MUSE MAG - Aug/Sept '12 by Muse Mag

EDITION 21 | AUG/SEPT ‘12 | Proud Supporters of SA Music!

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CONTENTS

PUBLISHED & DISTRIBUTED BY: Coalition : Tel: (021) 913 8423 Fax: 086 544 1361 info@museonline.co.za www.museonline.co.za 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

lifestyle Bloc Party

From The Editor

Better Red than Ded - Your Music Sucks.

I Can't Feel The Bass

Lostprophets: Weapons of Mass Destruction

Bloc Party: Rocking 'Till The Daisies

Come Home... Alabama Shakes And The Sunny Storm 12 Play That Funky MNMUSIC White Boys 14 jezebel's VPL: Lucy Kruger: 16 Nothing Less Than a Lioness

Lostprophets

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Four Durban Bands That 20

The Sleepers: Dreaming Up Reality 24 Inside The Machine: Music News 26

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Classic Albums: Paul Simon - Graceland 28 Eruption: Rise Of The Underground 30 Eruption Album Reviews 32

Alabama Shakes

Magazine enquiries: info@museonline.co.za MUSE is published six times per Annum in SA only

New Albums 34

Venue Guide & Live Events 38

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The Sleepers

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Game Reviews 36

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

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EDITOR’S NOTE | AUG/SEPT ‘12 | Proud Supporters of SA Music!

ARE COVER BANDS RELEVANT?

he wonderful thing about asking a single question of our core writing team is that I never know what I am going to get back and this month’s little poser certainly surprised me. Let me first elaborate on what the full question was that I asked. Tribute bands (or Shows) vs. Cover bands. When is a band deemed to be honouring the original, and when is it just using someone else's fame and/or creativity to get gigs? So let’s agree to disagree... Now if the opinions of seven music journalists are anything to go by, cover bands are not held in particularly high esteem. In fact the general consensus, I’m sure you’ll agree, was quite unforgiving. So let me be the voice of [at least some] reason. When I was a teenager I was already crazy about music, making mixtapes all the time and generally collecting as much new stuff as I could get my mitts on. I was kinda like the go-to guy at school when somebody wanted to know more about certain bands, artists, genres, etc. Every now and then I’d call my dad to my room and play him something ‘new’ that I had. An artist/band that I thought was flippin’ awesome and that I thought he’d appreciate for the musicality and originality. So often he’d reply ‘not bad, but I’ve heard it before,’ to which I’d exasperate ‘how could you have heard it before? This is a brand new band. This is their first album!’ He’d simply say ‘yeah but they sound just like XYZ band from the 60’s [or 70’s or whatever] - it’s nothing new.’ Can you imagine how crushed I felt? I thought I was being a tastemaker here, introducing my pops to some new and awesome tuneage! The point here is that being hung up on originality is a bit of an illusion. Everybody takes from somebody, whether you are writing your own ‘original music’ or whether you are playing someone else’s compositions. The day one picks up a guitar or sits in front of a piano you start to copy and emulate those before you. Now I can already hear the counter argument; ‘but Dave at least the original musician has expressed his/her own creativity.’ So, what, you can’t be creative playing someone else’s guitar riff or singing someone else’s song? Tell that to the most famous of all the blues musicians for the last century. They made a living playing standards borne from songs sung in the cotton fields! The reality is that music is NOT a competitive sport. It’s an expression of creativity, one that can and may be done in several ways, including forming a band and playing covers. So why hate on guys who do it? It’s a funny paradox since we’re moving into an era where the DJ is becoming the new rockstar, yet they make part of their living out of playing other people’s music - and all they have to do is press play on a CD player and control a couple of volume sliders and EQ knobs! The bottom line is musicians who play in cover bands don’t do so because they’re lazy or un-creative or anything else like that. They do so because they love music and love playing their instrument. This is what music is about; expressing one’s joy for it, as a musician, as a DJ, as a listener or whatever. We all find our niche. Let’s not forget that life itself is serious already. Music needn’t be, not on an intellectual level anyway. Some sucks, some doesn’t. Some cover bands can be loads of fun, some are just plain shite. But on a personal note, give me a decent cover band at a restaurant or pub over crappy hi-fi speakers (blaring out some insipid lounge CD on repeat), any day. We all have our place in music if we want it. You just need to find yours and be comfortable with it. Oh, and ignore the haters! Peace. Dave Mac

WRITERS' OPINIONS JEZEBEL “Nothing new under the sun” hold true for music, too. The crux of the conflict lies in quality and creativity. If a cover adds to the original, it gets my vote.

SERGIO PEREIRA Cover bands or tribute bands are super lame and cheesier than Nik Naks. It’s the musical equivalent of dressing up in a Batman suit and pretending to be the real deal - and we all know, there is only one Batman. Write original music or GTFO.

ELIZA DAY Cover bands are relevant because theatre would crumble and die without the spoonfeeding acts that keep their doors open. This fodder allows them to hopefully host the more interesting gigs that can't promise a great turn out. As long as there are unimaginative people, there will be a need for cover bands. Interpretations of other artists' music? Everything is interpretation and that will always be relevant.

MARY HONEYCHILD Cover bands. They play at weddings right? I heard the question and struggled to think of the name of one. After feeling slightly self conscious at not being able to recall one, I realised, wait, does anybody even care?

MICKDOTCOM Cover bands suck ass. Just putting that out there. Unless you're 17 years old and in one, and you guys are still arguing over whether to call yourselves 17 Brute Eyeballs or Megalohomonym, you know this to be true. Tribute bands. Mmm. They're mildly redeemed by having the decency to fixate on one band/artist. In the end at least they're a wayward species of fan. But to each his ‘groan.’

PAUL BLOM Musicians are free to choose what they want from music – self-gratification, artistic expression, easy money or a career. Sadly, playing cover versions can be more financially viable, as an audience often wants to hear that which is familiar to them. If these renditions are well–executed (and the originators get their due credit and royalties), who are we to criticize the motives behind it?

JOHANN M SMITH Tribute bands are there for honouring the gone but not forgotten. Respect is key. Cover bands however, as everybody should know, are not to be taken seriously - you go to have fun, and possibly get trollied. Side fact: the latter makes a lot more money than your average original band...

Better Red than Ded | YOUR MUSIC SUCKS. I CAN'T FEEL THE BASS | words: Eliza Day

YOUR MUSIC SUCKS I CAN'T FEEL THE BASS

few years ago there was a fad of iPod Parties where people would gather with their earphones at the ready and personal playlists on the go. The lights would flash and filter into the crowd and each person would literally dance to their own beat. To onlookers it looked like a ridiculous, disjointed gathering of epileptic mimes engaged in performance art. This phenomenon can still be observed in most public transport situations. However, in theory, it does in some bizarre way allow everyone to come together and socialize without despicable music tastes and boring observations like, 'Bro, how can you not like reggae/The Beatles/this badly played jazz?' alienating everyone. More recently cyber parties have evolved online, where you can go and meet up with fellow internet geeks at ungodly hours on Facebook and video chat while you listen to your own mixes and drink your own mess of purple drank, effectively socializing. Sounds pretty good, actually. There must be loads of you who fear the 'What music are you into?' question when you step out into the scene. Are you one of those poor kids who passes their CDs forward during a road trip only to have them left in the cubby hole? You surely realize that making friends will always be hard for you when music is the criteria because one flip through your iTunes exposes you to most of the world as a pretentious indie kid who only listens to

obscure lo-fi music that has 4 likes on Soundcloud. This hurts a bit because, you consider yourself a music lover and you're dying to chat about it with friendly peers. Yet, when the conversation slips into music musings and you try and contribute with your latest obsession of remixed Lindsey Lohan songs by drag musicians, people lower their eyes and you are no longer included in the next round of drinks. This is because they think you are a toss. The good news is you are not. Well, you might be but not because people don't like your weird taste. You have just decided to find different reasons to do the same thing. A lot of people listen to music to accompany some kind of positive emotion or event. Essentially, people listen to what they do, to feel a 'good' vibe of some kind. Perhaps they blast AC/DC when they want to get pumped, or get in the mood for sexy-time with a little (god help us) John Legend. They could feel powerful thrashing out Pantera, or just plain cheerful to Jack ‘I-carved-my-guitar-out-of-asurfboard’ Johnson. Nothing wrong with that but to them there is a lot wrong with you listening to Einsturzende Neubauten or lolicore. Real concern and WTF is the general reaction to your song choice and more often than not, you will be judged byand-large as a dark, sad PCP freak with a penchant for everything evil and Wes Anderson. When people question why you

“WHEN PEOPLE QUESTION WHY YOU LISTEN TO WHAT YOU DO, IT IS DIFFICULT TO ANSWER, 'BECAUSE FEELING WEIRD IS COOL FOR ME'.” listen to what you do, it is difficult to answer, 'because feeling weird is cool for me'. People understand how to feel 'good' together but the invitation to feel weird together makes most uneasy before they are supposed to be. Die Antwoord for example, are considered a joke, a parody act and often an embarrassment. Felix Laband is acknowledged for incredible talent but is also always written about with reference to some dark drug habit that is used to inadvertently explain his style. It’s rubbish that unique art has to be taken with a pinch of salt to understand why people are drawn to it. Music isn’t only a cheap commodity used to uplift your spirits, it is also the most powerful art form of magic we have because it can do so much more than that. We can tap into a vast, eclectic range of emotions, reflections and realizations by using different sounds for different things. Challenging yourself to try new and different experiences through music can only serve to deepen your education and understanding of what can be done. Take it from me, I once listened to pretty much just Nick Cave for a couple years and missed out on so much (the man is still a god by the way). This weekend, venture into the deeper realms of YouTube, send a rogue ear out into the spacey abyss and broaden your horizons. Seriously. Or am I just being a pretentious hipster? Feel free to let me know what you think or, better yet, link me and our readers up to what you find on your musical expeditions into cyber space.

Feature | LOSTPROPHETS: WEAPONS OF MASS DESTRUCTION | words: Sergio Pereira

LOSTPROPHETS:

Weapons of Mass Destruction

elsh rockers Lostprophets are hell-bent on proving a point; especially since their last album, 2010’s The Betrayed, didn’t do as well as expected – even if it received praise from critics and the band backed it in its artistic sense. So, why did people struggle to get into it, even if it was a good album? “That's the million dollar question. Who knows?” says drummer Luke Johnson. “It could be blamed on record sales, the financial depression, record labels, or people just not liking it. It’s an album that the band is very proud of, and during the cycle for Weapons, a lot of press are quoting it as a ‘misfire’ in the Lostprophets catalogue; this is certainly not how we view it.” “The Betrayed made it to #3 in the UK charts. I don't see that as any kind of failure, particularly when you bear in mind that it was released in a predominantly pop/R&B/hip-hop

market. There were no other alternative artists in the top 20 at the time, and, coincidently, this is exactly the same as it is right now with Weapons. We were the only band in the UK top 20 with guitars on their record that week! We are up against it, always were, always will be.”

