his SSL desk and 2-inch reel to reel tapes which will be used to record the drums - adding some life and motion to the sound quality.

Pre-production on a new music video will be in motion, and the title track of the new album (and other recordings) can be found for free at the band’s

Termanytrix Soundcloud page. The new album cover will be designed by Dr-Benway and features vocalist Sonja. The photo shoot was in mid-May and Dr-Benway is wielding his creative magic to produce something dark, something sexy, something phenomenal. Fans can become part of the creation of this new album with IndieGoGo (featuring some great contributor perks, from downloads, CDs and DVDs, to exclusive T-shirts, custom Terminatryx coats from Wolf Clothing, WildFire Tattoos and Body Piercing, Jackson electric guitars and more.

FOR MORE: soundcloud.com/ Terminatryx | igg.me/at/terminatryxshadow

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Following the success of the Sound on Screen festival that features movies celebrating music, comes another few indie film festivals from the same makers. The exciting 6th instalment of X Fest is set to take place in the first week of June at Cape Town’s Labia Theatre and focuses on alternative subjects and documentaries; the Celludroid Sci-Fi / Anime / Fantasy Film Festival will take place in July; and the proudly South African Horrorfest in August, that will host a special pre-release sneak preview of the new remake of Sam Raimi’s Evil Dead! Oooh!

FOR MORE: celludroid.net | xfest.org | horrorfest.info

MAJOR INDIE ACT TO PLAY DAISIES AND VODACOM IN THE CITY They’ve have been blowing up on British charts with their debut album An Awesome Wave, playing sold-out shows across Europe and America at some of the world’s top festivals like Coachella, Glastonbury, Lollapalooza and Reading and are now making their way to South Africa for the very first time.

They’re called alt-J and were nominated at this year’s Brit Awards for ‘Best British Group’, ‘Best British Album’ and ‘British Breakthrough’ and winning the Mercury Prize for ‘Best British Album’ of the last year. The most impressive bit about alt-J is how they’ve risen to fame with little to no record label promotion.

Catch them live at Rocking The Daisies and Vodacom In The City.

FOR MORE: rockingthedaisies.com | inthecityjhb.co.za/

RED HUXLEY TO RECORD WITH EAGLES OF DEATH METAL GUITARIST

DANS DANS LISA & GLASKAS TO TOUR SOUTH KOREA? PTA favourites Dans Dans Lisa and Glaskas are planning to tour South Korea this July. Together with the group, South Africans In South Korea (SAFFA), they’ve come up with a unique crowd-funding project which encourages Korean fans and South Africans in South Korea to buy tickets beforehand for 30 000 Won per ticket to ensure that the tour can take place.

The proposed tour will happen on 5th July in Busan and the 6th of July in Seoul and the bands are positive. Should the goal ticket sales not be reached by 15 June 2013 and the bands do not gather enough money to cover their flights, any ticket purchasers will be fully refunded. Good luck and break a leg guys.

FOR MORE: FB - Glaskas and Dans Dans Lisa in Korea

RIAAN NIEUWENHUIS DROPS HARD ROCK INSTRUMENTAL ALBUM Guitarist, drummer and pianist Riaan Nieuwenhuis, has released his latest album Instigator. A solid, bold and deliberate Hard Rock Instrumental, with the guitar as premier and instigating instrument. It’s the first album of its kind in South Africa consisting of clever constructed hard rock riffs as themes, accompanied by well directed lead breaks. Currently Riaan is also the drummer of the fresh and sensational rock outfit The Parlor Vinyls (see fb.com/pages/The-Parlor-Vinyls/) who will be recording an album later this year.

During the course of next year, Riaan will record yet another more involved hard rock Instrumental album.

FOR MORE: riaanmusic.com

Photo: Louise Pieterse

It’s official: Red Huxley are set to record with Dave Catching from Eagles of Death Metal in his Rancho de le Luna studio,

situated in Joshua Tree, California. The news follows RH’s ‘Kickstarter Campaign’ for which they needed to raise $25 000 through the support of friends, family and, most importantly, you the fan. If you wish to support them further check out their Kickstarter webpage.

FOR MORE: http://www.redhuxley.com/

Photo: Eduan Kitching

INDIE FILM FESTIVAL ORGANISERS TO HOST SEVERAL EVENTS

Red Huxley

NEW HARDCORE ALBUM BREAKS MAINSTREAM MOULD After years of hard work, commitment and respect for an industry, which doesn’t always

Glaskas and Dans Dans Lisa reciprocate, Joburg’s post-hardcore/rock group Climate Control is ready to justify hype and assert their place at the forefront of the South African alternative music scene, with the release of their much anticipated debut album, Preludes.

The full-length offering is described as a love affair between melody and aggression – the Underoath and The Used kind.

GET IT HERE: cdbaby.com/cd/climatecontrol2

Riaan Nieuwenhuis

HABIT TO BUSY WITH 3RD ALBUM AND CHINA TOUR Durban’s new age rock band Habit To have signed up with Sheer Publishing and are currently working on their third full-length due for release this year, as well as a preparing for their international tour for which they’ve been invited to play stages throughout China.

FOR MORE: habittoband.com

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Classic Albums | GEORGE CLINTON AND FUNKADELIC'S 'ONE NATION UNDER A GROOVE' | words: Mickdotcom

GEORGE CLINTON

AND FUNKADELIC'S 'ONE NATION UNDER A GROOVE’ ‘BoWoWow/ Yippy yo/ Yippy Yay.’

H

ip-Hop would be unthinkable without HipHop would be unthinkable without the slabbed backbone of Funk.

Without the massively kinky influence of George Clinton’s PFunk canon, Hip-Hop would’ve sounded like a 'boredroom' meeting. The Red Hot Chili Peppers would’ve been The Stale Slices Of Bread, and The Artist Formerly Known As Snoop Dogg would have sounded like a grey-haired, white magistrate, politely asking for some tea.

Prince would’ve sounded like Kenny G shaking hands with Eric Clapton, in slow motion.

Sex in the sky/ sex in the soil Sex be the shit. All up creating us and keeping us warm and glowing and hungry and burning. Sex, outside of birthing all us complex organisms, also bequeathed Funk unto the world of Music.

Sure, Rock’s always had Nookie; Rock ‘n Roll was Named after the Horizontal Rumba; the Blues stammers and moans about it/not getting enough of it, but Funk? Funk dug deep into sex and set rhythm and rhyme to the beat of self-delighting sleaze. Not cheap-ass, B-Grade sleaze, more like the Slink, the Kink, of the sexual beast. Arranged entire albums around her rhythms, her tablature of moans and cries. And combined it with sci-fi imagery. Because they could.

Like Jazz, Funk got its name from a slang reference of a sexual nature. Jazz came from (ahem, so to speak) ‘jizz’, meaning meaningless noise, like the little universes of cancelled lives whitely spent into a hand; while Funk came from a term referencing BO, or the heady haze of musk.

Funk was spearheaded by Mr. Sex Machine himself, in James Brown’s urgently and unendingly stomping right foot. It was picked up and given a colourful rearrangement by pioneer Funk outfit Sly & The Family Stone, whose legendary Woodstock performance slipped the new genre into White folk’s radar.

