MUSE MAG - Dec'12-Mar'13 by Muse Mag

EDITION 23 | DEC/JAN ‘13 | Proud Supporters of SA Music!

Join our newsletter... Simply email the word ‘join’ to news@museonline.co.za 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

CONTENTS

lifestyle

Muse

From The Editor Better Red Than Ded - Belle Heir Sangoma Vibes - The Brother Moves On Muse - Modern Rock's Super Massive 8 Icons: Still Making The New? Twin Atlantic: Scotland's Pride It's A Zoo Out Here - Animal Collective The Mark Of The Beast Jezebel's VPL: Zolani Of Freshlyground The Muffinz: All The Right Ingredients Legends: Wild Youth May The Force Be With You: Newtons 2nd Law 12 Inside The Machine: Music News Classic Albums: Kate Bush - Hounds Of Love Eruption: ING - It's A Metal Thing! Eruption Album Reviews New Albums Game Reviews Venue Guide & Live Events

Twin Atlantic

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, Kalin Pashaliev, Nathan Kabingesi and Evert de Munnik SALES & ADVERTISING ENQUIRES: Thomas Whitebread (021) 913 9443 | 082 889 2047 Dave McKinley (021) 557 1549 | 084 209 0168

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EDITOR’S NOTE | DEC/JAN ‘13 | Proud Supporters of SA Music!

“Is SA music about creating the so-called 'new' or nurturing that which it covets?"

he question of originality in music is not new, but it is an interesting one. In fact South African music, for many years, was plagued with an inferiority complex, particularly in the 70’s and more so in the 80’s. There was always this expectation that if the band was local, they were crap. ‘Local bands just couldn’t create the same amazing music that we were hearing from the States and the UK.’ The main reason for this inferiority complex was apartheid; if you were a ‘white’ band you’d have way more privileges and opportunity [within our borders] than our black brethren, but since we were isolated as a nation the ‘pop’ music tended to follow a copycat format of what was heard on [government owned] radio and LP [long player vinyl records]. In the townships music was way more progressive and unique, but with the oppressive regime, was largely confined to that audience. Sure there were exceptions; Hugh Masakela and Miriam Makeba being the best examples of this, however they had to live in exile to become part of the global music community. The second reason was a case of economics; simply put, recording a song or album was an expensive feat since there were no (or very few) home studios back then. Equipment was expensive - and analogue - and even if you did manage to own a studio, the access to quality gear was very limited. The only ones who could afford decent studio equipment were in fact the major recording labels so the conundrum was that you’d have to first get signed by them which also meant conforming to their A&R requirements. This resulted in a lot of mundane, mind-numbing local pop liedjies plaguing the airwaves. Unfortunately you could always spot a local song since the production quality seldom compared to the overseas stuff. This legacy from our past has somehow stuck with us today, and sadly some people still assume that ‘local is NOT lekker.’ Although data costs remain a rip-off in South Africa, information via the World Wide Web has brought us all a little closer and if nothing else made us realise that globally we’re all the same but different and this applies to music too. True originality comes from sincerity and bearing one’s soul - something that many artists will never quite achieve. But let’s not assume this to be a local problem with music - worldwide you get the copycats and you get the original, sadly the major music labels will churn out as much ‘cookie-cutter’ copycat music they can to bolster their bottom line. If you’re interested though, to look hard enough, there are plenty of unsung heroes creating beautiful music daily in this intriguing country of ours [and worldwide]. Just turn your radio off and your internet on! That crazy time of the year has arrived (how fast did this year go?) so be safe, be sexy and be responsible. ‘till 2013. Adios... Dave Mac

WRITERS' OPINIONS JEZEBEL South African music is about creating one's own place in the world; ours is fragmented, fabulous and still learning to be free, and so, too, is our music. I gave Tori Amos a selection of local albums a year ago. Choosing them for a heroine showed me that we borrow, blend and bleed for the songs in our spirits. Listen closely, because there's beauty there, whether you're seeing double or having your brain warped by something unforeseen.

SERGIO PEREIRA As Marilyn Manson said in his song Target Audience: “You’re just a copy of an imitation.” Local musos are no different from their international counterparts and latch onto scenes and fads as if their lives depend on it. The bigger question is: are SA musicians discovering these muses far after their expiry dates?

MARY HONEYCHILD In any industry you get the believers, the cynics and also the attention whores. While there are local bands pushing the regurgitated global (Euro/ Yankee) sound, there are South African bands and artists who create authentic, true to their dusty roots music. Originality and genuine talent never went out of style since everyone responds to that kind of honesty. You can decide whether you're a believer or a cynic.

MICKDOTCOM As with many countries, most of our bands are fashioned by the American and British Rock and Pop staple. That having been said, inside this framework many artists/bands are creating quality, thoughtful music, which is really all we can ask of mainstream outfits. Also, closer inspection reveals more local artists than ever before creating fresh musical adventures that ain't never seen the inside of a box.

PAUL BLOM So much music has flowed under the bridge since time began - while most musicians think their approach to these note constructions is an original one, unfortunately this is not the case. "SA Music" is also far more diverse than many would believe, and thus does not have a uniform goal to either create something new or simply stick to the sellable recipe. If you enjoy what you play, play it, and If you enjoy what you hear, listen to it - but for no other reason than you do, not because factors drive you towards it.