RAISING THE MIDDLE FINGER Immediately noticeable on the new album, Weapons, is the positive vibe with a real rebel swagger. It almost feels like it’s the band’s musical middle finger to all those who doubted them. “Absolutely. Not many bands make it to album #5 these days. The heart in this band has been beating stronger and stronger every album. We are a tight unit, a unit that has been slaying for over 10 years, [and] this is how we wish to continue,” says Luke [Johnson, drummer]. So, in a sense, Weapons symbolises the work of a band which is free from the music industry

“We are up against it, always were, always will be…” bullshit, and just touring and writing for the love of labour – right? “I don't feel like Lostprophets is a band that has ever been held for ransom on creativity by labels, deadlines or management,” Luke declares. “There is a very [strong] punk ethos that runs through us. If something doesn’t sound right, it’s not going on the record. If the record is not good enough, it’s not going to be put out. This was clear with the previous record, The Betrayed. All music written is, and has been, for the love of music, and the love of creating; otherwise, we wouldn’t do it. In respect to being liberated, the previous record was so hard to finish. This time, there was more of a fun vibe, and the making of the record was easier. I still wouldn’t say it was easy – there were many bumps along the ride – but, in general, it was a really pleasurable experience.”

START SOMETHING? Arguably, the biggest strength of Weapons is that it’s the closest sounding album to 2004’s Start Something – still a huge fan favourite to this day. “I don’t think there was a conscious decision to return to the older sound,” Luke affirms. “I’d say there was more of an effort to write a record, which encompassed some of the more crucial elements that have given us the notoriety over the years; almost like starting all over again – or more like the beginning of ‘Chapter 2’. I believe Weapons is still an evolved album. It has a little something from all the eras of Lostprophets, and, in addition to that, a side that has not yet been heard.” Another interesting talking point is that Weapons was produced by Ken Andrews and not Lostprophets bassist Stuart Richardson, who handled the production duties on The Betrayed with Justin Hopfer. “Stuart was actually the main reason for going with Ken. He is a huge fan of Failure [Ken’s previous band], so we took some meetings with Ken and it just felt right. The previous three albums had been done with big

Hollywood producers [The John Feldmann version of The Betrayed was scrapped and then re-recorded with Stuart], so this time we decided that we didn’t need to be told what to do, we’ve already done it ourselves before. We wanted to collaborate with someone; almost have a temporary seventh member to bounce ideas off of. Someone who was not as attached to ideas as we were. Ken was perfect for this – not to mention his skills in making the record sound sonically awesome.”

GLOBAL ATTACK With their target locked and loaded on America, Lostprophets seem intent on really cracking the US market this time around, having signed a deal with Fearless Records to release Weapons. “I’ve always hated the term ‘cracking the US market‘. It’s always the goal you hear people striving for, but it’s faceless. It’s so hard to define what cracking the market is. Selling millions? Obviously, that would be nice, but let’s be realistic: we’re going over there to play to our loyal fans who have stuck with us through thick and thin and hopefully along the way we’ll pick up more and more new fans

as we move along. There is no finish line for us. We didn’t start to finish. There is only the journey we’re on, and as long as we can tour America without losing money hand over fist, we will always get our hands dirty, regardless of whether we’re playing to 150 or 15 000. We are proud of what we do,” Luke says. “We are really happy to be signed to Fearless; they have a very similar vision to us. After all, it’s been seven years since the band played a show in the USA. This was never meant to happen; that’s just what happens when you take your hand off the steering wheel and your eyes off the road.” Naturally, America isn’t going to be the only place on their agenda, so which other places would Luke love to visit? “Many. We really want to tour South America, which is looking more and more realistic by the day. I’d love to do shows in China, more of Eastern Europe, India, everywhere! If we can make it work, we will. We have a very busy album cycle ahead of us.” Uh…I think you forgot to mention South Africa, Luke! For more information on Lostprophets, visit www.lostprophets.com.

Feature | BLOC ROCKING PARTY | words: Eliza Day

BLOC ROCKING PARTY Eliza Day chats with the dudes from Bloc Party about their new album, Four, chasing their art and coming to South Africa to headline Rocking the Daisies.

hat's got 10 000 fans, 100 000 daisies in a chain and is predisposed to partying? Octopus - the first single off Bloc Party's new album when the lads headline at Rocking the Daisies 2012. This is it people. It starts right here, right now. Yes, the festival season is fast approaching for South Africans everywhere. The smell of the future besttimes-of-your- life is taking the edge of your reality because those friendly candystriped tent tops are just about in sight. Rocking The Daisies last year left only the sweetest taste of how a festival should be in my mouth. The thought of making the journey back to Darling this year couldn't make me more excited, and once again the festival has done it properly and gifted us with another outstanding international act, Bloc Party. I caught up with frontman Kele Okereke and the rest of the band about their new album, Four, chasing their art and coming to South Africa. When Rocking The Daisies dropped the Bloc Party bomb, social media platforms lit up like alien crop circles in the cane fields. I asked whether they were surprised they had so many fans this side of the world and Kele replied, "There's something about us and the Southern Hemisphere, I guess, because we appear to be inordinately popular in Australia. The internet has obviously made us all a little closer - I would mainly attribute it to that.” Yeah, we're on top of shit even if this is the third world, that's for sure. Speaking of which, when their second new single, Octopus appeared online, we were comparing the sound to their last three albums and having on and offline discussions about the new direction. Frontman, Kele explains

the uncertainty of their flavour with new album, Four. "We're not sure. We make music like someone who always has something on the tip of his tongue. We're always chasing something before the thought is fully realised because we get bored otherwise. At this point we're highly aware of how important it is to continue learning from what we do and we concede that the price of this is sometimes unsettling for the listener."

“We are older, wiser and have some of the old swagger back... we consider ourselves very privileged to be able to tour [again]." Lyrically, Octopus hints at a darker side, very much a theme in the aesthetic of subcultures and their music across the board this year, “It hid and it hid in his bedroom Psycho killer teen dream action film”.

What hid? The octopus? Dope! Well probably not, but your guess is as good as theirs when asked, "I'm not entirely sure about this. It is perhaps vaguely something to do with facing one's fears. Could I be any less arcane than that? No. Sorry!” Fair enough. I like their ballsy approach in this regard and believe fans appreciate the route of evolution with their sound because while it is an eclectic audience, we all feel like we're moving forward together. One thing for certain though, is that the many die-hard Bloc Party fans have missed the music since the band took a time-out in 2009 to pursue solo projects, "It was very pleasant for the most part. To be able to carve out the space to reflect on what brought us together in the first place and come back stronger than ever; we all felt like it was time well spent." Seems they are back in the groove after some outside stimulus as Kele explains, "It feels rather spiffing actually.” “Everyone seems to be getting on well and there is a kindness and an openness between us that hasn't been felt within the band since the night we played Stockton-On-Tees and were too scared to walk across the town square to get to the gig. We are older, wiser and have some of the old swagger back, and we consider ourselves very privileged to be able to tour after spending so long on the sidelines.” This comes as a reassuring conclusion to the rumours that circulated around the band splitting up in the last few years. A previous statement from drummer, Matt Tong, explains the sabbatical, "We definitely need to have a break and gain a bit of perspective on life outside of the band. Hopefully if we do reconvene at some point in the future we'll be refreshed and have so many ideas to bring to what it is we do."

nother reason, Four is gonna be so damn good is because awesomely talented record producer, Alex Newport, added his edgy flavour to the outfit this time ‘round. Those of you who are At The Drive-In and Mars Volta fans are going to have fun adding Bloc Party to your lists of bands to love thanks to Newport's production. I asked what it was like working with Newport on Four and apparently he's as cool as he is creative, "Alex was fantastic from start to finish. We all feel like we've made a new friend. In his own subtle way he was so encouraging and really helped us to understand the value in listening to and understanding the parts of the songs we had written for Four. He helped us find a collective focus that had sometimes been lacking during our first act and I think it shows on the record we have made. In the past, we've perhaps been sometimes overly-reliant on the tension that comes from us pulling in separate directions and Alex showed us that there are other ways with which to achieve a similar dramatic effect." The music video for Octopus is as clean and current as their sound. A pleasingly simple composition of fun, flash editing, bright colour and epileptic rhythmic gymnasts dancing around the band in a dingy basement complete with a sif couch, was the brainchild of Dando

“In the past, we've perhaps been sometimes overly-reliant on the tension that comes from us pulling in separate directions...” Nova. The chaps in the band seem chuffed with the outcome, "It was great. This was Nova's first directorial effort and she was full of energy and ideas and there was no sign of any nerves. I think she is going to prove to be a dab hand at this kind of project.” Guys, it's gonna be good. For those of you who already have your Rocking the Daisies tickets, I look forward to seeing you lose your minds to Bloc Party as well as the rest of the severely cool line up. To all the other fans still rustling up the funds and the leave to get your asses there - just do it. On a closing note, Kele speaks for the band about coming to SA and why they are excited, "The opportunity to play our music in front of a new audience, the opportunity to experience a different culture and have different conversations with different ideas about things. We can't wait!" Neither can we. Later darlings.

Rocking the Daisies COMPETITION: Party on us: VIP style - Free tickets, hampers PLUS accommodation @ the Heartbreak Motel Launches: 15 August online. Scan this TAG and join our Facebook page from your Smartphone.