But George Clinton and his extended family of friends and accomplices took that shit to the next level, or to the next extra-terrestrial stratum, to be more accurate.

Dig into it Clinton, who founded and scored both Parliament and the more muscularly funky Funkadelic, created his own little universe of music - where aliens and bountifully bosomed ladies and Jazz cats and rocket-riding guitarists and the occasional elf coexist in mutually

satisfying, nubile harmony. But he also addressed Black Consciousness, just in a slightly less… stern… way than The Black Panthers and Malcolm X did.

Their inarguable masterpiece, and most popular album thanks to the radioready hooks of the title cut, One Nation Under A Groove, collects all of the eclectic elements that make P-Funk groove as hard as it did: Benny Worrell’s writhing, out-there keyboards, guitarmeister Eddie Hazel’s sinuously scalding lines, sex and politics and merciless rhythm. Another key track acts as motto, and sonic distillation of Funkadelic’s flavours, Who says a Funk band can’t play Rock? – all crunchy guitars and raucous rhythms.

It is also Clinton’s most consistent political statement, not only of African-American concerns, but a general, boogylicious declaration of independence - in mind, in spirit, and in derriere.

Funkadelic churned out several other albums before sticky record label and copyright issues forced Clinton to continue, with mostly the same band members, under his own name, or as the P-Funk All-Stars; but this, riotously chugging LP was the pinnacle of Clinton and his bands’ fun, careening genius.

In the words that intro the title track off Funkadelic LP Maggot Brain, which track is Funk’s most affective, elegantly wailing and meandering guitar solo, courtesy of Eddie Hazel, who, according to legend, was instructed by Clinton to “play like you just heard your Momma’s passed away/then play like you just heard she’s still alive” : “Mother Earth is pregnant for the third time/ for y'all have knocked her up/ I have seen the maggots in the mind of the universe/ and I knew I had to rise above it all/ or drown.../ in my own/shit.”

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Eruption | HAIL TO THE KINGS! | words: Paul Blom

HAIL TO THE KINGS!

T

he clichés hang heavy in the air when something like this glimmers on the horizon: “Rock dinosaurs giving it one more try”…

“Has-beens vying to attain former glory”…

“Mid-life-crisis rockers flogging a dead horse”…

But then, these whispers and blatant condemnations may very well come from (non-prescription) Larry King glass-rimmed hipsters or Skrillex worshippers with no concept of real musical instruments or songwriting

and is of little consequence when looking at the vast interest local audiences have for bands established many decades back, but still at the top of their game - recent examples including Metallica, Red Hot Chili Peppers and Bon Jovi.

Far be it for me to force you into liking something that doesn’t resonate with you - but whatever snide remarks may flow from the safety of on-line anonymity, no amount of spitting, fuming and condemnation will thwart fans of real Rock music to see living legends perform on stage (having been deprived of so many bands touring our distant Southern tip back when they exploded onto the world scene - so it’s catch-up time!).

Which brings us to Kings of Chaos.

Devised by drummer Matt Sorum (Guns N' Roses, The Cult, Velvet Revolver), this Rock & Roll all-stars idea was created as a way for legendary rock peers to go out there and have fun with their music around the world and give the audience something they never thought they could experience. What makes Kings of Chaos so amazing is the fact that you get around a dozen classic rock bands in one!

31 With the line-up fluctuating around the world (in addition to Sorum, Guns N' Roses guitar god Slash, Duff McKagan and Gilby Clarke), alumni from other platinum selling and award winning bands to make the SA line-up will include Joe Elliott (Def Leppard), Glenn Hughes (Deep Purple), Dave Kushner (Jane's Addiction, Wasted Youth), and Ed Roland (Collective Soul).

But just how did a high profile collaboration like this make it to our shores? Enter Amp Events’ Andy MacPherson (whom you’ll also know from the band MacStanley (formerly Flat Stanley): “I brought Ed Roland from Collective Soul out to perform last year in my annual ‘Heineken Symphonic Rocks’ concerts. One night backstage he told me about this all-star project that he’d toured with.

When I heard names like Duff McKagan, Matt Sorum, Joe Elliott, I just knew I had to try and get the band over here.”

And Rock fans will be eternally indebted to Andy for this effort!

“Ed introduced me to the band’s management and after a couple months of negotiation we made it happen.”

And just how easy is it getting a super-group like this together?

“It wasn’t as easy, because all of these individual musicians are incredibly busy with their own touring bands, so to find dates to get them together for a Kings of Chaos tour can be a challenge! Add to that I really wanted to get guys like Slash who have never played with KOC before, to join for the SA line-up - which came with new challenges and obviously greater costs.

“But I prevailed, and I can now say with complete honesty that South Africa is getting something the likes of which the rest of the world has never seen before... and might never get to again.”

Indeed! For this June configuration, Cape Town also gets a killer coup by being the only South African location to feature Mr Duff McKagan on bass guitar! Thus giving

you pretty much the entire Guns N' Roses (excluding a certain prima donna ego-maniac on vocals). Duff has played in many bands throughout his tumultuous lifetime, and besides Velvet Revolver with Slash, also has his band Loaded.

With the bulk of the former members coming together here, the GN'R signature throaty squeal will be absent, but I was actually quite looking forward to seeing what Skid Row’s Sebastian Bach would add to the legendary songs these guys created in the ‘80s and ‘90s - however he has been replaced by Myles Kennedy from Alter Bridge (and Slash’s solo group).

I had anticipated that the Bach addition may even have surpassed the GN'R of old, but Kennedy will surely bring it, being the man chosen to sing with Guns N' Roses at their Rock & Roll Hall Of Fame induction so it is unlikely to be disappointing.

With combined album sales of a dizzying 300 million, I wouldn’t dare calculate the accumulative hours / years / miles amassed by these nine guys over many decades in rehearsal rooms / in the studio / on stage and on tour, let alone the spins of their music on cassettes, LPs, CDs, mp3, VHS, DVD and Blu-ray, in homes, cars, and from DJ booths and radio / TV stations around the globe - still rolling as we speak.

This however also places quite a burden on the Kings to live up to their title and reputations, and impress the audience with their conglomeration of total Rock excellence.

“The great thing about the show,” Andy remarks, “is that it’s unashamedly a ‘hits’ show. So you can expect a handful of the big hits from each of the bands these guys have helped make famous. I’ve had a peek at the set-list so it would be unfair to pretend I don’t know what’s coming!”

Any hints?

“What I can say is that it’s going to be any rock lover’s perfect show!

Everyone will be able to sing along to 90% of the set-list. All the hits plus a

few covers. Who knows what happens when you throw this much talent onto a stage together impromptu jam sessions...? Anything is possible!”

For the calibre of bands combining for this unique Rock experience, one would expect this to be a stadium event and then some but to tell you the truth, I’m not really in the mood to get soaked if the Cape Town weather decides winter has now officially kicked in…

Demand also resulted in an extra show added for Cape Town, so, the Grand West Arena and the Sun City Superbowl will do just fine. Andy’s reasoning is this: “I’m a firm believer that the concert-going experience in a good indoor arena is way better than a stadium. Plus with the unique nature of this super-band, I really wanted to bring a unique experience to the SA audiences. I mean the opportunity to see these ‘stadium act’ musicians jamming together in an intimate arena is part of the allure of the show for me.”