JOHANN M SMITH According to evolution, Africa is the cradle of mankind. More importantly, it's also home to the father of blues. Sadly, unlike our aforementioned prodigal son, we haven't been fully exploited for our ideas (Kwaito has come close). Bastard children of post-modernism - call us what you like, we've often done it better than the source. And unlike our muse, we've got room for growth - miles and miles... here's to chapter 2 in the golden history of rock 'n' roll: the local is lekka years.

ELIZA DAY Why should music be 'about something?' Music doesn't belong to a space anymore. It never really did. Music is about whatever, whenever, however.

Better Red than Ded | BELLE HEIR: BAROQUE IS BAQUE ON THE THRONE | words: Eliza Day

BELLE HEIR BAROQUE IS BAQUE ON THE THRONE

“

his existence is not about learning to accept reality but rather remembering your power to create it." That's a quote by Michael Cummings. He used to be a cartoonist for newspapers in London in the 70's. People read the news to understand what is going on in the world around them. Cummings used to take that reality and draw pictures over it. Living by the ocean means you get to see a lot of waves. Waves tend to lapse and relapse as you see a similar shape take place in the water over and over again. Sometimes, when a really big deal comes along, like a ship or Great White, the waves change a little bit as they are influenced. Music is pretty much exactly like that and trying to find patterns in it must be a similar thrill to chasing storms or predicting hurricanes. It's the sequence that you know will take place and then marvelling at the little differences compared to the last wave. It makes sense that music is like waves; people make it and we're seventy per cent water.

“Style 'n steez is back from the black hole of bath-salts-chic and the glamour of epic scale production in rock and pop is a really sweet treat this summer.” The last few years have seen a fairly major revival of the grunge, lo-fi aesthetic. The burnt out ghost of Kurt Cobain flared up into a heartthrobshaped poster boy for the second time. Garageband was the biggest thing since the Spice Girls and effortless ease was the vibe across the board from the belt-less bag-lady look to the no fuss, minimal tech-no-colour palette of an era that missed the 90's by a couple years and with all its heart. There's something to be said for those dark times, before My Own Private Idaho wakes up and blossoms fully fledged into a Baz Luhrman production a la Leo. All the prettiest, shiniest things are found in the dirt and it really just makes them look better. Style 'n steez is back from the black hole of bath-salts-chic and the glamour of epic scale production in rock and

pop is a really sweet treat this summer. Chamber pop, lounge music and baroque rock are trickling down through time once again and into music fashion but this time we have the throw-away fabulousness of DIY decadence because this nu wave of starry artists have the skill to silver screen themselves to the public without losing any of the quality thanks to technology. Some superstars worth taking note of in terms of production are Clams Casino and Blood Orange. Clams layers agony and sin with the most soulful synthetic sound. His composition and production adds such human emotion to electronic equipment and metaphorically could lead you to believe that the heart monitor keeping that junky kid alive has a special place for that pulse somehow. Blood Orange is old Hollywood fabulous as Dev Hynes relays his all round abilities to create on every level en pointe. The queen of the scene, Lana Del Rey channels the days of Lee Hazelwood and Nancy Sinatra through

YouTube with the charismatic once-ina-while-you-get-to-see-a-shooting-star frequency of Marilyn Monroe. Except on acid. Whilst there is a diverse playground of sounds to enjoy within this phase, one common denominator is that reality isn't perceived as gritty and raw but rather something that is joyfully manipulated with tropes and metaphors emphasized by grandeur and extra glitter. The dreamy escape is evident in much of the lyrical content and melancholy melodies. It's the tone of darkness that makes this re-wave so delicious - almost like their agency comes with the self-aware certainty that there is a time limit on their glory days, on their wave. "I've been hating everything, everything that could have been Could have been my anything. Now everything's embarrassing," sings Sky Ferreia, another surreally sweet starlet on the horizon. This wave is a beautiful if convulsive one and that's why it's worth it.

Feature | SANGOMA VIBES: THE BROTHER MOVES ON | words: Eliza Day

SANGOMA VIBES THE BROTHER MOVES ON

eet The Brother. Do not try name him or remember him in one way. Rather listen and watch as he changes colour and tone. Let it sink in. Tell a friend about it. He is wondering and making. Search him online, find him at night in the sun, retweet what you see. Then move on. This is South Africa as it always was. In flux. Now we can hear it as it moves. Siya, the frontman of the company (because that is indeed what they are) explains one of the roots of the band's story which is a complex hybrid of concepts both creative and cultural, "We play this story in South Africa. It's what we sell to the rest of the world. We have to be very careful because it can blow up in our faces. So when Marakana happened it was like life had stopped and we're saying, ‘Nope, I can still get my cigarettes at the shop.’ The publicity is out of our hands. The way our freedom was sold as a peaceful transition. People sat around a desk, talked it over, there were doves," he laughs to the rest of the band. At this point they start singing, ‘South Africa, we love you, oh beautiful land, let's show the whole world…’ “Why are we showing the world? How about showing ourselves? That's what we're going through right now as a nation, it's an identity crisis.” The Brother is abstract, active art personified and fantasized all at once.