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ROCKING THE DAISIES: 4 – 7 October 2012 Cloof Wine Estate – Darling

Now an extra day longer!!!

www.audiosure.co.za

Exclusive Interview | ALABAMA SHAKES AND THE SUNNY STORM | words: Mickdotcom

ALABAMA SHAKES AND THE SUNNY STORM When one mentions bluesy music circa 2012 names like Jack White or The Black Keys may well spring to mind first. Our pick, however, for their soulful blues-tinged rock ‘n roll coupled with vocalist, Brittany Howards’ raw, emotive vocals has to be Alabama Shakes. Chatting to Brittany, Mickdotcom discovered the feisty yet down to earth vocalist in a contemplative mood... Muse: Alabama Shakes’ rise has been very sudden and, I imagine, quite intense. Barely having released your debut, y’all have been lauded by the likes of Bon Iver and Jack White, and invited to open for the latter. What does this kind of upheaval feel like? Brittany Howards: Well it's always fantastic to be acknowledged by your heroes. We've learned a lot from touring with Jack White and his band - his production is something he is very focused on and it always seems to change from show to show to keep things interesting. I respect that kind of effort. As far as the "sudden" rise goes, it doesn't feel so sudden to me. We've been in the South writing and performing for anyone who would have us. The word spread rather quickly, yes, but it isn't anything we would dwell on. We are constantly wanting to work and I feel like now is a good time to be writing rather than reading. I've learned a lot in the past year and I'd like to see what will come out when we get a little time to put our heads together.

labama Shakes' music recalls the best of early Rhythm 'n Blues and golden era Rock ‘n Roll, each song an immersive experience drenched in sunlight and swaying wheat fields of emotion. Where most music today is Produced, with a capital 'p' sliced and spliced and compiled from an assortment of sonic slabs and slivers, the Shakes take us back to the full, warm analogue world of music-making. There's something special about a bunch of talented musicians, with their own little worlds of musical influence, evolving together and playing music. Add to this that elusive chemistry that makes

certain bands connect into something... bigger, and you've got music magic. Bassist Zac Cockrell is something of an authority on Southern Soul bassists and the studio bass legends of Motown era R 'n B, with other members bringing a slew of different influences to the table; but Rhythm & Blues rule the roost, with the elemental force that is lead vocalist Brittany Howards soaring and transforming the music into something that grips and don’t let go till the final note. We sat down with the lady whose voice flexes from serpentine Robert Plant to seething Joplin to seductive Doo-Wop likes she’s just ringing a bell.

Muse: We folk living on the southern tip of Africa don't know all that much about Alabama (excepting, o' course, the generalized). Tell us about growing up there in the 21st century? BH: Growing up in Athens, AL was peaceful... even a little boring. It's a small hard working town of about 20,000. All sorts of people live and work here together. There wasn't much to do growing up in Athens, so we had to be creative: exploring the woods with my sister, fishing with the handful of neighbouring kids down the street or playing with our dogs in the creek. When I stayed with my cousin we would play buckets and harmonica in her garage for change. It was a lot of fun growing up here. I'd like for my own children to grow up like that.

Photo: David A. Smith

Muse: Brittany, your vocals are beautifully androgynous - you seem effortlessly able to move from masculine to feminine vocal contours. Is this at all conscious? BH: I never noticed. Muse: I love the old-school musical atmospheres of Boys & Girls. Why is Alabama Shakes so infatuated with the analogue period of Rhythm & Blues and Rock? BH: We love all types of music. We certainly are not stuck in a time machine. I'm listening to Kavinsky right now. But, I'll tell ya, when we first got together it was hard to figure out how to get along with so many different influences between us. One thing we shared in common was the music we grew up with - James Brown, The Rolling Stones, Prince, Creedence Clearwater Revival, Led Zeppelin, Black Sabbath, AC/DC, Otis Redding and Patsy Cline to name a few. We started with what came naturally to us and had a lot of fun learning that those different influences actually had a lot in common. Muse: Tell us about the highs and lows of your garage band period. Many teens start garage bands - there are the familiar negotiations with parents, and the more than occasional neighbour complaints. Please recall specific moments of delight and frustration that you guys experienced?

BH: Do you mean my old punk band? Well, the highs were when we could actually play a song together and the lows were when we were constantly waiting for our drummer to show up. I was about thirteen at the time and we practiced in a room across from my father's bedroom. My father complained and the dogs barked. We didn't play very many shows but I remember being determined to make that band work. It didn't and that was probably for the best. Muse: The period of Western music your album evokes was, outside of its sonic electricity, very electric in socio-political realms. Even political icons like Springsteen and Dylan seem drowned out by today's tsunamis of information overload. Do you feel music still has the power to effect social change? BH: I've seen music bring people together. That's what it does. How many people need to be affected in order to cause a "social change"? I'll settle for people being happy with one another for a little while. Muse: Your favourite/most inspiring album of the last, say, year? Given, that is, you've had time to listen! BH: Swagger by Fly Golden Eagle. Muse: Outside of the POW of musical influence, and, well, the even more intense emotional stimuli of being alive,

what other media - books, cooking shows, Facebook - in/directly spur your songs? BH: If I've seen a good film I like to elaborate on it by guessing what the characters are thinking. That can inspire a song. Muse: Ta much for your time Alabama shakers! BH: We want to come visit South Africa!!!!! And we here at Muse most certainly hope they do! The Shakesâ&#x20AC;&#x2122; debut Boys & Girls is already being hailed a classic, make sure to check what all the fuss is about!

Feature | PLAY THAT FUNKY MNUSIC, WHITE BOYS | words: Sergio Pereira

“WE DON'T REALLY WANT TO BE TAKEN SERIOUSLY…”

PLAY THAT FUNKY MNUSIC,

WHITE BOYS

n between taking bites out of their custard slices, the two David Spade lookalikes from Desmond & the Tutus, Shane and Craig Durrant, burst into mild fits of laughter when we discuss the LSDlike effects of eating toasted bacon and banana sandwiches before bedtime. In fact, it takes us nearly 10 minutes to actually get into discussing their new album, Mnusic. Considering the strong African influences, such as kwela, in their indietinged sound, the album title sounds like a thought-out wordplay on African surnames. “We actually don’t have a very deep meaningful story behind it,” says Shane bashfully. “Have you seen our [mock] infomercial? It was very loose. We didn’t have a script. As the guys were shooting it, they were telling Dobson [the actor in the infomercial] to say stuff, put on a hat, and do this and that - just winging it, basically. And then they started telling him to say, ‘Say new Desmond music,’ but he just couldn’t say music. Afterwards, when everyone was re-watching the tape, they realised that it didn’t sound right; he kept saying ‘mnusic’.” “They’d say to Dobson, “Just say music,” and he’d shout at the top of his lungs: mnusic!” Craig laughs.

MORE TENACIOUS D THAN RADIOHEAD So, in other words, the album title came from messing around and having fun, which seem to be common themes

when discussing this band. However, you have to wonder if this will ever turn out to be a disadvantage, with perhaps people seeing them as a joke band and not taking them seriously enough. “Mmm...I don’t know. We don’t really want to be taken seriously in that way. We’re about having fun on stage. We love people having fun at our shows and while listening to the CD in their cars. It’s not like we’re some kids messing around - just wanting to party nonstop. We take ourselves seriously, as a band, but we love having fun,” Shane affirms. This leads us to our next topic: are South African rock bands too uptight and stern for their own good? “I don’t know. I think there are people who take themselves seriously, wherever you go. I mean, rock music is quite aggressive okay, maybe not aggressive, but not always ‘fun’ music. If you think about it that way, bands try to be like other rock bands. They feel like [makes voice deeper] ‘we’ve got to be a serious rock band and play loud electric guitars and just rock out.’ We feel you can be a loud rock band, but have fun, make jokes or whatever…”

BUT IN ALL SERIOUSNESS… If there was one thing Desmond & the Tutus did get serious about, it was securing the expertise of Los Angelesbased music guru Eric Broucek for the production and mixing of Mnusic. “This album’s production quality is on another level, compared to Tuckshop [their debut

album]. Eric isn’t a big-shot producer, you know. His main job in the past has been mixing bands. So, he’s worked with a lot of our favourite bands, engineered on a lot of albums and used to work with DFA Records. He’s worked with guys we listen to everyday,” Craig explains. “He was sort of a fifth pair of ears for us. He helped us structure the songs a lot better. In our minds, we always wanted to make charging dance music, but he slowed the songs down and said, ‘Leave that for your live set and make an album that people want to listen to everyday.’ He was really good at what he did, and we recorded it all in two weeks.” Two weeks, eh? Must’ve freed up a lot of time for the guys to muck about. Actually, what does a band like Desmond & the Tutus do with their free time? “As a group, we like to go to Chicken Licken a lot. We like it when there is a bunch of trays filled with orange boxes in front of us. That is our main restaurant of choice,” Craig smirks, while Shane erupts into laughter, nearly dropping his custard slice. Hey! Wait one cotton-picking minute… are you dudes trying to secure a food sponsorship deal via this article? “Is it that obvious?” Shane laughs. For more information on Desmond & the Tutus, visit www.desmondandthetutus.co.za. Read Sergio’s album review on Pg 34.

jezebel's VPL | LUCY KRUGER - NOTHING LESS THAN LIONESS |words and image: © jezebel

LUCY KRUGER NOTHING LESS THAN LIONESS THE VOICE IS THE LAST THING YOU'D EXPECT FROM LUCY AND THE FIRST THING YOU REMEMBER. SHY LASS? CUTLASS!

aybe it’s her mane. Certainly it’s the only sign of wildness about the dulcet doe-eyes of this tall, quiet maiden until she lets loose in the most frighteningly beautiful way on stage. Lucy Kruger has gone from student to professional solo musician in six short months, relocating from Grahamstown to Cape Town. Being a stranger worked for Morrison, so maybe a new town is her door to break on through with those great vibrato tones that lift the roof and shiver, autumnal, in the air.

I think your single, Four White Walls is fabulous and very radio-ready: your voice is powerful and beautiful but there’s also an incredible balance in the production. In your live shows it’s far more heartfelt, intense and personal. And you’ve had Inge Beckmann guest on some of your recordings? I had to give a CD of music I was inspired by in preparation for the recordings. Lark was one of them. Schalk Joubert, my producer, said, ‘well, I could ask her to sing,’ and I was wide-eyed and thought that the worst that could happen is that she’d say no, and she didn’t.

jezebel: Drama trained inland, you’re the new kid on the block. Tough break. Lucy: I haven’t really processed it all, initially I was really worried that because I didn’t know anybody and thought that it was going to take masses of time to get anything done. But Kevin [Gibson who plays drums for Lucy] was saying that it’s really good for people to not be part of the gigging scene - to work with their art form, to practice - so that the focus becomes more about the actual music than how to navigate your way in the industry. I’m very behind in the sense that I don’t know the rules of the industry, or the ways in, but I’m quite confident with what I have (musically).