As with music of any kind, it is certainly the soundtracks to our lives, and for many whose formative years or memorable parts of their lives happened to the tune of Welcome To The Jungle, Smoke On The Water, or Pour Some Sugar On Me, this is bound to be a momentous and matchless occasion not to be missed.

Catch Kings Of Chaos 7 & 8 June at GrandWest Grand Arena (R375 to R700), and 15 &16 June at Sun City Superbowl (R375 to R560). Book at Computicket.

Competition: Win 2 FREE tickets to see Kings of Chaos Live: [2 available for CPT show and 2 available for JHB show] To enter simply head on over to www.museonline.co.za and select the competition tab.

About Paul Blom: With a strong leaning towards all things Alternative, for decades Paul has been involved with music, movies, gaming and writing. Bands have included V.O.D (Voice Of Destruction), F8, K.O.B.U.S., The Makabra Ensemble and Terminatryx. Movie productions include short films, music videos, DVD releases, and half a dozen film festivals. Entertainment writing on music, movies and gaming kicked off in '97 for a wide range of publications, plus the creation of various web portals like Flamedrop.com. His work is far from done here.

Have some SA Metal news to share? Email Paul: EruptionMuse@gmail.com

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ERUPTION ALBUM REVIEWS | Reviewed by Paul Blom

ERUPTION Album Reviews FEATURED

ALBUM THE OCEAN Pelagial This epic offering by European Metal band The Ocean is a literal trip down to the depths. With great riffs, moods and energy wrapped in a stellar production, the progressive nature of the music takes you on a literal trip. No strangers to the notion of concept albums and releases going beyond a mere random dozen tracks, this gelled purpose-built creation runs the gamut of emotion with the cohesive piece of music devised as a single 53-minute performance, diving the listener through the ocean’s pelagic depth zones (epipelagic, mesopelagic, bathyalpelagic, abyssopelagic, hadopelagic) as a psychological journey through the inner-self: Initially the album was going to be an instrumental release (due to the vocalist having health issues).

But, what they ended up doing was make it available as both an instrumental album and one with vocals. Personally I prefer the instrumental rendition with the music strong, diverse and expressive enough to do the talking (and allowing your own mind to fill in the meaning of each piece and the whole). For those who want that extra slice of intensity and lyrical input (including clean and mean singing), the vocal version will do just fine. But, if you want the best of both worlds, you know what to do! Another cool part of this project is the expanded concept flowing into the artwork, like a 10-panel digipack design, and a special CD and vinyl release in an acrylic box illustrating the various depth levels. These sets also contain the Pelagial movie DVD (by Craig Murray, known for Nine Inch Nails).

FINSTERFORST Rastlos The output for fans of Folk Metal seems to be rather prolific.

(Formerly on Einheit Produktionen) this sixth release by German band Finsterforst is also their first for Napalm Records. As with The Ocean it is a good period for epic German Metal releases, as Finsterforst packs in audio experiences that cover a vast expanse in expression, in no hurry to get the songs out of the way - the majority of the seven tracks clocking in at between 10 and 14 minutes each, the closing one hitting 22

minutes! With a big Metal sound and songs that run the gamut of different tempos, speeds, hardcore pounding, shredding, lighter shades, nature sounds, and chill moments with catchy folkflavoured ditties, this is supplemented by choirs, and instruments like the accordion and horns. The harsh, heavy vocals are sometimes relieved with clean singing as they explore subjects like nature and various myths. But, coming from the Black Forest area they hold true to their roots and sing in German, a factor that will attract many, but also unfortunately deter some to explore.

INTRONAUT Habitual Levitations (Instilling Words and Tones) For those into Progressive Metal, Intronaut may just be your new find if they haven't crossed your path as yet. The band's music is an intricate experimental web of musical exploration with the nonabrasive vocals sometimes drifting through Alice In Chains-style territory (which is not a bad thing). Some consider this kind of Metal with its polyrhythms, complex structures and mathematical guitar riffs to be a bit too intellectual sure, if you want to let rip and just have a blast, this may not be for you, but one also needs to sometimes sit, listen and experience heavy musical forms that take you down a different path of escape (and be open enough to bands like these who may incorporate Jazz principles). I can understand if someone finds this genre of music a bit schizo or self-indulgent, but isn't that what most music is? - sound created by people who want these songs to mean something to them, and translate that intent to an audience and listeners open to take that ride with them.

FLOTSAM & JETSAM Ugly Noise Unfortunately for Flotsam & Jetsam, not many reviews will be written without the mention of bass player Jason Newsted. This was of course the band he was a part of before he took the fateful job of playing for Metallica (with some emphasizing the "for" as opposed to using "with"), but those are issues they've dealt

with and more than likely may still revisit.

That aside (and besides wondering how the band's career would've turned out had Jason not left), the band fought on to become respected in their own right. In many ways this brand new album continues the classic Thrash era from where they first rose in the '80s alongside Metallica and the other pioneers.

Persisting with their Metal craft, Flotsam & Jetsam has produced a steady flow of releases every several years since the mid-'80s (albums, EPs & DVDs), and don't try to be the heaviest or fastest, instead delivering energetic music with songwriting craft as opposed to a pissing contest. Traditional flavoured, memorable riffs, lead breaks when needed, audible, melodic old school vocals and a blend of paces from slow and steady to fast thrashers - what you get here is good music that doesn't seem preoccupied with pretence (even with the inclusion of modern elements and occasional synth bits).

VOIVOD Target Earth From the mid-80s into the 90s this Canadian act stood apart from the other bands of its time. The period was a richly exciting blast of Thrash, Death and Grindcore bands and the rise of Black Metal, resulting in some great music coming from that period. But amid this rich mix Voivod could not really be compared to any of their contemporaries. They weren’t trying to be the fastest, heaviest or go to any particular extremes. As a cult band Voivod found an identity that was very much their own with albums like Dimension Hatross and Nothingface, which we knew well back in the day. The progressive style they had during that period has resurfaced in Target Earth, with three of the original members, Away, Blacky and Snake joined by Chewy, (replacing Piggy who passed away in 2005). Piggy’s distinct guitar style has been retained with its dissonant flow and prog riffing, together with the bands erratic but distinct time signatures. What I fear is that while this will be a joy for old fans, it may be difficult to win over new ones, especially many in the current heavy music generation who may want the drums to blast and the vocals to roar.

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ALBUM REVIEWS

DM - Dave Mac | MD - Mickdotcom | JS - Johann M Smith | SP - Sergio Pereira | ED - Eliza Day | SO - Sean Olsen

Album Reviews THE ANTI RETRO VINYLS - TROUBLE

U

pbeat anthemic punk chant albums are only as good as the spirit that they are injected with and with this debut offering, The Anti Retro Vinyls give it a good stab and polish. The lack of anything new is substituted with something familiar: being young, and as a result, being an enduring lostromantic. By no means does it display pop-punk melodrama; it rather offers you the opportunity to jug down bitter-sweet moments with an easy melody and memorable lyrics. Text book case and point with track 3 (Just A Game I Play): “Like you say I’m not worth the price you pay / I don’t care it’s just the game I

Palma Violets 180 Another Rough Trade Records gem proudly brought to you by Just Music.