They're a juxtaposition. It's nothing like you know of or maybe it is but I guarantee you've never seen it in this wrapper. They're supple and surreal; mercurial as they are talented musicians and the best thing to happen to SA art in an ef-long time. Siya, a master story-teller breathes in his soft, kittenish voice, "This is the beginning of a story. It’s amazing, you forget about it when you get into the band element of it but the story controls it and you and its magical. It’s weirdly magical. The first two songs of their coming album tell stories about missing information. Things that happened that somehow didn't make it, things that aren't even information as we know it yet i.e. it’s not online. When I ask Siya about Track 2 off ETA, Ya'khalimbazo, he tells me a story about how his family was relocated from Kempton Park in '93 and then later going back after apartheid was dismantled in '94. I had searched online about the content of the song, and come away empty handed. There was nothing to be found except a large amount of missing persons who had disappeared from the area during that time period. Siya is painting a picture for me with his words. It's more than that though. What The Brother are doing is weaving art out of ideas that got lost somewhere along the line. They're picking them up

"We play this story in South Africa. It's what we sell to the rest of the world....”

and telling that story. Shuffling cigarettes down the troop of band members, Siya continues talking about ETA, "There's the storytelling element. We’re trying to do a theatre production next year. Do an epic musical and try involve as many of our friends as we can from all the scenes we know. But it's a dream. And this was a dream to come here. There's also a gallery aspect. We're building a gold vault with fake gold because we found out that in our (SA's) gold vaults people had wanted to split the gold bars in half. There was tungsten inside them which has the same density as gold. This has weird implications for us as a species. We base our whole value system on these commodities. So it's a question we're asking with our album, 'So what worth do you give us?' Because essentially our audience is giving us that worth.” Towards the end of what has been an incredible interaction, Siya crows about an upcoming collaboration with a pop outfit, “I’m going to turn her into something you’ll be amazed by!” This is the truth. These sangoma vibes don’t play games when it comes to their craft and trust, they are amazing. Find them, listen to them and feel the change in atmosphere when the show begins. We’re moving on. facebook.com/thebrothermovesonband

Cover Feature | MUSE: MODERN ROCK’S SUPER MASSIVE ICONS: STILL MAKING THE NEW? | words: Johann M Smith

MUSE

MODERN ROCK’S SUPER MASSIVE ICONS: STILL MAKING THE NEW?

hey’re UK’s biggest rock band since Queen and musically likened to them too. The reason is all in the name: Muse. Like Radiohead and R.E.M. prepared us for the 90s, the sonically detached and culturally apprehensive three-piece from Devon equipped us for what followed: the 21st Century, a time for anything because everything had been done. With every passing year, we’re getting more creatively claustrophobic and in dire need of innovation. According to Muse’s main madman Matthew Bellamy’s prophetic claim in March 2000, “you can either be a violent person and kill, or you can be in a rock band.” What started as a personal declaration has become a universal phenomenon.

2nd Law Since 1999, they’ve released six studio albums and sold 15 million worldwide. Their latest is fittingly titled 2nd Law. The name originates from the thermodynamics theory explaining that any system based on limited resources and endless growth is unsustainable. Basically, eventually everything ends. According to them: “Humans seem to be going directly against this law; we seem to be growing and evolving wanting to move forward, it looks like this is our battle. [The idea] is spread throughout the album.” Despite the history of rock ‘n’ roll teaching us: everything reaches a limit, begins to decay and life shrinks. All that remains is a ghostly memory of a golden age. Just ask Oasis or Paul McCartney. An epic but catastrophic performance of Survival (track 5 on 2nd

Law) at this year’s Olympics seemed like an early omen. The incident, described by NME, was “the final insult after the misfire of 2009’s The Resistance… they became victims of their own ambition.” Making matters worse, the broadcast was cut from the NBC broadcast in the US. Naturally, fans lashed out at the broadcaster’s fatal misdemeanour. Ironically, it was music to the ears of foremost US business magazine Forbes, who upon receiving the announcement from the Olympics that the song was to appear as the official number for the summer games, criticised the decision and dragged the band along: “It’s not that they felt the need to throw every instrument and kitchen sink into the mix and seem in a state of self-parody, or that the lyrics are a collection of sports clichés. The issue falls on Bellamy, who appears to have a shallow interpretation of the Olympics.”

9 Ch..ch..changes... Drummer Dominic Howard, seemingly vulnerable without his sticks, attempts to offer his thoughts in plain English respite with umm’s and aahs: “This album is certainly the most diverse. It stems from all our bizarre and mixed influences– whether it be orchestral or classical piano music, to just rock. Bits of everything really.” Bassist and part-time rhythm guitarist Chris Wolstenholme elaborates: “With each album we don’t necessarily know what direction it’s going. The important thing with our ideas is we have to try something new. We've never liked standing in the same place for too long. We wanted to make a fresh and uplifting album. I feel we've done that.” One has to wonder though, did they have any intentions to exceed 2006’s masterpiece Black Holes and Revelations? Or fan-favourite, 2003’s Absolution? Or, at the very least, felt intimidated by the popularity of Resistance that saw one of their biggest and best Glasgow gigs to date? Dominic says, “Resistance was doing so well that it blew our minds. The whole thing was amazing. We played some of the biggest gigs of our lives in countries we never would’ve. We didn’t feel much pressure to live up to our past, it’s been important for us to close that chapter, have a break, and completely start anew. When we go in the studio it’s simple: we’re just making the music that we like.” Matt continues: “I think we’ve had to be open minded to deal with success; the different types of music we’ve got into; and all the things we’ve had to do as a band. We keep each other in check, we’re definitely not cool, and we were a lot less cool in school, so we all remember each other from back then.”