Maybe it’s because she’s also confident in her product. For me the voice is perhaps the primary instrument, and I’ve always wondered when those with characterful voices realised that they had something worth sharing. When did it happen for you? I used to sing at school a lot, in the choir, in plays, but there were people that were technically much better than me, and easier to fit into a particular piece. In primary school I just wanted to sing a solo; my life would be made if I could. I only ever got a couple of lines here and there -

If I compare your live sets to your recorded songs, they’re quite different.

- Because the voices that get solos in choirs are crystal clear and smooth! Yes. But I worked very hard; I was determined despite always being

insecure about it at school. It was only really when I started playing guitar and writing my own material that I started to explore. Until then I copied a lot. People started responding really nicely. It took a long time for me to feel happy in my voice. Did your style of singing or the character in your voice change as you got into it? I think it has changed. I listened to the first demo recording from matric the other day. It’s quite tentative, which I don’t feel about myself now. It was a lot sweeter. Do you think you weren’t expressing yourself as much through your voice then? Your emotions, your thoughts? Mm, I think it’s also about growth. Not only from a technical perspective but from a human perspective, just to feel more comfortable. And I think I could still go further. There’s so much space to play. Let’s hope she carves that space, metaphorically and geographically. The album is out soon and it will be interesting to see what you think of the lady who has translated jezebel’s VPL as Vicariously Posted Letter. Lend an ear at www.facebook.com/LucyKrugerOfficial

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Feature | FOUR DURBAN BANDS THAT SA SHOULD KNOW ABOUT | words: Eliza Day

FOUR DURBAN BANDS THAT SA SHOULD KNOW ABOUT You know that old saying, 'Better the devil you know, than the one you don't?' Well, even the devil can get dull when you know where to find him every time you get the craving for some excitement. You don't know Durban and we're right here, sitting on your shoulder.

FRUITS & VEGGIES are without question, one of the best bands in South Africa. They've dragged up a totally unique sound that is based in roots music like gypsy and ska and then snagged the whole composition on punk. It's raw, rebellious and really well written. Loopy, the bassist goes down in SA music history as being a character we'll never forget. As do the rest of the band. James is a reputable song writer and guitarist, Hezron adds Balkan flavour on violin with a solid backdrop from Justin the drummer. Purity is the coolest front woman of the moment and recent addition, Cam annihilates on guitar. They have a bit of a rep for being the wild kids at the party, not just on stage and Cam gives an interesting observation being the newcomer, “I love the way everyone in the band are such different characters from one another, not only in personality but in appearance and musical style as well. We sort of fit

together like a puzzle to make something rad but unique. I also love how hilarious it can be spending time with the band, humour is frequently expressed and I spend most of the time laughing.” Yeah, they’re all pretty different but when it comes to what they want for Durban’s music scene, the answers are similar. Purity, who is sincerely her own invention, digs the vibe because as she rightly says, “I love 031 because it’s the only place you get away with being absolutely yourself.” When Cam’s not with his mistress, F&V, he’s proving to be one of the best guitar players around with BLACK MATH, the proggy rock band that has everyone talking. Speaking on their behalf, when asked what he’d like to happen for Durban’s music scene, he states, “Well, if

Photo: Justin McGee

Fruits & Veggies good international bands decided to come to Durban more often and even possibly play at places like Live, that would be awesome, but people say that could never happen although we like to think that it’s possible...” Truth is, when you hear Black Math play and you see the turn out they get, there is no reason to get shunned when the big guys come to SA.

BLACK MATH Photo: Kevin Goss-Ross

ape Town and Jozi are busting with musicians who are hi-fiving each other on the way past, as they crisscross between their cities, touring, gigging and getting to know each other. A problem in previous years when it came to bands including Durban in their expeditions was lack of venue and not knowing who would fit the bill in terms of genre. With the brand new venue called, erm... Live The Venue 'up and adam,' bands coming here may rest assured that they will be well catered to in terms of sound, setup and turnout. James of Fruits & Veggies points out, “we now have a great venue for live music. The downfall is that the drum and bass/Dubstep kids are trying to take over live venues and play music which sounds like you’re at the dentist.” Also worth checking out is the newly revamped Willowvale, now dank with cool vibes and who can forget The Winston? We took four hot-shit bands that everyone in South Africa should know about and asked them about themselves. Come walk on the wild side and see what Durban has to offer.

Photo: Duane Smith

STRAGE

21 everything from gear, to performance and punctuality...” Fair enough. [A problem countrywide it seems, Ed]. What everyone I spoke to agreed on was that the cool thing about ‘031’ is how chilled and easy everyone is, making it that much more fun to party and be together. For those of you who don’t know us, come on down and check out the ‘031.’ I hit the band members up with a couple of questions... for fun.

If you could jam with anyone in SA, who would it be? Fruits & Veggies: Your mom (thanks Loopy), Fokofpolisiekar, P.H.fat, Tidal Waves, Die Antwoord, Captain Stu.

he same goes for

E.X.P.L.O.S.I.O.N who

sing a similar song when asked about the Durban scene, “For starters we’d like to see more venues, and for even more Durban folk to come and support. We’d also like to see more real Rock ‘n Roll bands on the scene. It would be cool if there were more big stadium shows with international bands and local bands opening for them. Durban bands have awesome talent and it would be great exposure to have chances like that. It would also be cool if there were more festivals like the old Uprising Fest. And lastly cheaper drinks!” E.X.P.L.O.S.I.O.N recently got back from their first tour to Jozi. I doubt that city is the same after that week because there hasn’t been a more rock ‘n roll band in ages, who not only embrace the hedonistic pleasures of the genre, but also live up to the name. Heavily influenced by AC/DC, Zeppelin and that era does by no means, mean they are

Photo: Kevin Goss-Ross

Black Math: Definitely The Dirty Skirts!

E.X.P.L.O.S.I.O.N

into mimicking. Rather, this band takes what it knows and loves and then does it in their own way, then another way and each time is perfect. K.P is a talented, classically trained vocalist who triumphs at epic, soaring rock vox. Wes, the guitarist and songwriter is outstanding and creates a genius toolkit for Kyle the drummer, and Roadie the bassist, who are both damn good, to work with in conjunction to himself and K.P.

STRAGE are an instrumental setup of Brandon on guitar, Jono on bass and Matt on drums. The three-piece are selfproclaimed gear-heads who dig each other because as they say, “We take a lot of pride in our individual instruments, gear and tone. We each work hard in this area!” Think heavy, layered, full sound that makes you mindful of Explosions In the Sky and Laura. For guys who are serious musicians it’s tough when Durban gets taken for a ride and they explain that they wish, “bands and event organisers would take themselves more seriously. Step up professionalism in

E.X.P.L.O.S.I.O.N: Dan Patlansky, L.A Cobra ‘cause they’re so rock ‘n roll and Fokofpolisiekar ‘cos they're such a party! STRAGE: It would be nice to do a show with Lark or Inge's new band, Beast who look quite interesting. If you weren’t doing this, what would you be doing? E.X.P.L.O.S.I.O.N: KP: I’d be doing my day job as an electrician. Kyle: I’d probably be a professional ballroom dancer. Wes: I’d probably try my hand (and other things) in the porn industry. Have you seen this moustache? Roadie: I’d probably be a herbalist of sorts… Fruits & Veggies: Purity: Acting/contemporary dancing. Loopy: Stand up/film. Hezron: Working at McDonalds. James: Working with Hez at McDonalds. Black Math: We have nothing else to do really, but if so, probably something artistic. STRAGE: Organising and booking shows for other bands.

Facebook pages to check out: STRAGE: http://www.facebook.com/StrageNoise E.X.P.L.O.S.I.O.N: http://www.facebook.com/pages/EXPLOS ION/184969758201085 Fruits & Veggies: http://www.facebook.com/pages/FruitsVeggies/79335485728 Black Math: http://www.facebook.com/pages/BlackMath/162644847130775

Feature | KYLE SHEPHERD AND THE BRIGHTENING SEARCH |words: Mickdotcom

Photo: Marwhaan Lodewyk

KYLE

SHEPHERD

and the brightening search FLICK OF A MATCH. At 25 years old Kyle Shepherd has already explored and achieved much. Composer, player, bandleader, his first two albums were both nominated for SAMAs, and the in-demand Shepherd has been commissioned to write music for various ensembles and persons. His music has been used in Dylan Valley’s Afrikaaps documentary (he was also musical director of the acclaimed show) and Valley & Aryan Kaganof’s Hangberg Rising. Shepherd’s seemingly quenchless hunger for knowledge, combined with an innate fertility of musicality, finds him perpetually busy. His future is constantly tugging at his past, his 'post' perpetually sliding into 'pre'. Currently in the midst of an international tour for latest album, South African History! X, he has to steel his energy - the future tense is already at work: "Apart from focusing on my performance/tour-schedule at home and abroad, I am planning to record a studio album with my Trio later this year. I'm an artist-in-residence in Switzerland during October 2012 as part of the Swiss Arts Council’s 'Prohelvetia' programme, which will also be coupled with a trio tour in Switzerland. I’m also going into the studio to record a solo piano album in Japan come September, in between a tour there.” As if his temporal plate isn't full enough, Shepherd's been commissioned by the Festival d’Automne à Paris (Paris Autumn Festival Paris, France), to write works for an entire concert programme for a large ensemble, for next year's edition of said festival: “It’s quite an elaborate project and so I am giving it specific focus in the early part of 2013."

GROWING FLAME. Born in Cape Town on 7 July 1987, Shepherd was young when music came to visit... and it hasn’t left since. "I studied classical music from the age of five. In my teens I picked up the piano and found it was quite a natural

thing for me.” Shepherd was swiftly inaugurated into the glow of musical improvisation, saying that Jazz, ultimately, became his favoured idiom, “Composing, recording and playing jazz music is home for me. It was a natural choice to settle into the genre because it’s the only one that affords people like me the opportunity to manipulate and reshape our work - over and over and over again." His potential and early talent was noted by the likes of the great Zim Ngqawana, at whose ‘Zimology Institute for Music’ he studied. Kyle and Zim went on to perform together; recalls Shepherd: “I feel honoured if anyone finds traces of the late great Zim Ngqawana – sage, philosopher and master, in my work. The influence of Zim at a personal, philosophical and artistic level has been deeply profound for me… during his life and even now in his death…his music, the memories, his philosophies continue to be a part of me as I evolve both as a musician and person. I had the huge honour to have spent time listening, talking and making music with Zim, and it is an even greater honour to have had him play on South African History !X” Following his first two albums, it would be surprising if ‘!X’ doesn’t win a SAMA - it is a haunting, passionate work. The title is partly inspired by Malcolm X, who explained his mysterious choice for a surname thusly, “An ‘x’, in mathematics, represents the unknown.” For Shepherd many young people living in SA today are oblivious to the true history of their country and its peoples - the roots of their cultural inheritance is obscured. The apparent typo in the album title (what seems to be

an exclamation mark preceding, instead of following the titular ‘X’), is a deliberate reference to one of the ‘click’ consonants in Nama, the language once widely spoken amongst the Khoi and San peoples. He elaborates: “Much of our early history as South Africans is unknown to most of us. I have decided to learn and discover as much as I can about it. In ‘South African History !X’ I am in my own musical way providing some answers - telling a part of the story.”