Despite having managed to capture and update that real sloppy pub-rock 1970’s sound via Richard Hell, Television or anything from London, Palma Violets actually sound the way they feel - down and wishing things were up, but knowing it’s probably not going to happen very soon. At times you literally see Sam Fryer falling into a chair with hopelessness, only to get up again for a chorus. Even though, for the most part, the lyrics are (appropriately) barely audible and immaturely enigmatic. The album starts with Best Of Friends, hailed as 2012’s Track of The Year by NME, and gradually increases in speed and tempo along the way - much like you would expect them to do if they were doing this live. In that sense they do come across as a real lad-gang of English pub-rock.

The only snag - call it a pro or call it a con - is that they’re still really young. Whether you decide to look past it or wait it out is entirely up to you. | JS

MORE REVIEWS ONLINE: www.museonline.co.za

Vampire Weekend Modern Vampires of the City Vampire Weekend are clever boys and they write clever songs. However, it’s taken them until now, their third album, to shake off their preppy college image. While their afro-infused debut made them hugely popular amongst well-to-do collegiates, it also drew strong (unjust?) criticism from detractors who suggested they were just privileged white kids misappropriating African music. Whatevs.

Graduation Day has long gone and Vampire Weekend have grown up and written their best album yet. Obvious Bicycle sets the pace for the album and it’s immediately noticeable that they’ve allowed more space into their rhythms and the songwriting is more measured. Step and Diane Young are back-to-back highlights. The former is a wonderfully wistful track with its dulcet melody and clever wordplay. The latter is an energetic rock ‘n roll number, with the catchy “baby, baby, baby…” refrain that’s not entirely unreminiscent of George Michael’s Faith (in a good way). Along with their wellcrafted songs, they’ve also excelled in the art of studio production, mastering that tricky balance between creatively using the techniques available and not overproducing their sound until it becomes lifeless. In fact, it’s Modern Vampires of the City’s vivid illustration of life that is its true strength. | SO

play.” It’s as vulnerable as it is careless. One moment they shout love, the next instance they don’t give a damn. All the while the songs yearn for something that seems impossible to obtain, but impossible to let go off: “Last day as lovers and I don’t want to say goodbye” (track 4, Last Day As Lovers). The emotions keep seesawing over the edge, then, at the last moment, it falls into adolescent narcissism and refuses to reach a solution - never mind absolution. It’s exactly what you’d expect, and often wish for, from a punk band of their calibre: the best of times and the worst of times all rolled up into one (fucking!) exciting youth drama. | JS

The National Trouble Will Find Me It’s easy to draw a comparison between The National’s music and their career as a band. At no point has either been impaired by haste or the coveting of instant gratification.

“A sense of urgency” has never been a term used to describe The National. Trouble Will Find Me is possibly their most sombre and certainly their most restrained release to date. While their albums have always been melancholic and heavyhearted, there’s always been a wry joke to be found in Matt Berninger’s writing. This time round he’s not grappling with issues of loss and tortured relationships as much as accepting them, and he seems comfortable with that. The same could be said for the rest of the band.

Years spent refining their sound has made them complacent - almost too comfortable in what they do. While it would be too harsh to suggest “they’ve phoned this one in”, there is an element of predictability; or to put a more positive spin on it - reliability. Some of the tracks are as emotionally beautiful as anything they’ve done before. Slow-burning guitars, lush orchestration, intricate drum patterns and Berninger’s smooth baritone voice allow us to also take comfort in that reliability. | SO

35 Paramore Paramore Let’s get the worst out of the way upfront: no, they’re not as hardcore as they used to be.

There’s even an interlude track called I’m Not Angry Anymore. But then again, this is Paramore. There’s still an abundance of angst and emotional melody and you do get 17 tracks in all. They’ve still managed to walk that fine line between pop-punk and melodic hardcore - and managed to sound like only Paramore can. We need not call Avril Lavigne to tell her that she’s got competition on her hands, yet. Here’s the most noticeable difference: they’ve grown up. Perhaps that makes most sense of all.

Track 5 says it best: “Let ‘em have their time / Sit back and let ‘em shine / Let ‘em rise and rise / Cause one day they’re gonna fall… I could be angry but you’re not worth the fight / Besides, I’m moving on”. The lyrics aren’t as catchy as they are wiser and better thought-out. They’ve artistically divided the album into two parts, we can only assume it’s for the benefit of meditation or perhaps they wanted to give you two albums in one.

No doubt, this is their most precocious effort to date - not their most rocking. The last track is aptly titled Future. It’s the only song whose lyrics aren’t printed on the sleeve.

And it’s their most personal and revealing moment to date. | JS

iScream & the Chocolate Stix Paradox Paradox is the debut album by the quartet called iScream & the Chocolate Stix and they certainly have come out firing on all cylinders, winning a SAMA for the Best Alternative Album at this year’s awards.

Jammed with 17 catchy, edgy alt-pop, Paradox flits in and out of an eclectic mix of electro rock, rap and pop and is instantly accessible and well, quite frankly, instantly likeable. To my ears, artists such as Beck and Astronautalis immediately spring to mind as potential influences, but with a real 2013 twist, as the music produced is laden with current EDM influences from electro to Dubstep and breaks. Add some genuine pop sensibility, a fair smattering of ‘white-boy’ rap and you have a very current and NOW sound from the boys. The band has been making noises on the live circuit for a couple of years now and Paradox is a definite realization of the promise they showed early on. Sure everything sounds and feels very processed and sequenced which may make some traditionalists in the alternative genre shudder, but this IS the sound of 2013; a heady mix of genre jumping (sometimes within one song) that never fails to remain interesting. | DA

Death By Misadventure Dumb Dumb Death By Misadventure or DbyM (pronounced dee-by-em) proves the flexibility the drummer has in the 21st century. On this ten-tracker, Isaac Klawansky from Shadowclub fame lends some of his cult status to Tamara Day’s high mainstream profile to create something appealing that’s a bit more undergroundish and cool. The result is a sound that is more consumable for the really cool kids. Production on Dumb Dumb is slicker than oil spill on a disco floor and comes loud and proud from the capable skills of a certain Dave Cooley (M83, The Presets). The vocals especially, have received a certain gleam and polish, something we haven’t yet experienced from our most famous blonde minx in her previous projects. The album’s danceable hard synthetic hooks and bleeping stabs are countered with its soulful melody and intimate moments - that for the die-hard dance floor connoisseur is appropriately spaced in between and not too much for the entry level beginner. Dumb Dumb often reaches for that moment that drops like a primal force of nature, but without the fanfare you expect from your more usual Daft Punk inspired duo out there. The contrast and familiarities between Mr. Klawansky and Ms. Day is clear from the outset, they’re a perfect new-skool match between the rocker and the aesthete. | SO

Prime Circle Evidence Released in November of 2012, Prime Circle’s latest album, Evidence, somehow missed our radar last year.