The Sound of Muse So, how did they go about it this time (with only a few months prior to the supposed damnation of this world)? Chris recollects: “Both Matt and I recorded many rough demos. The first

two days we did a lot of listening to find the right ones.” He humbly claims that as much as the songs sounded great, obviously it didn’t really sound like Muse until all three of them played together, and adds a significant insight: “That’s the important thing, if you can try and work out what it is about the band that makes it Muse - and I’m still not exactly sure what that is - there’s that element in every band that’s is theirs and no one else’s. The more you retain that soul, the more it gives you a license to go off.” For the sake of lofty business leaders, pray do tell Matt: how did Survival come together? “Working on it I thought it related to the Olympics, [however] only in some way, because lyrically it concerns the struggle of losing energy and a desire to survive. When we finished the record, we got a [surprise] call from the Olympics asking us to perform at the ending ceremony - it seems like an unusual coincidence that came full circle.”

“We've never liked standing in the same place for too long. We wanted to make a fresh and uplifting album. I feel we've done that.” They’re jointly proud for their country and a buzz that happens “only once” in a lifetime. An honour no doubt, especially taking part in the torch relay, remembered only as a rapidly passing moment when they could have “still carried on running.” Dominic reminisces with a smile: “It’s cool how the song represented the Olympics musically in some way.” Sadly, some (especially online grapevines dangling dangerous comments) view Muse’s representation of the Games’ the same as its rave-bunny coloured logo that looked like Lisa Simpson performing oral sex. Regarding album reviews, across the board they are as varied as the 13 tracks,

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ranging from expected praise to the unexpected and spineless. The difficulty experienced with picking an opening track is a text book example. Overall, as anticipated, the entire approach is unexpectedly different. But unsurprisingly, like second track Madness (an electro vibe built on a melodic-hook bass riff with hypnotic drums) they mostly put down their instruments in favour of samples, an iPhone, advice from Skrillex, and mixing from London Dubstepping act Nero - the change Muse describes as “kinda nice, and as something cool to do more of in the future.” Many agree the only possible avenue promising success would be a best of album. Chris disagrees: “No one ever peaks when they make music and that’s what we enjoy about making music; that you will never ever quite feel like you’ve reached the top.” Dominic supports his argument: “Great thing about music is you never stop learning. There's always more to discover, so looking forward to that process.” And Matt concludes: “I feel very lucky. I’m sure the guys feel the same. We’re all just very lucky to be in a band with open minded people who are not really afraid to try anything.” Like god, the purist and true artist wishes to make and unmake. In all his attempts he yearns to establish a new existence others can live off and feed. Don’t ever forgive their failures, love them and pray like hell we see the unforeseen. Failing that, it’s better to burn out than it is to fade away. Read Sergio’s review of Muse - 2nd Law on Pg 36. If you’re not one of their 13.8 million Facebook fans already simply go to facebook.com/muse

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Feature | TWIN ATLANTIC: SCOTLAND'S PRIDE | words: Sergio Pereira | photo: James Michin

TWIN ATLANTIC SCOTLAND'S PRIDE

s sad as it sounds, it was really the inception that was the changing point for the band,” says Twin Atlantic drummer Craig Kneale, when discussing his critically-acclaimed band’s burgeoning reputation and success. “We’d all been in bands previously where not everyone had pulled their weight or fully focused on music, as what they wanted to do with their lives. Which is fair enough, but I think all four of us were left frustrated in previous endeavours, because we wanted to give our all for music, and other people’s jobs, or university careers, would hold us back. So, when we chatted after our first practice together, we realised we all had this shared passion about treating being a band like a job - it’s not something you can do as a hobby, if you want to do it properly. From day one, we’ve had the same drive and passion, and it’s what still pushes us on five years later.”

long run, rather than pushing through a tour for another three weeks and possibly damaging it way more than it already was. It was a wake-up call for the band, and for Sam; he needs to take [better] care of his voice and we need [to] give ourselves a little bit of a breather between tours,” Craig declares. Besides the physical strain, do they ever feel the emotional repercussions of being on the road relentlessly? “I think it’s different for all of us,” Craig affirms. “I used to find it harder at the start to go away - but now, I actually love travelling and playing gigs in these places I’ve never been, and never thought I’d get to go, [to] in my life. We are very lucky to have an amazing group of family and friends, who have supported us from the start without question. That does make it easier to be away for long periods of time. And I always think, we’re away from home, but we get to do pretty cool things when we are away. It’s not like we’re locked in a room for months at a time.”

Burnout?

Freedom

However, this non-stop push and pursuit of the musical Holy Grail has also taken its physical toll on the Glasgow rockers, because, just recently, TA were forced to pull out of a huge tour with The Used, due to vocalist/guitarist Sam McTrusty’s bout with muscle tension dysphonia. “It’s not easy - but, at the end of the day, it’s about the bigger picture and preserving a delicate instrument in the

TA are big advocates of giving away their music for free. From their recent full-length, Free, to their latest live EP, the band isn’t shy about releasing their music for mahala (the Northern Sotho meaning, not the hipster website). Judging by this gesture, Billboard charting is probably not a major concern for them. “We’re not silly; we know we can’t

“

“THE FACT THAT PEOPLE EVEN PART MONEY FOR AN ALBUM, IN THE CURRENT FINANCIAL CLIMATE, IS AMAZING TO US…” give everything away for free all the time - but it’s nice to give people things every now and again. We don’t really want to be one of those bands that re-issue their album every six months with one extra track. We’d rather give away things like that for free. There comes a point when it’s more important to let people hear your music in a way that doesn’t rob them of money. The fact that people even part money for an album, in the current financial climate, is amazing to us,” Craig insists. This leads to the next question: have TA started thinking about the follow-up to Free? “We demoed quite a few songs at the start of the year, and Sam has written quite a few since then - and even more whilst he’s resting his voice. We’re hoping to demo some more and hopefully have a good collection all written by the end of the year, so we can record early next year. Fingers crossed.” Our conversation concludes on a humorous note, as Craig discusses which TA band member gets mistaken for another musician. “Well, Barry [McKenna, guitarist] did used to look very much like a young Keanu Reeves, when they both had long hair. He’s technically a musician, right? He was in that band Dogstar - forgotten band of the 90s,” he laughs. For more information on Twin Atlantic, please visit twinatlantic.com.