“...it's the only one [genre] that affords people like me the opportunity to manipulate and reshape our work over and over and over again."

SEARCHING. Shepherd leaves us with a revealing response to the following question What have been some of your favourite live/improvisational experiences? “It is difficult to pinpoint specific moments. There have been so many. There have been magical moments both when I play alone and when I am with a group. Every concert is a search for that high…” Check out our review of ‘!X’ on page 35. For more info: www.kyleshepherd.co.za

Feature | THE SLEEPERS, DREAMING UP REALITY | words: Johann M Smith

“PART OF THAT REALISATION, AND THE SACRIFICE INVOLVED, HAS BEEN TO PUT AWAY EGO AND EGO-FEEDING NEED.”

THE SLEEPERS DREAMING UP REALITY

n the previous decade, during the height of local music exploding, The Sleepers seemed set for the big league pushing all the right buttons. The future of hipster culture took note and metal heads (the nerdiest of us all) adored them. Since then, their first bassist Carly Phillips passed away and their original frontman Simon Tamblyn left the band. Since December 2010, their name, ironically, seems to have haunted them. In August 2011 the band returned with no big hoo-ha, featuring a new singer, a couple of live shows and a few new songs with no promise of an album. But yet again, this time on purpose, they’re avoiding the limelight, in favour of the latter. Behind the scenes they’ve hired a musical coach and changed direction, starting all over again after nearly a decade. Most would have given up hope by now. “It wouldn’t make sense,” says cofounding guitarist Adam Hill. “Everyone is on the same page: for the love of music and the band. It’s important who you are writing with. I can communicate my ideas and emotions. The core hasn’t changed, and whatever else is only going to define it.” Sparring partner and guitarist Nic Roos agrees by adding: “the song is the key.” Happily that key has already unlocked a few doors. The Sleepers, the band tells me, have been confirmed for this year’s Rocking the Daisies festival. Current plans include finding the right studio to record in, and also touring

overseas. Having experienced so many hiccups in the past seems to have only made them more meticulous about how, where and when. Strangely, the same didn’t apply when choosing a new singer to front the band. The six auditions that were held produced Daniel Botha, matching the only requirement they had: “they needed to pick us before we pick them.” Collectively they are complimentary of his talent and skills, especially his ability to play guitar, despite him not playing any in the band itself. But as a new whole they admit to be going through a tipping point of change. “The space we have been in the last year has been completely new terrain to us,” reflects Adam. “Part of that realisation, and the sacrifice involved, has been to put away ego and ego-feeding need. We don’t need to do that, what we need is to spend time working on songs; so that as you listen to them, you’ve got the emotional intention coming through to the listener.” According to Daniel the conclusion the band came to, after “one of our meetings,” was they needed to work on their music and to make absolutely sure everyone understands the theme of each and every song. He explains further, “rather than saying ‘okay, the theme of The Sleepers is ‘this’, therefore we need to write ‘this’ – that’s never going to work for us.” When asked individually, while in each other’s company, what exactly the themes are, the band could only offer mixed answers. Some more hilarious

than others: “if we were a car we’d be the road…”; “raw power and man muscles!” Musicality, artistic credibility and all the cogs that make a band aside, they seem like family and life-long friends; as if something bad never happened, or will ever happen – content as each other’s artistic foil with plans to take over the world from square zero. For this writer’s ears [I was lucky enough to watch parts of their band practice], the songs are still quintessentially Sleepers. The tuning is still weird and wonderful; Steven Jacobson’s drumming still kicks ass; and they still kinda hate Fender guitars (Adam recently purchased a Strat. Nic is still considering it “you don’t need so many pedals man” – they do after all use a fair amount, 31 in total). The band are promising something affable, yet deep; imagine pop that you can sink your teeth into. Pink Floyd and R.E.M. springs to mind, despite not sounding the same, however they don’t disagree. Most interestingly, the process from here on out comes in four layers: rehearsing the songs; playing it live; reworking it for studio; and reworking it back to live. Yeah, they’re not making it easy for a band that never had it easy, and they’re all the wiser for it. Watch out for The Sleepers - they are back with a vengeance! Follow them here: facebook.com/thesleepersband

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

Inside the MACHINE DIE HEUWELS FANTASTIES

DEEP PURPLE’S JON LORD sadly passed away earlier last month at the age of 73 from Cancer. Lord who played keyboard and co-founded the band in 1968 also wrote many of their famous songs, including Smoke On The Water. Tributes have been paid by several musicians and bands, including Joe Satriani, Iron Maiden, Anthrax and ex-Rage Against The Machine star Tom Morello who wrote on Twitter: “RIP the great Jon Lord, Deep Purple’s cornerstone/keyboardist. So many great songs and that incredible SOUND of his! Thank you.”

DIE HEUWELS FANTASTIES

LITTLE DRAGON

are raising funds for People Living with Cancer. The Afrikaans pop electro stars are opening their hearts for the charity organisation by hosting two concerts on 14 and 15 August @ Willowbridge Barnyard Theatre in Bellville. “We’re excited to do something like this again at the Barnyard,” says Hunter Kennedy. “Last time was a major success. It felt a bit like a street braai with all our school friends and their parents attending. Much more is expected this time around, with it being for such an important cause.” For more: www.barnyardtheatre.co.za

LITTLE DRAGON the Swedish electrosoul foursome has announced an upcoming tour to SA. As part two of the adidas Originals LIVE PERFORMANCE SERIES brought to you by we-areawesome events. Described as “the sweet spot separating Motown and Paisley Park” by Esquire magazine, Little Dragon started 2011 with a headlining tour of the U.S. and a performance on Late Night with Jimmy Fallon in March. Big Boi and DJ Shadow called to invite the group to work on new music and in July they released an album titled Ritual Union. They are known for having culturally diverse crowds turning up in every city they visit. “I think that's kind of ideal,” says cofounder Yukimi Nagano of Little Dragon's eclectic fan base. “That's how, if I wished for a crowd, I would want it.” Tour Dates: 31 Aug @ The Old Biscuit Mill, Woodstock CT 1 Sept @ MOAD, Maboneng Precinct JHB Ticket Prices: Early Bird – R200; Pre-sale R250; General Admission – R300 For more: www.we-areawesome.com/ events

TOP TEN ANNOUNCED IN CONVERSE PRESENTS: GET OUT OF THE GARAGE 138 acts submitted diverse music offerings from punk to deep house to revival blues meets garage, and have now been narrowed down to ten. The prize? An opportunity to play at Club 100 in London England – the very same that hosted and brought fame to The Clash and saw many Sex Pistols brawls. Judges Zulu Boy [who? Ed], Jon Savage [erm, who again, Ed?] and Garrick Williams [okay I got this one... erm, sorry who? Ed] were apparently blown away by the awesome talent that entered. Here is the final list of ten: Goodnight Wembley (CT, Rock), iScream and the Chocolate Stix (CT, Rock), Matthew Mole (CT, Folk & Electric), Nakhane Toure (JHB, Folk & Rock), North of Winter (PTA, Rock), Savage Lucy (JHB, Metal, Rock & Blues), Shotgun Tori (JHB, Indie & Folk), Skin2Soul (JHB, Afro, Kwaito & Reggae), Swart (JHB, Afrikaans Rock) and The Kiffness (CT, Electronic). By the time you read this the winning band will have been announced through the online voting that took place. One lucky voter and his/her partner will also have won the chance to join the winning band for their gig, VIP style, at the 100 Club. Sorry you missed out? Then make sure you check out museonline.co.za regularly or join our Facebook page [facebook.com/musemag] – we post news, events and competitions all the time!

TAXI VIOLENCE are on the road again for the Deer In The Headlights Tour. Catch them in August on these following dates and venues: 3rd @ Klein Libertas, Stellenbosch; 8th @ Wavehouse, Durban; and 9th @ Oppikoppi.

27 TAILOR

LINKIN PARK LINKIN PARK are coming to South Africa. If you are indeed a fan this should be old news to you. Two stadium shows on 7 November at Cape Town Stadium and 10 November at the Soccer City Complex, FNB Stadium, Johannesburg. Durbs loses out yet again. Eish! Linkin Park have just released their fifth studio album, Living Things – you can read Paul Blom’s review on our Eruption review page 32. The album was co-produced by Rick Rubin (Adele, Metallica) and Linkin Park vocalist and multi-instrumentalist, Mike Shinoda, who joined forces on Linkin Park’s two previous albums. Big Concerts being who they are, like surprising us with these little treats they fly down. We won’t be the first to ask: What’s the deal yo? Why can’t we just vote on Twitter or on your website from an a la carte menu? (It will save you oodles of marketing budget). To quote Levi’s marketing director, Debbie Gebhardt: “Brands that previously aimed to disrupt to gain consumers’ attention now need to strive for seamless integration into their lives, proving their worth through their actions while actively soliciting and acting on consumer opinion. These consumers want brands to add value to their lives and to the things they care about; they want brands that listen to them and then show them that they’ve been heard.”

MK MVP: ON THE LOOKOUT 148 bands – that’s apparently the amount MK have shortlisted thus far for this year’s MVP that sees ten bands receiving a bag of cash to go out and make a video. If the likes of Tailor, who recently performed in CT during an MK recording of Studio 1’s Ruk Die Kaap, are to go by we are in for a treat. In case you haven’t heard of Tailor, think Buffy St. Marie’s haunting magic and Patti Smith poetry. In fact, we personally and professionally suggest after reading this issue of Muse you check out her music video for Wolf and buy her debut album due out soon. Search in YouTube – Tailor – Wolf – you won’t be sorry... Veteran of the SA blues scene, GERALD

CLARK received word in July that he would have to undergo surgery on his vocal chords, just as he was preparing to re-launch Blues And Lovesongs under a brand new moniker: Black Water. The launch date was set for 30 August at Mercury Blues Sessions, when Clark learned that immediate surgery was required to remove a growth that has been obstructing his vocal chords, effectively leaving him with only two-thirds of his full vocal ability. Fans can however rest assured that the album release will go ahead as planned in August. Gerald is

GERALD CLARK expected to be back in full swing by the end of October and he plans to reschedule his Black Water tour for November/ December. We wish Gerald a speedy recovery and look forward to his new album.