This is their fifth album and was produced by Theo Crous - he of Springbok Nude Girls fame - but more importantly Crous has made quite a name for himself as the go to guy as a producer/ engineer. In fact Crous, Matthew Fink and Darryl Torr seem to be the three highly productive and influential producers/ engineers on the South African rock music landscape right now But taking no chances, Prime Circle in fact took things one step further by getting ex-pat, Kevin ‘The Caveman’ Shirley to mix down Evidence. So what of the music? This 11-tracker (plus intro and bonus acoustic version of the title track) is vintage Prime Circle. The music sounds focused, the songs fully realized and the final mix/production is top drawer. As an existing fan, nothing about Evidence will alienate you; in fact the strength of the new album is their typically strong songs, presented very well by a band that consistently delivers for their fans. As a presentation of a band’s music, Evidence has ‘international’ written all over it; I just hope they haven’t missed the global power rock boat, a sound that may be a little less popular right now. | DA

Farryl Purkiss Home First track in and you can tell Farryl Purkiss means business. Unlike all his previous offerings that were written on tour, Purkiss wrote Home on a farm in Constantia - and you can tell.

Its intimacy is matched by its attention to detail - not the kind producers pick up, but the kind a fan’s heart picks up. Then again, the 12 tracks contained herein were produced by American Kieran Kelly (Sufjan Stevens, Better Than Ezra and very impressively, Anthony and the Johnstons), and that you can also tell. The content deals with a theme of three: Purkiss’ home, wife and youth. In that sense it’s a full colour delight that resonates with upbeat charms and indie hooks reminiscent of Mumford & Sons, just more stripped down and simple. But as expected, the album slows down allowing the soul to catch breath, wallow and swallow some tears. As you open the CD, behind the sleeve is written “For Yuliya” - Yuliya Danylyuk, his wife to be exact. This album is the old, tried tested and golden method of creating something for someone and then giving it to the world. | JS

ShortStraw Good Morning Sunshine ShortStraw stand a chance of being the next Fokof. Why? Because they push all the right buttons, most noticeably one South African bands (especially white ones) haven’t been able to nail, and have been living ignorance of: rock that actually sounds like it’s from here. There are no rolling American R’s, or even an overriding sense of post-modern theft. Good Morning Sunshine is lekka feel good jenga guitar vibes. Their cover is an image of a half-consumed breakfast which seems to suggest they got it all this morning.

Except for track 10 (The Wedding Blues ft.

Shane Durrant) and maybe the last track (127 Hours), everything on offer is a happy-golucky-don’t-worry sunbathed stroll down Muizenberg beach. Even the trendy topic of drug-taking as discussed on track 2 (Gimme My Fix) is executed with a relaxing spirit insomuch you might not notice it the first 5 times you hear it. Surprisingly, the only noticeable overseas-inspired effort on this 12 track debut is the secret track which sounds almost exactly like Art Brut. But the use of an over-the-top English accent by frontman Alistair Thomas, and lyrics that take the piss on “only” using a synthesizer, makes it all the more worth it. ShortStraw could very well be SA’s draw card for the next decade to come.

Top album. | JS

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GAME REVIEWS | Reviewed by Paul Blom

GAME REVIEWS PS3, X Box, PC, PS2

PES 2013 Things have come a long way since the PSone days of the mid-late ‘90s and back then we were impressed with the graphics and game-play. I first encountered the Pro Evolution Soccer franchise around 2001 and as one of the top contenders in the football gaming market, PES is at the cutting edge. The fully licensed leagues include: The English and Welsh Premier League, Brazil’s Campeonato Brasileiro, Spain’s Liga BBVA, Portugal’s Liga ZON Sagres, France’s Ligue 1, Netherlands’ Eredivisie, Italy’s Serie, and the fictional PES League and WE League plus many others. So whether you prefer Manchester United, Ajax, Bayern Munich or anything in between, it’s here (with authentic stadiums).You can access 89 International teams from around the globe too. The new generation football games improve with each new edition as intuitive gameplay is sharpened, realism expounded and as in this case, 3D also coming into play. PES 2013 is the very last game title to be manufactured for the PS2 system, so those gamers not yet upgraded to PS3 may need to do so soon if re-playing their back catalogue doesn’t do it for them anymore. Then again, many will probably bypass the current system in favour of the PS4, hopefully invading planet earth next year. 8/10

X Box 360 & PS3

ANARCHY REIGNS The days of Sega only producing cute harmless platform games with speed limit breaking hedgehogs are long gone…

Anarchy Reigns flows from the game Mad World.

It is a postapocalyptic era of strife, factions, nanotechnology and well; anarchy! This extreme action beat-‘emup game gives you a choice of various colourful and nasty characters to fight it out, from agents with chainsaws, and

ladies with spiked clubs, to clan members with bladed fans, while others utilize martial arts, freezing blades and more. Five Mad World characters can be accessed with almost a dozen new ones for this installment (plus 2 bonus characters to unlock), each with their own unique (and sometimes ridiculous) features. Besides one-on-one fights, many extra hoods and fiends attack from all sides in the city map terrain, and a splatter-fest it turns out to be as you literally bash them to the point of exploding into goop! Multiplayer modes include the wild Battle Royale (with up to 16 on-line participants), Death Match, Tag Team, Capture the Flag, and Survival, so there are plenty of different ways for you to do pretty much the same thing – work out that excess aggression on screen.

7/10

X Box 360, Wii U, PS3

INJUSTICE Gods Among Us This winner of the Best Fighting Game critics award at the 2012 edition of E3 (the world’s biggest gaming market) takes classic DC comic book heroes and villains to another level with an intense multilayered fighting scenario. Marvel often seems to dominate, but people sometimes forget that legendary DC characters include Superman, Batman, Wonder Woman, Flash, Aquaman, Green Arrow and Green Lantern on the side of the virtuous, and villains like the Joker, Bane, Catwoman and Lex Luthor. These add up to around two dozen playable characters, and you can pick your side (also including less high profile but diverse names like Cyborg, Killer Frost, Sinestro, Deathstroke, Doomsday and others). When facing an opponent, and it feels a lot like Mortal Kombat to you, then that would be because it comes from those classic fighting games creators.

Naturally the unique abilities and strengths of each character are highlighted, but a wide range of special moves and crazy powers are added with which to annihilate your foe. With a whole bunch of gaming options and locations to choose from (like Batman’s Bat cave and Gotham City, or Superman’s Fortress Of Solitude and Metropolis), you’ll definitely need to take on the story

For more gaming reviews, Check out www.flamedrop.com mode that pits many a hero and villain against each other; here the Joker destroys Metropolis, sending Superman into a fury, resulting in Batman’s Insurgency alliance having to stop Superman’s new Regime. With alternate universe characters being the opposite of how we know them, the detailed plot transcends mere ass-kicking sessions. A must for comic fans. 8/10

RATCHET & CLANK - All 4 One Having been around since 2001 on the PS2, this PS3 exclusive is the tenth title in the long running franchise of character specific 3D platform adventure games dominated by Ratchet and his robotic side-kick Clank. Set in a futuristic cartoon universe, while on Planet Igliak with Galactic President Quark, a gigantic Z'Grute is unleashed by the villainous Dr. Nefarious. But the beast turns on them all and the enemies have to team up to defeat it. This leads them to discover that someone is collecting monsters from all over the galaxy with the Ephemeris. With a cunning plan of universal proportions naturally hatched for all of these dangerous creatures. From Luminopolis and the Terawatt Forest, to Uzo City and the Polar Sea, there is no lack of imagination when it comes to taking the basic "collect items and beat the enemy" concept of Super Mario Bros. and turning it into an intergalactic adventure with a whole lot of crash-boom-bang. Collecting bolts is still essential to buy weapons, as whacking with your wrench is not enough - so the weapons upgrade kiosks return with around a dozen items to buy with your collected credits, from the Combuster to the Blitzer. Nanotech health replacement fixes you up while weird and silly enemy characters and a variety of robots try to stop you. Newscast reporters narrate as the action ensues.