Feature | IT'S A ZOO OUT THERE! | words: Sergio Pereira

IT'S A ZOO OUT THERE! “IT'S BECOME IMPORTANT FOR US TO MAKE SURE THE INSPIRATION'S THERE IN ORDER FOR US TO CREATE SOMETHING NEW …”

nimal Collective’s compositions might make you feel like you’re spiralling in a kaleidoscope of colours or fighting evil, fanged unicorns yet, somehow, this American experimental/psychedelic group knows how to bring it all together and keep your senses tingling. Back in 2011, in preparation for their ninth studio album, the band decided to go full circle, moving back to their hometown of Baltimore, Maryland, to tackle their latest project, Centipede Hz. Founding member, Dave Portner, aka Avey Tare, explains how this literal return-to-roots inspired them. “I think [it’s] in the sense of our roots being more about us all playing together in a very relaxed situation. Though, a lot of going back to Baltimore was about us returning to a deeply rooted past - for example, practicing at Josh’s [Dibb] mom’s place. The overall sound of the record really came from us being able to work out the songs in the same place for three months, which is something we didn’t do so much of while writing our last couple [of] records.” You have to wonder if AC would’ve had a practice space in Baltimore, if Josh, aka Deakin, hadn’t rejoined the band in 2010, after taking a hiatus in 2007. Were they happy to have an old friend back in the mix? “In a certain sense, he never left. I think some people have the misconception that he wasn’t involved with us, musically, at all for some time. But the whole time, we were still working a lot together,” says Dave. “I especially worked a lot with him on my solo record, Down There - but he was also very involved in ODDSAC, and the project that we did at the Guggenheim Museum in New York City. He really just didn’t want to tour for a while, and we respected that. But definitely the idea, and the act,

of playing live with him again was really exciting and fun for us.” The period between 2009’s Merriweather Post Pavilion and Centipede Hz has been the longest stretch between albums in the band’s history. Dave explains the reason for the delay. “I guess having worked and created music for so long, it’s become important for us to make sure the inspiration’s there in order for us to create something new. For this break, it just felt right to have a little more space. A lot of that has to do with us being able to go off for awhile and do things outside of AC. It’s really important that we make time and space for this, because it’s part of the juice of AC, if you know what I mean; it keeps us going. When we were younger and living in the same place - or relatively close - it seemed like more of a challenge to keep coming up with new stuff at a fast rate. Now, we really want to take our time to progress the sound.” Yet, the more things change, the more they stay the same - particularly, in the case of producer Ben Allen, who returns to co-produce Centipede Hz. “Ben’s take on it comes from more of a traditional songwriting musical approach,” explains Dave. “Whereas we

are very focused on the sonics and environment, which he doesn’t really focus on so much. It’s good to have a person like Ben around to be able to have a different perspective on the sound; someone who can let us know what’s apparent and what’s getting lost, specifically in terms of our songs and melodies. Our music can be so dense at times; the album could have the potential to be much crazier and out of control without Ben there to rope it all in. He’s also fantastic at capturing great sounds.” In closing, Dave reveals the mood in studio to be both a serious and relaxed affair for AC. “We’ve always given ourselves a limited time in studio, and because of this we go in feeling like we have to work our hardest. But, at the same time, we love recording and this time for us is one of the only times we can all be together and hang out. There are certainly times when things get serious, or even stressful, and it’s expected – but we always hope that the atmosphere is enjoyable and pretty relaxed for all of us.” For more information on Animal Collective, please visit myanimalhome.net.

Feature | THE MARK OF THE BEAST | words: Eliza Day

THE MARK OF THE BEAST "I JUST WANTED TO BE IN A BAND THAT MADE THE KIND OF MUSIC THAT I'M INTO, THAT I ACTUALLY LISTEN TO. HEAVY ROCK 'N ROLL. IT'S AWESOME.”

ave you ever cheated on someone? Do you want to? Sure. Of course you do even if you might not admit it out loud. Waking up next to the same person every day doesn't sound like evolution and apparently, that's what our species is into; trying new things. So it's little wonder that the boys from Taxi Violence, The Plastics and Inge Beckmann of Lark fame decided to curl up together one drunken night. What happened? They made a BEAST of themselves, that's what. The band is on their first tour and this is the festival leg of things. It's Rocking The Daisies and reality bites are vegan, organic and overpriced at the fancy festival on the calendar. Not quite the same can be said for BEAST who saunter in and chat to me about this new project unabashed and without the usual nonsense. Riaan laughs when asked how it feels to be here with BEAST as they are all first timers in a way and in it together, "I feel like I'm here with my mistress!" He's referring to being on tour away from his long-standing relationship with SA beloved rock 'n rollers, Taxi Violence. While he agrees that Taxi will always be his first love after I question his loyalty,