LOOKING FOR NEW MUSIC? ASLEEP IN TRANSIT

LOVE

PEDRO THE LION

Described as Durban’s charismatic export, the duo-fronted indie-pop fivepiece borrow sounds from the likes of Death Cab For Cutie and Mouldy Peaches. You can own their new EP right now by going to: www.facebook.com/asleepintransit

In remembrance of singer/songwriter Arthur Lee, who passed away 3rd August 2006. The psychedelic-prog-blues foursome was credited for writing the first punk song - Seven And Seven Is. Listen to Signed DC and enjoy with a fine cigarette.

Quintessential slow-core/shoe gazing act from the nineties, who employed the missing pop factor lacking from the genre’s defining Red House Painters. Listen to Mind Of Her Own (and you might also figure out where Interpol might have gotten their sound).

Got some new for Inside the Machine? Email: johannmartinsmith@gmail.com

Classic Albums | PAUL SIMON - GRACELAND | words: Mickdotcom

PAUL SIMON Graceland “...I STILL THINK GRACELAND IS ONE THE BEST 'WORLD MUSIC' ALBUMS EVER PRODUCED.” WE ASK SOME LOCAL LUMINARIES TO SHARE THEIR THOUGHTS ON THE CLASSIC...

bout a month ago I walked into one of those generic CD stores whose name escape one’s memory, and saw the 25th anniversary edition of Paul Simon’s Graceland on a wall. A flood of memories hit me... When I was around eight, said album, along with Dire Straits’ Sultans of Swing and Tracy Chapman’s debut, were on perpetual rotation in our family car, soundtracking our holidays and trips into town and, well, anywhere. I didn’t feel the need to buy the album later on, seeing as it had already imbibed itself into my very bloodstream; but on this day it beckoned. Re-listening to those familiar songs from the lucid perspective of adulthood is amazing - auditory colours attain detailed textures, vague soundscapes become crisp and defined, the colourful mumbo-jumbo wordplay becomes freshly poetic. Sparked by Simon’s first encounter with traditional South African music in 1984, via a compilation of Mbaqanga and miners’ songs, entitled Gumboots: Accordion Jive Hits, Volume 2, Graceland operates as a travelogue, its music shifting from one geography to the next, its palette consisting of and melding several indigenous local musics with Blues, Folk and Cajun Zydeco. During the course of his trips to SA, Simon gathered together the cream of SA musos, from Ladysmith Black Mambazo, to Stimela’s Ray Phiri, and Vusi Khumalo and Bakithi Kumalo, to help fashion the album. Somewhere in its inspired fusion Graceland has a sound unique to its own canvas. Lyrically it glows, drizzled with myth and awe and romance: Fragments like “The Mississippi delta was shining like a

Joseph Shabalala (Ladysmith Black Mambazo), Miriam Makeba, Paul Simon and Ray Phiri | Pic: Luise Gubb national guitar,” “He sees angels in the architecture/spinning in infinity he says/hey, hallelujah,” “Fat Charlie the archangel sloped into the room,” and “The way we look to a distant constellation/that’s dying in the corner of the sky” lend the album a spiritual resonance and poignancy. The music is irrepressibly bouncy and vibrant, and in its occasional sombre moments it stirs the soul; Bakithi’s subsequently famous bass work winds and pops sinuously throughout, while guitarist Ray Phiri reimagines American Rock ‘n Roll and Folk. It is perhaps the definitive World music album. We asked some local luminaries to share their thoughts on the classic:

classic! When in doubt, Graceland. When in even more doubt, Wasteland by our very own Syd Kitchen.”

CESARE CASARINO (bassist): “Bakithi Kumalo absolutely shook my world. The songs and lyrics became part of my life and a reminder that we could as musicians break through the Boerewors curtain. At that time we experienced economic and cultural sanctions on various levels. This gave us a sense of being detached from the rest of humanity. Paul Simon validated us by bringing our traditional, African music into the limelight.”

ROSS CAMPBELL (drummer): “Homeless I thought was a bit cheeky and a bit cheesy at first, but if you put aside your cheese and freeloader flags it really is one of the most beautiful songs and sentiments in that style. Graceland was also great but not exactly what I was into at the time. The Boy in the Bubble was the killer track for me - love it - such poetry. I believe his intentions were pure - I don't believe you can intentionally fuck over people and end up with a music so beautiful, and the artists benefitted by association.”

GUY BUTTERY (guitarist): Graceland. Wow. Where do you start? I think it’s safe to say that it’s more than likely the best crossover World Music/Pop record ever made. I recently saw a screening of the Making of Graceland and it shone even more light on something that for me was already totally next level shit. It’s a timeless

POPS MOHAMED (multiinstrumentalist): “In short I would like to say that I still think Graceland is one the best 'world music' albums ever produced. I always listen to that CD when I'm feeling down. It sort of brings me back to normal again. Great album and it still needs to be challenged, but 'nada'!”

Eruption | RISE OF THE UNDERGROUND | words: Paul Blom

RISE OF THE UNDERGROUND

ack in the days of local music TV shows like Pop Shop and Fast Forward, it was like a revelation when once in a blue moon an Iron Maiden clip made it to air. Not much has changed - until MK Ondergond that is! This animated underground music variety show is hosted by a macabre crew of characters with segments including band interviews, video reviews, gig guides (and a new confidential segment coming soon). Framing this content is the best in local and international underground music videos. We pulled Louis Du Pisani, the man behind MK Ondergond from his Ondergrond lair to fill us in on this groundbreaking show for local TV. The first obvious question would be just how did a non-mainstream show like this get to the air? “The trick has been getting the buyin of a channel”, Louis replies. “I was working on the Seasons Wither Music Festival and I approached MK as a media partner. Marketing Manager Haddad Viljoen was curious about our (odd flash animation) promotional material and suggested I pitch a 'heavy' music show. At first there were major reservations about this kind of content. One would assume that an unlikely prospect like this shouldn’t even be attempted but if you don’t bash down the door, who knows what reply you’d receive? And in this case, it worked. All credit must go to the people at MK; it was a rather bold move to put their faith in a show like Ondergrond.” As with the term Alternative, Underground music can be a broad term. ”We use underground as we choose not to pigeonhole ourselves by genre”, explains Louis. “But we mostly cover Metal,

Hard Rock, Punk and all varieties of music that defies the mainstream. (Hence our pay-off line Pasop Mainstream!)”. With not as many Afrikaans underground bands as English ones, I inquired whether this was a problem due to MK being known as an Afrikaans channel. “At first there was a lot of pressure to keep our language quotas”, he says, “but it seems that Ondergrond has actually helped to capture the English market. Regardless, we're very bilingual but the use of language is tactical rather than mandatory - some things are better communicated or simply funnier in Afrikaans...!” For the 2nd season which launched recently, Du Pisani has taken on the role of producer, also with more fingers in the pie when it comes to play-listing music to fit the underground banner. Louis strategized that the show was introduced very gently... so it was a case of crawl before you can walk. “I offered to steer the ship for them. I'm a fan of the music, so I knew which labels to

approach for videos. And to the relief of fierce followers, it was a matter of days before the quality of our content significantly shifted further underground. I have to thank everyone who has been on the Ondergrond journey thus far without them we wouldn't be here”. Is there enough local content and is the quality up to snuff? “Very much so, some genres are still a bit shy - and we understand that video production can be expensive. But bands mustn't be afraid, if they produce a quality video we'll play it, a lot.” MK Ondergrond is also heading to the legendary Wacken Open Air event in Gemany. “A dream come true!” DuPisani beams. “We're off to Wacken with full media accreditation to go interview the biggest Metal bands in the land. We're also there to cover our very own Agro.” While delivering a strong content premise, Ondergrond is finding its feet as a groundbreaking new era for local TV, with still a lot of possible developments and expansions on the horizon. “As a show we would like to extend our hand to the scene as best we can and help build the music that is most precious to us. There are tons of things we'd love to do, on the show itself and on the field - but we cannot divulge the plans until we can assure it to be a reality. We're content with the progress we've made - but as we go on we want to build this into an undeniable monolith. And who knows, perhaps the South African Underground will commence its hostile takeover of the international scene. Only time will tell...” For those without DSTV, you can catch all Ondergrond feature segments on Kanaal MK's YouTube page.

31 Among a small variety of lesser stumbling blocks, the greatest knock came when my studio was burgled. Everything was stolen including the hard drives containing a year's worth of work. All our new arrangements, the structured songs, were lost. We still had many of the raw files backed up but it was a huge setback for us. I personally found it difficult to get back to the proverbial drawing board. Even if you have the source material it's impossible to exactly recreate something which resulted from a particular creative mindset during a particular period. The project lay dormant for many months before we got back to work. We have a release in mind toward the end of the year.” Fans do not fear; there’s a free download in the pipeline. “Since we've been quiet for such a long time we decided to release one of our new tracks as a free download to appease K.O.B.U.S. supporters who are confused and/or frustrated by our absence. I don't want to say too much about the song Drankduiwel other than it can be described as combining elements from all our previous albums. It will be online at 00H01 on Sunday 29 July and the download location and related details will be posted on our Facebook page by the start of that weekend. www.facebook.com/swaarmetaal1

WAAR IS K.O.B.U.S.? South Africa’s foremost underground Afrikaans Metal band has a song Wie Is Kobus? But of late the question has been Waar is K.O.B.U.S? For a few years people have been asking why the band has been so quiet, and when the next album is coming. So, I asked vocalist Francois what’s been happening.

“It was partially our own doing and partially due to circumstances beyond our control. Initially our absence was a conscious decision. We started composing new material around January 2010 and didn't want to perform again until we could work some of the songs into our live set and toward the end of that year we had recorded and arranged virtually the entire new album.