Noisy, colourful and crazy, just what kids would love (and enough to drive the folk’s nuts, or have them join in). The series has always been single-player based, but now up to four players can join in on-line by taking command of Ratchet, Clank, Dr. Nefarious or the stupid galactic president Qwark. 7/10

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NATIONAL GIG GUIDE

NATIONAL EVENTS.....

Every Sun | Crimson LIVE | Brass Bell Restaurant & Pub | Main rd Kalk Bay, R20 | Time 19h00 | www.brassbell.co.za Every Sun | 4Ways TSG Mediterranean Grill-Cafe | Sunday Live Sessions | Leaping Frog Shopping Centre, Cnr William & Mulbarton Rd | Fourways | Free | 3pm-6pm | 011 4657270/ www.tsg4ways.co.za Every Mon | The Debaters | Rumour's Lounge | Corner JG Strijdom rd and Cornelius st, Weltevredenpark | Free |20:30 Every Wed | Old School Wednesdays | CPT @ Buckley's | DJ's: Criss Phoenix | Feat: The best of the 60's, 70's and 80's, taking you back in time to the age of the golden oldies | 21h00 | 021 910 4458 Every Wed | Rockabilly Night with Them Tornados | CPT @ Obz Cafe | Live: Them Tornados | 20h30 | www.obzcafe.co.za Every Tues & Wed | Real Music | & Union | 7pm | Live music and beer go together like hand and glove. You will always find a great line up of local artists paying us a visit, and offering you their best unplugged sets | www.andunion.com

Thurs 6 Jun | Frey Gang Band | Piet BothAkkedis | STELLENBOSCH | Dorpstraat Theatre | 6pm | Tickets R120 | bookings 021 8899158 or info@dorpstraat.co.za Thurs 6 Jun | World of Yamaha presents JUST MUSIC SESSION | 19 Eastern Service Road Eastgate, Sandton | Gauteng | Feat Dance, You’re On Fire, Shadowclub & Death By Misadventure | Time 7:00pm | R100 | www.ticketbreak.co.za Thurs 6 Jun | No Direction Home - A Tribute to Bob Dylan |The show traces the life of Bob Dylan, and his impact on 20th century American popular music and culture | Atterbury Theatre – Pretoria | Gauteng | 8:00pm | R160 | www.computicket.com Fri 7 Jun | Kings of Chaos Rock Legends | Grand Arena, Grand West Casino | Cape Town | A feast of musical mayhem awaits any true fan of rock n roll, when Rock Royalty "KINGS OF CHAOS" arrive in South Africa this June for four performances only | Time 8:00pm | www.computicket.com Fri 7 Jun | Frey Gang Band | CAPE TOWN | Murcury |Tickets: R60 - Door R80 | www.mercuryl.co.za / www.webtickets.co.za Fri 7 Jun | Crimson House Blues, Frey Gang and Piet Botha & Akkedis | Mercury Live | 43 De Villiers Rd | Cape Town | mercury.co.za

Sat 22 Jun | Rumours Lounge | Corner JG Strijdom rd and Cornelius st, Weltevredenpark | Gauteng | Outbreak Fest 2" XreaperX Events are putting together a Hardcore and Metalcore Show | R50 | from 13h00 | www.rumourslounge.co.za Sat 22 Jun | Blues Fever Fest 6 | Arcade Empire | 265 THE HIGHWAY STREET, PRETORIA | GAUTENG | Feat: Albert Frost, The Black Cat Bones, Raoul & Black Friday, Natalie Chapman, Andy Fisher Blues Band and more | R80 | Doors open 7:00 | www.ticketbreak.co.za Sun 23 Jun | Prime Circle LIVE at The Barnyard theatre | Cresta | JHB | Info: 011 4785300/ iris@barnyardtheatres.co.za Thurs 27 Jun | Rockville 2069 | SA State Theatre, Drama - Pretoria, Gauteng | Tickets R180-R220 | Start at 20h00 |An explosive mix of rock music meets the future with a delicious techno edge | www.computicket.com Thurs 27 Jun | Piet Botha & The Lizard Kyngs | Piet Botha and his band Jack Hammer are truly Legends of South African Rock | Die Boer | R90 | Doors open 18:30 | www.dieboer.com Thurs 27 Jun | Gary Thomas | Albany Cabaret Club | Grahamstown | 9:00pm | R70 | "One of the most original and followed acoustic musicians in the country" | www.computicket.com

Every Thurs | 4Ways TSG Mediterranean GrillCafe | Fourways | Live Music | 2 for 1 Cocktails | Band starts 7pm - 10pm | Book Now: 011 4657270/ www.tsg4ways.co.za

Fri/Sat 7/8 June | Villa Pascal and Vernon Barnard Presents - The Best of John Denver | 19:30 | R100 | Contact 021 9752566

Every Sun | Live Music | 3pm-6pm | Leaping Frog Shopping Centre, Cnr William Nicol & Mulbarton Rd, Fourways | www.tsg4ways.co.za

Sat 8 Jun | Fruit & Veggies, Cortina Whiplash, Deaf Commision | LIVE the Venue | 166 Stamford Hill rd, 4001 Durban/ KZN | All day event

Sat 1 June | Winter Strings | Just Wine | Sanlam Business Park, Cnr of Race Coarse Rd and Koeberg rd | Milnerton | R50 |18:00 | Natasha Meister our very own Blues Queen, has a great bluesey, Motown voice, plays phenomenal electric and acoustic guitar | www.webtickets.co.za

Sat 8 Jun | Converse presents GET DIRTY GIG | Mary Fitzgerald Square, Newtown | JHB | Shadowclub, Blk Jks, Vetkoek and Mahoota, Zebra Fri 28 Jun | Boulevard Blues | Durbanville Golf & Giraffe, P-Kuttah, Reason, Vigilante & more | Full Club | 7pm | www.boulevardblues.co.za bar available | R50 | 17:00 | www.webtickets.co.za

Sat 1 Jun | Mark Haze LIVE | Zanzibar Sports Cafe |George | 8pm | R30 | Contact 044 8732052 Sat 1 Jun | Straatligkinders & Gangs of Ballet LIVE | Arcade Empire | 265 The Highway St | Pretoria | 21h00 | R40 Sat 1 Jun | Villa Pascal | James Marias - Rock n Roll Legends | 19h30 | R100 | Guests can bring food and drinks baskets and enjoy a unique experience at "the Cape's only theatre in a house!”