Photo: Sean Brand

Photo: John Second he is excited about BEAST; they're having a lot of fun. Inge agrees with this statement, "I just wanted to be in a band that made the kind of music that I'm into, that I actually listen to. Heavy rock 'n roll. It's awesome." This isn't to the discredit of Lark by any means and I get the feeling that this comparison is going to become a weighty irritation for this new foursome or SA supergroup if you like. People tend to cling onto ideas and branching out and continuously mentioning the past has got to be a pain in the ass. Inge carries on by saying Lark, at the time when they started out was a representation of the times, the glitchy,

trip-hop style was in a certain fashion and what people wanted to hear. Times have changed now and the singer is at the point where she can pick and choose her style based on what she wants to get out of it and right now that's badass rock flanked with a double dose of bass. Louis, Riaan, Sasha and Inge talk about Oppikoppi, the Limpopo dust ball we had all attended earlier in the year. All the artists involved here are used to headlining on main stages across the country and yet here, at a festival familiar with each one of them, they took to the smaller stage. How did that feel? Inge explains how it was really great to be on that level, to feel like something fresh was happening. The others nod in agreement and light up cigarettes as she relates the energy they all felt and how the crowd responded to what they were doing. Sasha, moonlighting in amicable fashion from The Plastics, likes the feeling of separation, of the newness and once again that tone of evolution and growth. “It’s important as an artist to keep things from getting stale and challenging yourself and the audience. It’s a revelation.” “And the dragon stood on the shore of the sea. And I saw a beast coming out of the sea. He had ten horns and seven heads, with ten crowns on his horns, and on each head a blasphemous name.” - Revelations 13.1 Follow them. They are important to SA Music - facebook.com/beastband

jezebel's VPL | ZOLANI OF FRESHLYGROUND: THE INDEPENDENT DECADE | words: © jezebel | image: Belia Oh Photography www.facebook.com/beliaohphotography

ZOLANI OF FRESHLYGROUND:

THE INDEPENDENT DECADE

eet Zolani Mahola, lyricist, vocalist and face of Freshlyground. On stage she is expressive and invective, channelling emotion into an ocean of souls through a voice buoyant with love; in person, she is honest, gentle, jovial and humble. In a word, magical. Jezebel: I want to talk about legacy. You must have gained some perspective by now. It’s been… how many years? Zolani: This is the eleventh year that I’ve been in Freshlyground. I guess one of the biggest eye-openers has come quite late for us as a band. We have always handled a lot of our business ourselves but we’ve always had a record company, and this year we’ve gone completely independent. Everything? Everything. That’s brilliant. It’s brilliant, but it’s flipping scary. You’ve built the brand for long enough, you’ve created gravity around what it is you represent. I think it’s good timing; South Africa was on the map in 2010 for the World Cup, and will be on the map in 2014 when Cape Town holds the World Design Capital title – but my sense of South African music industry is that bands don’t know what they have, don’t know how to market it and don’t know where they’re going. You didn’t know either, back in the day… We didn’t know, when we started; we were very lucky in that we had a guy in the band who had a head for it, for the business side of it – Simon [Atwell: Flute, Mbira, Harmonica; general air of seriousness]. For a long time he was playing in the band and managing the band, basically, and making sure that we were taken care of on all legal and business fronts. But not everybody has that. I would be stuffed, if it was just me, in a solo career, relying solely on one of these big record companies. I

wouldn’t have much hope for myself. Actually. It’s not easy. I interact with solo musicians often and it seems sustainable music careers grow slowly, even if daddy is paying for it at first. I think it’s not only about understanding your market but understanding what it is that you offer – what is unique. It takes musicians sometimes ten years to - to find that thing. Yeah, to realise why people are coming to their shows and then to share that more strongly and more confidently; to own it. Whereas you guys filled a gap from the start, a need that was both emotional and sonic. We had an amazing tour around South Africa last year. We did it concurrently; first we did a township tour sponsored by Nedbank and then we did a ten-year celebration tour. We got such a shock to see who our audience was. We’d always known that ‘everybody’ was our audience –like, ages and races and stuff – but ninety to ninety five percent of our audience were black, women… So it has changed? I don’t know if it has changed. Who did you used to see at your shows six years ago? The shows of yours I’ve been to, the audience certainly has changed. Then again I

was in venues where white, middle class etc. would be the norm. I guess the audience has changed because things have changed in South Africa so rapidly. Even in these six years, just in terms of holding money in their hands, more people are doing that. That’s encouraging! It IS. It’s great. It was interesting to see that it was so extreme. I suppose in a way it’s proportionate to the numbers in the country. But also, where were you? Rural? We were in big centres; it was a major tour. Magical. Sounds like FreshlyGround has found its feet as a self-actualising act. Take a feather out of the hat of a contemporary South African band that always operates with head and heart intact : if you want the world, or even the town you gig in, endeavour, explore, discover, develop! Or, as Zolani uncannily decodes jezebel’s VPL : be“very, very professional”. Their new album, Take Me To The Dance, is available on shelves and online now. www.shop.freshlyground.com and www.facebook.com/freshlygroundsa.

Artist Q ‘n A | THE MUFFINZ: ALL THE RIGHT INGREDIENTS | words: Nathan Kabingesi | photos: The Famous Frouws

“If we had to relate to any other groups it would be guys like The Brother Moves On, Newton’s 2nd Law, Samthing Soweto, The Fridge and Love Glori.”