No strangers to touring abroad (Francois having done so with V.O.D, and Theo with the [Springbok] Nude Girls), a dream come true happened in 2008 when K.O.B.U.S. was invited to perform at the Manowar-fuelled Magic Circle Festival (Germany). “We had a great time! Performing at Magic Circle and our inclusion in the DVD release broadened our foreign fan base to a great extent. We got to meet and perform with legendary artists like Manowar, Alice Cooper and WASP. Playing Afrikaans Metal in front of an international audience in the heart of Europe was pretty surreal, but even more surreal was seeing a group of South African K.O.B.U.S. fans, who travelled to Europe to support us, waving SA flags in the audience! It made the experience all the more special for us”.

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

ERUPTION ALBUM REVIEWS | Reviewed by Paul Blom

ERUPTION Album Reviews BORKNAGAR Urd For someone discovering Borknagar for the first time, it is bound to be an enriching experience, if Metal with a vast scope is something you can appreciate. Creating audio chaos since 1996, the evolution of the diverse, experimental, and avant-garde sound of Borknagar has led to precise modern Black Metal, with extreme and harmonic vocals (not in the style of Linkin Park), piano, Hammond organs, acoustic flows, violin. The multiple vocalists give it that extra dimension. This does not come across as a juvenile expulsion of wrath, instead crafting emotion with their music. Fierce Black Metal fans that want nothing but screeching speedy intensity (with the occasional symphonics and operatic female vocal), may feel Borknagar is a sellout. Far from it, they take the genre and bend it into a new, more accomplished shape of Metal to come, not shying away from taking on progressive elements. The band is also not interested in stagnating by sticking to the same routine, always expanding and experimenting their musical canvas, which can be stained with the black blood of demons, or illustrate beautiful Northern landscapes. <Reviewer’s Choice>

LOSTPROPHETS Weapons Many would balk at Lostprophets being slotted into the Metal genre, but those elements were very much present in the formative years of this Welsh Alternative Rock band. With the screaming second vocals of those beginning stages slipping more and more into the void of more accessible and radio friendly rock songs across the years, like other bands from their neck of the woods (incl. The Blackout), it still remains just a notch or two below full-on commercial take-over. The band punches out good, catchy songs with all the elements in place, but just not enough to get me excited. As with the likes of (a more Metal) Bullet For My Valentine and (a more pop) 30 Seconds To Mars, these bands seem to appeal more to the girls - not that there’s anything wrong with that(!), and I’m sure most of the band members don’t complain either.

FIELDS OF THE NEPHILIM Ceromonies When it comes to true Alternative/Gothic groups that spawned in the ‘80s, Fields of the Nephilim will be in many a fan’s top 5 list. Heavier than most of the other Goth-Rock outfits of their time (going a step further with the Nefilim project in the ‘90s), frontman Carl McCoy’s often growled vocals, the dark themes, Metal-like guitars and drum beat inclusions coupled with the wasteland cowboy image set them apart from their more glammed-up contemporaries.This double CD & DVD collection chronicles the band’s past chapter with a live performance of their catalogue (performed in London, 2008) having taken up the reigns for a new dimension and chapter in their musical journey. The understated, dark and sinister show doesn’t rely on gimmicks, and even though few of the original members remain, this influential, groundbreaking act has lost none of its touch, the moodbuilding essence of the songs not occupied to try and fit a radio length or traditional structures.

LINKIN PARK Living Things Having teamed up with producer Rick Rubin on A Thousand Suns, the relationship seemed to have yielded the desired results to have them return to him. With the previous album the band took a conscious approach to climb out of their comfort zone (whether they succeeded at that is debatable).The recent Dubstep hype seems to have filtered in at times, but Linkin Park has always been a hybrid of various genres from Metal to Rap / HipHop and a fat dose of various electronics so it’s not a wild new notion for them. Their sound formula is still unmistakable, with Chester's melodic vocals & screaming, Mike's rapping, light programming and heavy guitars. This wide divide is illustrated in the opening synth riff, sounding like Usher is about to start singing(!), to Victimized, probably their heaviest songs yet. This wellestablished soft-pop / heavy juggling won’t sit well with fierce Metalheads, but is a good entry level for someone growing up and wanting to progress from Bieber.

KRABATHOR 20 Years of Madness As label-mates with my band V.O.D we had the pleasure to perform with these Czech Republic underground stalwarts in the mid'90s across Germany, their home country and Slovakia. (They also toured South Africa with our Grind legends Groinchurn). Inspired by Thrash Metal of the '80s and darker musical genres, relative isolation (as with a country like South Africa) led to the band creating their own style of brutal Death Metal, resulting in 8 album releases across 1992-2003. But it all started years before that and this is what this double disc collection represents. Reflecting the cassette and 'zine days (with hand drawn photo copied covers, traded with fans across the world for music from their areas), the over 30 tracks from five Krabathor indie releases in 1988 and 1991 give you a lo-fi history lesson of DIY Metal at its most energetic. Rough, raw and truly underground, this is a piece of history encapsulating persistence and a drive to remain true to your music at all cost, regardless of limited resources. Get the album at www.Einheit-Produktionen.de

3 INCHES OF BLOOD Long Live Heavy Metal In a world trend of guitars tuned down to the extent of drooping strings, it’s a joy to listen to an album that rejoices the Heavy Metal genre with banging songs, catchy riffs and traditional vocals. The old-school spirit courses through the veins of this Canadian quartet, and the proclamation of the album title says it all. The intension here is not to try and be super-brutal but rather to compose rocking Metal songs in the classic tradition. The band lets rip with a dozen tracks that Judas Priest fans may very well lap up with ease, just the right amount of speed, high pitched screaming vocals (with enough power to carry the conviction) and lead breaks when they're needed. The song titles also convey that Metal feeling, like My Sword Will Not Sleep, Leather Lord, and Dark Messenger. With previous bassists departing (some quitting, others dying), these duties for this recording were taken up by Fear Factory / Strapping Young Lad sub-sonic inducer Byron Stroud.

Available at all fine music stores nation wide MUSIC A division of TOMS Sound & Music (Pty) Ltd.

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ALBUM REVIEWS

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

Album Reviews THE FARKA TOURE-RAICHEL COLLECTIVE: THE TEL-AVIV SESSIONS

his is one to cherish. Very occasionally - indeed less often than that - one stumbles upon a work of music that arrests from the start. The first cascading bubbles of Vieux Farka Toure's guitar hints at what pianist Raichel's musical response affirms: This is something special. Raichel and Farka Toure (son of Ali, the guy who seduced Ry Cooder and the West into Malian grooves) bumped into each other at some airport somewhere, expressed admiration for each other's work. Nothing happened. Some years later they bumped into one another again, and

DESMOND & THE TUTUS MNUSIC In their interview with us, Desmond & the Tutus said that producer Eric Broucek slowed down their songs to make this album something people would want to listen to everyday. Sadly, by doing so, he has also removed most of the band’s eccentric charm, which makes them such a potent and memorable live act. At times, Mnusic is desperately unfunny and mundane, as songs such as Awesomer, Car Guard Tan and Enough Fun scrape the bottom of the barrel for a smirk - or even a mild positive reaction. You kind of scratch your head and wonder if these were the best songs (and lyrics) that Desmond & the Tutus could’ve come up with for their major label debut? However, it isn’t all doom and gloom, as Tattoo, The Future and Zim Zala Bim do breathe some much needed life - and energy - into Mnusic. Zim Zala Bim, in particular, is a textbook merger of African influences and quirky indie rock, in turn creating a sublime track drenched in Afro-rhythm and infectiousness. Nonetheless, three tracks do not make an album, and, overall, Mnusic disappoints. After seeing the mock infomercials and intriguing marketing campaigns, I really did expect much more from this effort. | SP

decided to jam. This masterwork happened. The Tel-Aviv Sessions are based on an impromptu three-hour jam. The resultant work is a careful edit of the improvisational magic that occurred. The album’s notes and rhythms are often hypnotic, but instead of being lulled one is mesmerized into a heightened musical sensitivity - swept gently deeper into the music's exotic tapestry of details. The melody lines, the songs, the entire album rises and falls, inhales and exhales like some kind of living ocean dreaming of stars. Spell-binding stuff. | MD

ISOCHRONOUS LIVE IN GERMANY DVD Gutenabend Berlin! That’s ‘good evening Berlin’ in German for you, and the epic start of this epic release. No doubt, most bands would envy the privilege of playing in the O2 Arena in Germany. Sadly, the actual live footage seriously lacks drool factor. Luckily, Isochronous are not to blame, who spend the entire duration under one burning spot light, playing to their hearts’ content as they would any night at Assembly, without dazzling lights or gushing smoke machines. The happy sounding crowd are heard but not seen through any theatrical panning cameras. Bonus features reveal an arsenal of digital desks the sound and lightning engineer, “Hansie”, could have used. Thankfully, the rest of this prized collection is gold, comprised of 5 music videos, behind the scenes footage by one small seed.tv, hilarious backstage and touring footage, including the difficulty of mastering a simple sentence in German and a foot playing piano with a glove’s fingers. If anything, this proves if you want to go big, you can. South Africa #EPIC WIN. | JS

MORE REVIEWS ONLINE: www.museonline.co.za

Cold Specks I Predict Graceful Expulsion Newcomers on the scene, the aptly named band, Cold Specks, debuted their first album on 22 May this year. Their name is a reference to James Joyce’s epic classic, Ulysses and their album, I Predict Graceful Expulsion, is very much a traditional compilation of songs that tell a story. At the heart of the album is Canadian singer/songwriter, Al Spx, as she is known to the public. Her style has been dubbed ‘doom soul’ but that is more a way of describing Spx’s broken and bluesy sadness that transcends through what could be a songbook of brilliantly composed hymns. The hauntingly beautiful second track on the album, Heavy Hands tugs on conscious plains and wallows in the stirring string arrangements akin to that of Warren Ellis. Spx has the forlorn soul remnant of Jeff Buckley and Elliot Smith at times. She has that same unearthly quality of a being able to sing an ironically full emotion that is hollow and deflated after it leaves her lungs. Her songs are escapism. Winter Solstice stands out on the album as a beautifully arranged and heart breaking song that rallies the listener to attention with the throbbing tempo and Spx’s chilling rasp of the lyrics. Overall it is a carefully composed album that I’m sure will prove Cold Specks as a commendable force of new-school blues fusion. | ED

The Cult - Choice of Weapon | Lonehill Estate | Sierra Leonne's Refugee Allstars - Radio Salone The Enemy - Streets in the Sky