Sun 2 Jun | Tings an' Times | Sunday Unplugged Sessions | Shop 36, Waterglen Centre | Pretoria | 3:00pm |facebook.com/groups/2368177891/

Thurs 27 Jun | Guy Buttery | Rhodes Chapel Grahamstown | 9:30pm | R80 | Guy has recently been featured in the world`s biggest selling guitar magazine `Guitar Player` which saw him performing at leading guitar festivals throughout Europe, Australia and the US| www.computicket.com

Fri 28 Jun | Villa Pascal and Vernon Barnard

Sat 8 Jun |Frey Gang Band | BOTRIVIER HOTEL | Presents - The Songs of Cat Stevens | Time 8pm | presale R60 - Door R80 | info@bothot.co.za 19:00 | R100 | Contact 021 9752566 / 028 2849640 / www.webtickets.coza Sat 8 Jun | Fokofpolisiekar | The Armoury Boxing Club | Cape Town | www.fokofpolisiekar.co.za/gigs Fri 14 Jun | Mark Haze | Storyteller Event | Somerset Westend Theatre | 8pm | Entrance R120 | Book: 0764761299/ talitha0804@gmail.com

Fri/Sat 28/29 Jun | Kirkwood Wildsfees | Dr Victor & The Rasta Rebels, Emo Adams, Spoegwolf, Die Heuwels Fantasties, Johnny Clegg and more | Port Elizabeth | www.wildsfees.co.za Sat 29 Jun | Rockshow | The Fugard Theatre |

Fri 14 Jun | KIDOFDOOM National Tour| Assembly Cape Town | Tickets R50-R100 | Start 20h00 | | 61 Harrington St| CPT | www.theassembly.co.za ROCKSHOW will be an event not to be missed

by classic rock lovers | www.computicket.com

Sun 2 Jun | Unplugged with the Parlotones | The Venue Melrose Arch | JHB and Reef, Gauteng | Doors open 18:00 | R263 | www.computicket.com

Sat 15 Jun | Kings of Chaos Rock Legends | Sun city Super bowl, Sun City Complex | A feast of musical mayhem awaits any true fan of rock n roll, when Rock Royalty "KINGS OF CHAOS" arrive in South Africa this June for four performances only | Time 8:00pm | www.computicket.com

Sat 29 Jun | Lucy Kruger Band | St Andrews Boys High | Grahamstown | Lucy Kruger is an alternative folk artist from Cape Town | 3:00pm | R35 | www.computicket.com

Sun 2 Jun | Dan Patlansky | The Barnyard Theatre | Cresta | Randburg | Doors open @ 18h30 | R120 | www.barnyardtheatre.co.za

Sat 15 Jun | KIDOFDOOM National Tour | Town Hall | JHB | 3rd Birthday Party | www.theassembly.co.za

Sat 29 Jun | Koos Kombuis | Centurion Theatre | 20:00 | R120/R130 |Info: www.kooskombuis.co.za

Sun 2 Jun | Boulevard Blues | Berties Mooring | Gordons Bay | 5pm to 8pm | Bookings 021 8563343

Sat 22 Jun | Arno Carstens | The Barnyard Theatre | Willowbridge | Cape Town | Doors open 18h30 | Ticket R150p/p | Do not miss out on Arno Carstens, South African rock icon, live at The Barnyard Theatre with full band | www.barnyardtheatre.co.za

Sun 30 Jun | Eliezer | Grahamstown | Eliezer is the solo music project of CT musician Lance Herman | A soulful performance influenced by artists such as Leonard Cohen, Jose Gonzalez, Nick Drake | 5:00 | R50 | www.computicket.com

Tues 4 Jun | Frey Gang Band | Piet BothAkkedis| KNYSNA | Zanzibar | 8pm | presale R60 - Door R80 | www.zanzibarknysna.com / www.webtickets.co.za

TO GET LISTED FOR FREE - email: Sun 30 Jun | Koos Kombuis | Park Acoustics | Fort Schanskop | www.kooskombuis.co.za Mon 1 Jul | Riders From The Storm | The Barnyard Theatre | Gateway | Tickets 150p/p | Show starts 20h00 | Durban is set to be taken by storm, when six of South Africa’s most highly acclaimed guitarists take to The Barnyard Theatre at Gateway’s stage in Riders From The Storm | www.barnyardtheatre.co.za Tue 2 Jul | Black Band Anna | Smirnoff Music Room | Grahamstown | 1:30pm | R50 | Energetic vibe and good old fashioned rock sound inspired by legends such as Curt Cobain will have you toe tapping and even head bashing in no time | www.computicket.com Thurs 4 Jul | Prime Circle LIVE at the Mr Price Pro | Salt Rock Beach | Fri 5 Jul | Prime Circle LIVE | The Lyric Theatre | Gold Reef City | Gauteng | Mon 8 Jul | International Guitar Night | Baxter Concert Hall | Cape Town | from R150 |This is the acoustic guitar extravaganza you`ve been waiting for! Featuring two of the world`s most renowned and jaw-dropping guitarists, Jon Gomm (UK) and Preston Reed (USA), with strong local support in the form of guitar wizards Tony Cox, Guy Buttery and David Baudains | www.computicket.com 10 & 11 Jul | Koos Kombuis | Aasvoelklub | Vryfees | Bloemfontein | www.kooskombuis.co.za Fri 12 Jul | KIDOFDOOM National Tour | Arcade Empire | PTA | www.theassembly.co.za Sat 13 Jul | KIDOFDOOM National Tour | LIVE | Durban | www.theassembly.co.za Sun 28 Jul | Old Mutual Music in the Gardens presenting - Mi Casa | Malcolm Rd Poortview, Roodepoort | Gauteng | Doors open 11:00am - show ends 5:00 | www.ticketbreak.co.za Cafe Barcelona | Elardus Park Shopping Centre, Cnr Delmas & Barnard St, Elardus Park | PTA | 012 345-3602 | Info@cafebarcelona.co.za Sat 1 Jun | Klopjag 3 & 4 Jun | Paul Murray 1st Art Exhibition Wed 5 Jun | Storieman Thurs 6 Jun | Andy Fischer Blues Band Sat 8 Jun | The Deep Blue C Wed 12 Jun | Open Mike Acoustic Thurs 13 Jun | Corrazerwas Fri 14 Jun | Fake Leather Blues Band vs Black Cat Bone Sat 15 Jun | Club Bohemia Tues 18 Jun | Nibs v d Spuy Wed 19 Jun| TK Thurs 20 Jun | Sheraaz Fri 21 Jun | Evolver One Sat 22 Jun | Die See Tues 25 Jun | Hoot n Anny Wed 26 Jun | Wolf Gang Marrow Thurs 27 Jun | Emendy Fri 28 Jun | Melkman se Kind Sat 29 Jun | Attack of the Strawberries MERCURY LIVE EVENTS | JUNE | 65 - 69 Buitengracht Street | Cape Town Sat 1 Jun | Pressure Drum & Bass Wed 5 Jun | Waxing Lyrical featuring Tape Hiss & Sparkle and friends Thurs 6 Jun | Classics feat Chief Rockers DJ’s Azhul & Falko Starr