THE MUFFINZ ALL THE RIGHT INGREDIENTS

he Muffinz formed in 2010 and after a memorable performance in a competition at Cool Runnings in Melville, [legend has it one of the judges was brought to tears] the die was cast; they knew they were onto something. Naturally they went on to win the competition. A Sunday residency in Melville ensued, which helped them build a loyal fan base and the word began to spread. So what do you get when you mix five talented 20-somethings, years of choral vocal training and a deep passion for all things soulful, throw in a drum kit, a couple of guitars and a pinch of luck? The Muffinz. Don’t think the recipe could possibly have been that simple? Neither did Nathan Kabingesi, which is why he dropped in on the band’s practice to answer the question that seems to be on everyone and their grandmother’s lips, “Have you heard?” Fifteen minutes after stepping out of

the sweltering midday heat and into a perfectly air conditioned Yamaha rehearsal studio, it’s with no small amount of incredulity that I open the interview with… So you mean to tell me you’re all selftaught guitarists? (frontman) Atomza: Yes, all self-taught. Actually, the first time I ever saw someone play the guitar live, in front of me, was when I met Mthae. What was all that business about 4’s and 7’s and major 6’s? What happened to chords? Simz (lead electric guitar): [laughing] That’s an annotation system we picked up in the church that’s sort of a substitute for chords. Atomza: Yeah, it’s sort of like a breakdown of Do-Re-Mi by numbers. When I’m talking to Mthae and Simz, I can make reference to chords, but Skabz (bass) and Keke (drums) learned to pick up changes by numbers, so if I tell Skabz we’re starting at 3, he knows exactly what I

mean and we’re good to go. Simz: It’s just another case of learning from each other, you know? How do you characterise the Muffinz sound? Atomza: Eclectic Soul Trip. Let’s talk about Soundcheck; what’s going on there? Keke (lead vocals on the track): There aren’t any lyrics to that track, it’s just me scatting. But it’s fantastic that people connect so strongly to it, even though it doesn’t technically mean anything. Mthae (acoustic guitar), Simz and Atomza: There’s actually a really funny story to that one. I think we were playing at Thornfest (festival), and we didn’t have a song for soundcheck, and at the time we only had four or five songs in our repertoire, and we couldn’t very well play one of them right then. So we kind of made up Soundcheck right there. Later we were like, “Hey, we can make this work…”

But some of your other songs, The River and Khumbul’Ekhaya for instance, are very powerful. Are they at all biographical? Atomza: Yeah man that track basically tells the story of all of us. There were a lot of sacrifices made in the last year you know, by all of us, and that song basically tells the story, of about how we’d do it over again. “Without self-pity?” Atomza: Exactly. Mthae: I’m from Zim, right, moved out here about 12 years ago, and Khumbul’Ekhaya is basically ‘bout missing, if not exactly the place of home, then the feeling of home, like at Christmas, having all your cousins around, you know? It’s about that longing. What’s your approach to song writing? Atomza: That’s the thing about us, we all come from different backgrounds musically; some gospel, some pop, acapella and even East African influences, and that all comes out in our music. That’s pretty much the idea behind our name too; bringing together all these different ingredients and making it work. Simz: And we’re all song writers, so someone will come to practice with an idea or a melody in their head, play it out on the guitar and we’ll go ahead and build a song around that. Mthae, Atomza: We try to put as much as we can into a song too, so you’ll hear a bunch of changes, where we could have made two or three different songs. We’re also not trying to get bored playing

simple arrangements night after night. Why Just Music? [the band's record label] Atomza, Simz, Keke, and Skabz: We were just finishing up our residency at The Loft and Therese Owen [seasoned music journalist] came up to us saying she wanted to get us in touch with the label. The Muffinz are an official Yamaha endorsee We’d had guys approach us from the majors before Why do you think your sound translates so we weren’t exactly fazed, plus we had so well? a very good idea of how the industry Mthae, Skabz, Keke, Simz and Atomza: works and didn’t want to rush into Music has got a very strong social aspect anything. We actually had a rule: No to it; it’s not just about chord business at night. After a couple of progressions and arrangement, it’s also months we eventually met with guys in about the social context that you’re in. this tiny, two by four metre office to talk. When you write music that’s sincere, try They just gave us the best deal we could to put part of yourself into it, people will have hoped for; we kept the rights to our pick up on that, sort of like it were your masters and have creative freedom. But musical personality, and I guess that’s we didn’t sign right away though why people are being drawn into what [laughing], we didn’t wanna come across we do. too eager you know? Do you guys get a lot of comparison with the Layders? Atomza, Simz, Keke, Mthae and Skabz: Funny enough, never. We get more comparisons with The Soil, maybe because they’re more on that House end of the scene, but no. We’re actually really good friends with the guys. If we had to relate to any other groups it would be guys like The Brother Moves On, Newton’s 2nd Law, Samthing Soweto, The Fridge and Love Glori.