35 Battle Cock: Surviving 2013 Like their debut's title, Battle Cock's music seems set just a tad in the future. Current trends and sonic party tricks have already been assessed, their successes or failures determined. And so, this fusion of Hip-Hop (via The Kwani Experience rhyme-slinger Kwelagobe PO Box Sekele), Pac Man-esque beats, retro drums and Rock guitar, sounds as normal as Wednesday (though, in Battle Cock's hands, the elements are configured to announce the blissed sweat and action more associated with Fridaze and Satyrdays.) The album is unrelenting, each track propels itself into aural view, leaning forward the faster to assert its shape. The guitars are nice and crunchy, fuzzily distorted throughout; Black Pimp'n Jesus founder and guitarist/singer Evert Snyman's voice is their perfect complement, throaty and assured, and a laid-back counterpoint to PO Box's staccato pace. Fellow BPJ axe-man Quasi Van Der Wat is also in the mix, dropping some very tasty guitar solos into the selections, like so many brightly lit, uncannily well-positioned decorations. Something Is adds mildly intoxicated harmonica to proceedings for a dizzy romp that spreads your toast with some psychedelics-laced Nutella, best enjoyed cheering and swaying along, while opener Artcade Games is so simple in its novelty and invention it approaches greatness, epic yet carefully trimmed. Get your supplies before Year One, aka 2013, goes PostApocalyptic on your ass. â&#x20AC;&#x153;Uya Phapa.â&#x20AC;? | MD

Counting Crows Underwater Sunshine (or what we did on our summer vacation.) Adam Duritz, I remember you well. Counting Crows were possibly the very first proponents of what would later be termed Shoegaze music. In the age of Grunge's deliciously tattered sound & fury, the Crows were the flannel-wearing okes whom girls could introduce to Mom and Dad without the former fainting and the latter reaching for the double-barrel. On the odd decision to release, after a four year hiatus, an album consisting exclusively of covers, Duritz explains simply, "I've never stopped being a fan." Said's distinctive vocal delivery, never leaving his signaturely languid pace, means the album actually sounds like a new Counting Crows release. Fans will thoroughly enjoy this, especially seeing as the Crows have always dipped the hat to other artists via covers, and his selections are glimpses into his own beloved collection of singer-songwriters and bands. There are also some refreshingly unexpected moments where the band wanders into new territory - check the bordering on hysteria

organ wails on All My Failures, and Like Teenage Gravity turns into a churning guitar flail, dipping into Post-Punk territory. Tasty. | MD

The Temper Trap The Temper Trap I get the feeling The Temper Trap wish they were cooler than they actually are. Yet, for all their efforts and Dougie Mandagi's very acceptable vocal range, this band is getting firmly shelved with U2 and Coldplay. They have also inexplicably named their second album after themselves. Perhaps they are trying to reintroduce themselves after their debut, Conditions, struck the same chord with Bono fans. The Sea Is Calling is possibly one of the better tracks and musically is undeniably a good pop song that will creep all over the radio charts. In fact, I will put money that this track will score the quintessential love scene in the next pseudo-indie rom-com i.e. made by jocks for jocks rocking this year's fad of geek chic. The album is not all horrendous, it's just a watered down, radio version of what should have the depth of Fleet Foxes, the anthemic quality of Miike Snow or the quirky justification of early Kooks. Overall this album is the smacked arse of a wannabe groundbreaker. | ED

Kyle Shepherd South African History !X At once an interrogation of and meditation on the obscure roots of South Africana, Shepherd's third studio album, helmed for the most part by his quartet (with Shane Cooper on bass duties, Jonno Sweetman on drums and Buddy Wells on tenor sax), is dynamic and hugely evocative. Although consisting for the most part of original compositions, the album predominantly evokes shards and strokes of traditional (South) African music from San trance music, to Boeremusiek and Vastrap, to a gloriously fun reworking of Afrikaans folk song Bobbejaan Klim Die Berg. Acknowledged by Shepherd as being a kind of response to the hidden, or obscured, history of that curious beast, South Africa, South African History !X has a strong presence of the San and Khoi-Khoi cultures, appropriately so, as these two peoples were the first inhabitants of this corner of the continent. Musically the album is rich, dense even, but also playful - a questing, inquisitive spirit tempered by impossible longing. Shepherd and his cadre are becoming masters at reading one another's musical moods and possibilities, making for texturally steeped beauty. Also features the great Zim Ngqawana. Powerful stuff. | MD

Peachy Keen presents Backseat Bingo (EP) The EP from Capetonian Rockabilly band, Peach Keen, kicks off with Do I Have To Explain? It's a highvoltage, slick rock 'n roll number, heavy with 50's flavour. The two leading ladies, Dominique and Alex are vocally, as complimentary as cherry coke and a Marlboro Light. The next track, I Shot A Man Down, will blow you away with its bad-ass blues lyrics and swamp-sex composition. Ryan smacking the upright bass and Greg the lead guitarist pick this song apart and bring you to your knees before you get up and start dancing again. On track three, Don't Call Me Baby, a very beautiful number steeped in poison pin-up girl emotion that the girls temper between sweet and stricken vocals. This track would be the crux of pent up sexual frustration at a high school dance. Peachy Keen embodies all the classic connotations of the Rockabilly scene and I love that they bring an occasional Wanda Jackson inspired rawness to a sugary-sweet formula. Backseat Bingo is a great listening album that will, no doubt, make you want to get up and go see them live. | ED

The Muffinz Have You Heard? The Muffinz are a 5piece fusion/soul band hailing from Mzansi and Have You Heard? is their debut album. I'd like to say that these guys have been bubbling under for a while now but to be honest they've kind of popped out of nowhere. Indie label, Just Music, seems to be making a habit of this recently; uncovering quality, original music from less obvious sources. The Muffinz may be relative newcomers but they've clearly been playing together for some time as their sound is tight and smooth. Notably the production quality is really top drawer too. I could liken this to the smoothest of smooth jazz, production wise. But what about the songs? It would be remiss of me to simply hail this as 'awesome,' or use analogies such as 'wow, amazing for an SA band,' particularly since we have a history of very good black fusion and/or jazz musicians in this country. Rather it's an album that leaves one with a sense of promise of things to come. There are some wonderful songs but there are also some that are a bit clumsy; the lyrics possibly a bit too wordy on some of the English sung songs, particularly. I hope they stick around. Their vibe is pretty infectious. | DM

GAME REVIEWS | Reviewed by Paul Blom

GAME Reviews PS3

BATMAN - ARKHAM CITY With Christopher Nolan's 3rd Dark Knight movie chapter hitting theatres, this is an ideal opportunity to take your Batman obsession another step further. Following from the sturdy foundation established by the Arkham Asylum game, Arkham City steps it up to a new level. Bruce Wayne's political interests have him calling for the close of the Arkham City prison (a portion of Gotham City developed into a sprawling urban jail area). As Vicki Vale reports, Wayne is abducted by the man in charge of Arkham City, Hugo Strange. Alfred sends in a Bat-suit, and Batman is on the job, trying to find out what Protocol 10 is all about. Classic characters and villains assemble (for a multi-faceted experience filled with action), including The Joker (voiced by Mark Hammill), The Penguin, Catwoman, The Riddler etc. Besides kicking the asses of a multitude of thugs in this dangerous place, there is also a variety of investigative techniques applied as you dig deeper into the narrative, illustrated with amazing graphics and sound. The cut-scenes and great look of the city gives you that feeling of being inside your own movie. 3D TV compatible for extra eye popping fun. Not suitable for under-16s. 9/10

SORCERY This PlayStation exclusive will have Fantasy gaming nuts (and some Harry

Potter / Lord of the Rings freaks) quite excited. You control the lead character Finn, a sorcerer's apprentice who (naturally) gets in over his head. Accompanied by the magical cat Erline as the sense of reason, Finn's adventure begins after experimentation with a wand he stole from his sorcerer boss leads him to a mysterious cavernous fairy world. This wild, wide adventure throws spirits and undead at Finn to fight, and potions, gold, keys and many other items to collect for later use. As the first of the 2nd generation PlayStation Move titles, utilizing that controller as your wand makes absolute sense - throwing spells (even like a curve ball) at enemies, or at objects to reveal collectibles, swirling it to open treasure chests or doors, mending broken bridges for access, levitating collapsed arches and rocks, and so forth. You can also use your new found magic shield to bash open doors or undead enemies fortified with their own shields. Spells are bound to five elements: Fire, Ice, Earth, Wind and Lightning, and you learn as you progress (with potions essential to restore health, most of it sapped by powerful level villains). Fans of Fable could easily get into this. A lot of the theme is based on Irish Mythology. 7/10

For more gaming reviews, Check out www.flamedrop.com exposed to Rift Energy, but is prevented from transforming by a special spine implant. With these inter-planetary bounty hunters sorting out these crazies, they become a bigger problem when the lead villain, The Outlaw starts to organize them. In this PlayStation exclusive, the player has to protect these various areas with a variety of weaponry and vehicles (like a sidewinder hover-bike and flying mechs). A strategy element is also incorporated as you get to build and organize mining sites and rigs. Multiplayer is where it's at, with on-line linking playing a big role in expanding the gameplay, accommodating up to 32 players. Great detail and an expansive gaming terrain. 7/10

Nintendo 3DS

MARIO TENNIS OPEN

STARHAWK The title may sound like a cheesy '80s space-action flick. It's actually close, only if a movie looked like this back then, the budget to make it possible would've been unattainable. Related to the game Warhawk, in this space western 3rd person action game, valuable Rift Energy is being mined on planets across the galaxy. With a flood of prospectors staking claims, greed is rampant. But to add to this new wild west frontier, exposure to the Rift Energy leads to people becoming mutants (known as Outcasts). They wreak havoc among the miners. Emmett and a comrade have to clean up these areas by taking care of the Outcasts with firepower. Emmett was

Wimbledon has just passed. Here's a way to get onto the court (in the palm of your hand) without pressure, injuries and a sure defeat! You have access to 13 characters like the usual suspects of Mario, Luigi, Donkey Kong, Princess Peach, Bowser and others, as well as your personally created Mii character. Colourful, vibrant courts in a range of locations are at your disposal, with surfaces ranging from clay, grass and wood, to stone, snow and carpet (!). Tournament, Exhibition and Special Games offer a variety of gaming options. One of the special modes has you whacking the tennis ball against a wall where the classic 2D Super Mario platform game is playing out, the ball interacting with the game outcome! A cool function of the two DS screens is your choice of hitting options on the touch screen (from simple to drop and lob). In a pre-Wii world I always found games with sports themes like golf and tennis futile, but Mario fans don't mind the steady flow of titles from this legendary gaming character finding its way to the portable console. 4/10

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