Fri 7 Jun | Rolling Stone presents Piet Botha: Akkedis & FreyGang (Germany) Sat 8 Jun | Conduit, Crossfire Collision, With Dawn Wed 12 Jun | Comedy showdown Thur 13 Jun | Bluestown Sessions Fri 14 Jun | Black Lung, De Wallen Sat 15 Jun | Jack Stone Band, Mark Haze Band, Shy Guevaras Wed 19 Jun | Waxing Lyrical Fri 21 – 3 Jun | World Spectator, Reburn, Ballistic Blues Sat 22 Jun | Caesium, The Smugg Juggler, Cold Hand Chemistry Wed 26 Jun | Comedy showdown Thurs 27 Jun | Bluestown Sessions Fri 28 Jun | The Kiffness, Grassy Spark, Red Huxley Sat 29 Jun | Shake Some Action Wed 3 Jul | Waxing Lyrical Thurs 4 Jul | Classics feat Chief Rockers DJ’s Azhul & Falko Starr Fri 5 Jul | Rolling Stone Fridays Sat 6 Jul | Pressure Drum & Bass Wed 10 Jul | Comedy showdown Thurs 11 Jul | Bluestown Sessions Frid 12 Jul | Falling Mirror and guests Sat 13 Jul | Perfect Circle birthday bash, guests tba Wed 17 Jul | Waxing Lyrical Fri 19 Jul | The Rescu, Man As Machine Sat 20 Jul | Lancaster Band and guests Wed 24 Jul | Comedy showdown Thur 25 Jul | Bluestown Sessions Fri 26 Jul | Dan Patlansky Sat 27 Jul | Shake Some Action

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39

Sat 08 Jun | Anton Syndrome & Very Ape Sun 09 Jun | Armchair Comedy night Tue 11 Jun | Open Mic Night | Free to entre Wed 12 Jun | Die Cross Companje Thurs 13 Jun | Naming James Fri 14 Jun | Josh Roxton Sat 15 Jun | Pravda 23 Sun 16 Jun | Armchair comedy night Tue 18 Jun | Open Mic night | Free to entre Fri 21 Jun | Set for the sky Sat 22 Jun | Elevated motion Sun 23 Jun | Armchair Comedy night Tue 25 Jun | Open Mic night | Free to entre Fri 28 Jun | Josh Roxton Sat 29 Jun | Pravda 23 Sun 30 Jun | Armchair Comedy night All gigs start 21h00 | end 23h30

Nibs & Guy Fri 29 Jun | Lowlander | 20:00 Fri 6 Jul | Lowlander | 21:00 Sat 7 Jul | Lowlander | 20:30 Sun1 July | Cuervo Room | 14:00 Tues 3 July | Cuervo Room | 16:00 Wed 4 July | Cuervo Room | 18:00 Www.nibs.co.za

Van Coke Kartel: SA Tour Fri 5 Jul | Van Coke Kartel Winter Acoustic Tour | Dizzy's | Camps Bay | 41 The Drive, Camps Bay | Time 21:30 | R40 | Contact 021 4382686/7328 Fri 12 Jul | Van Coke Kartel Winter Acoustic Tour | Dorpstraat Teater | Stellenbosch | Summerhill Farm “The Shed” R44 (Klapmuts) Stellenbosch | Kitchen and Bar open @ 18h00 | Show starts 20h30 | R120 | Contact 021 8899158 or info@dorpstraat.co.za Sat 13 Jul | Van Coke Kartel Winter Acoustic Tour | Die Boer | Durbanville | 6 Chenoweth Straat | Tickets R100 | Time 20h00 | Contact Jurgen 021 9791911/0825741651 Wed 17 Jul | Van Coke Kartel, Thundermerwe, Kinky Robot & Die MislukteRebelle | Rumours Lounge | Roodepoort | Shop 20 Palm Court, Cornelius St, Welrevreden Park | Gauteng | Time TBC | R70 | Contact Gert Botes 0741899598 Thurs 18 Jul | Van Coke Kartel Acoustic | Aandklas Pretoria, Hatfield Square | cnr Hilda Street & Prospect Street | Time 21h00 | R30 | Contact aandklas@aandklas.com Fri 19 Jul | Van Coke Kartel | Tin Cup | 44 OR Tambo, Die Heuwel | Witbank | R50 at door | Contact Pieter Zeeman 0713448063 Sat 20 Jul | Van Coke Kartel | Liedjieboer | 180 Graham St, Glen Austin | Midrand | Time 21h00 | R80 | Contact Hennie 0834412644 Fri 26 Jul | Van Coke Kartel & The Black Cat Bones | Wolmer Bush Lounge | Plot 20, Dale Ave, Karenpark, Akasia | Pretoria North | 22h00 | R80R120 | Contact 071 3297156 Sat 27 Jul | Van Coke Cartel | Mystic Boer | Potchefstroom | 72 Dr James Moroka Drive | 22h30 | R30 pre sold & R40 @ door | Contact Elouise 082 7839316 / Mysticboerpotchefstroom@gmail.com Wed 24 Jul | Van Coke Kartel | Arcade Empire (Acoustic) | 256 The Hughway St | Equestria | 23h00 | R30 | Contact Robert 087 9803531/0720206120

AVY SICARD (Reunion) & Nibs Van Der Spuy Alliance Francaises Tour Wed 20 Jun | Mbabane | Swaziland | Tel: +268 404 36 67 Thurs 21 Jun | Durban | KZN | Tel 031 312 9582 Sat 23 Jun | Port Elizabeth | Eastern Cape Tues 26 Jun | Cape Town | Tel 021 423 5699 Thurs 28 Jun| Maseru | Lesotho | Tel +266 22 325 722 Sat 30 June | Johannesburg | TEL 072 7728546 www.nibs.co.za

Zula Bar - 98 Long Street, CPT: 021 424 2442 Every Tues | Grassroots | Featuring some of Cape Town’s finest songwriters in a chilled and vibey acoustic atmosphere | Free Entry Every Wed | Carry-Me–Okey | karaoke vibes | R20 @ Door Every Thurs | Alpha and Olmeca | Featuring the best in underground and urban grooves and music.

Olmeca shots @ R8 | R20 @ Door Fri 28 Jun | 7th Son, The Rudimentals, The Elusive Moose Sat 29 Jun | The Crimson House Blues

Nibs & Guy Buttery Sat 1 June | Hilton Theatre | Hilton | KZN Bookings: http://www.hiltoncollegetheatre.co.za/ Thurs 7 June | Sun 10 June | Catalina Theatre | Durban | Bookings: www.catalinatheatre.co.za Nibs Solo | National Arts Festival | Grahamstown Sat 30 June | Cuervo Room | 12:00 Mon 2 Jul | Cuervo Room | 18:00 Thurs 5 Jul | Cuervo Room | 12:00 Fri 6 Jul | Cuervo Room | 18:00 Sat 7 July| Cuervo Room | 16:00

Obviously Armchair | 135 Lower Main Rd, Observatory | Cape Town | www.obviouslyarmchair.com Sun 02 Jun | Armchair Comedy night Tue 04 Jun | Open Mic Night | Free to entre

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