What’s next? Touring and promoting the album; we’ve just released a deluxe edition with live footage, our full EPK and other special extra features. And beyond that? Mthae, Atomza: We want to leave an impression, the way Stimela did. Spread our sound, maintaining underground quality with commercial, first the rest of Africa, then the world! justmusic.co.za/artists/the-muffinz

Legends of SA Music | WILD YOUTH | words: Mickdotcom

WILD YOUTH

”WE WERE DRUNK ON WHISKY AND I KICKED OVER A MIC STAND. THE SOUND CREW JUMPED ON STAGE TO DEAL WITH ME AND THIS LED TO A RIOT. MARK WAS SO DRUNK HE FELL BACKWARDS OFF THE DRUM STOOL...”

unk was alive and stomping in SA for around a decade, ‘tween the late Nineties and 00’s, via the likes of Hog Hoggidy Hog and Fuzigish. But these bands were influenced more by the Ska-infused forms of American Punk and Punk-Rock that had taken over once the minimalist anarchy of British Punk had thrashed itself out of existence. For a brief spell though - a single, chaotic season - a Durban band mainlined proper Punk into 70’s RSA. Their name was Wild Youth. And so were they. Some snippets from the memory banks: “We played the show to 500 people. It was chaos. We were drunk on whisky and I kicked over a mic stand. The sound crew jumped on stage to deal with me and this led to a riot. Mark was so drunk he fell backwards off the drum stool, destroying the Rancid Dwarf banner in the process. The music was basic to say the least, but we had made an impact.”/ “It was cool to walk around town and see our name up everywhere, often in bright fluorescent blue or orange colours. We soon started getting noticed, by fans, the press and the police.”/ “Afterwards people were selling bits of my guitar outside the venue.”

Breaking boredom into song. Like most Rock and Punk outfits, Wild Youth was inspired by a handful of things: Disillusionment with the world fashioned by stuck-up adults; subsequently exasperated boredom; hormones; and the kick of inspiration. For soon-to-be Wild Youth, it all flailed into place following a brief trip to the UK by founders Michael Fleck and Mark Dyson. Recalls Michael: “We were only in London for two weeks in December 1977, but I saw a lot that opened my eyes, including the Clash at the Rainbow which was the gig when the audience rioted. It was insane: dangerous, scary, but very exciting. I also went to the Seditionaries shop, which was like going into a different world – Eerie, otherworldly, edgy, blasphemous, political and sexy. Inside was complete darkness, with UV lighting reflecting on fluorescent clothing with images of anarchy, sex and deviation. Vivienne Westwood was in the shop, her hair, teeth and clothing glowing in the UV like a bizarre glam witch.”

When Fleck returned, his vision for what would become Wild Youth was cemented. Drummer Ruben Rose was taken on, and mild-mannered karate practitioner Andrew Peinke took up bass duties. Wild Youth’s energetic, unpredictable gigs were soon winning over audiences who’d never before experienced the particularly cacophonic assault that was Punk. “I’m not sure whether the audience wanted to hate us [at our Majestic Cinema gig] or whether they felt it was the punk thing to do, but they bombarded us with fruit and vegetables from the second that we went on stage. But we carried on playing seemingly oblivious to it all, and the atmosphere changed and they got into it. The room had the electricity of someone like Gene Vincent playing in the rock ‘n roll days, totally wild. Afterwards we jumped into the van and split quick, people everywhere. It was like a scene from Hard Day’s Night, total bedlam. The next time we played there the response was incredible. We were treated like rock stars.” Soon the band was on a roll. Their management started “an intensive media blitz”, and organized a nationwide tour. “In spring 1979 we were approached by [now radio DJ and music guru] Benjy Mudie of WEA Records, to contribute 2 songs to a compilation of local new wave music. The record was to be called Six of The Best. Wot About Me was released

towards the end of 1979. It was the first SA punk single.” The sheer energy of their recordings still resonates today. Editor Dave Mac on first hearing the newly released retrospective ‘A Leopard Never Changes Her Spots’ this year: “My first thoughts on Wild Youth were ‘wow, this band sounds so authentically 70’s punk.’ They were a band that never crossed my radar in my youth, although I surely would have been a fan if they had. As relevant a sound today as it was back then.” Sadly, the band fell apart in 1980, having burnt perhaps too bright too fast. Thanks to Fresh music’s 22-track anthology, the flames, at least, remain. Salute. To find the album, check out Fresh Music’s website. www.freshmusic.co.za

Feature | MAY THE FORCE BE WITH YOU | words: Sergio Pereira

“THE FORMULA FOR FORCE LIES WITHIN MUSIC …”

MAY THE FORCE BE WITH YOU

ewton’s 2nd Law states that the rate of change in momentum is proportional to the imposed force and goes in the direction of the force. In variable terms: F=ma (force equals mass x acceleration). Applying this to the Gauteng-based hybrid-genre band with the same name, the solution, according to them, is: “the formula for force lies within music.” Bet you didn’t think of that one, Sir Isaac Newton?

Fact of Life Judging by the success of their debut single, Fact of Life, which lit up the local Top 40 charts and garnered over 12,000 YouTube hits since its release, the only direction that Newton’s 2nd Law are pushing towards is the top of the pack. Nevertheless, one has to question the decision to release the single way back in February, since their debut album, N2L, was only released in September. Was it wise to release it so early, while the album was still months away? Because it did leave the audience wanting more, and they had to wait seven months, which is a lifetime in the music industry, for it. “Well, seeing as we are new to the industry, we really went with the flow [and] with what the senior manager of Sony said - he came up with the idea [to release it]. We wouldn’t know if it is a good idea or not, since we are new to the scene,” replies vocalist John Mani, rather diplomatically.

N2L Ultimately, whether it was a smart move or not will be reflected in the overall album sales, but one thing is for sure: Fact of Life set an extremely high bar for the ten-track N2L. With the listener expectation exceptionally high, the band must’ve worried if the album was going to live up to the initial hype. “Like you said, the song was a hit, and people will expect to have [more] hits on the CD - at least seven of the ten tracks,” John declares. “So, yeah, it was quite hard keeping up with the Fact of Life; it is a good song.” Acclaimed local producer Neal Snyman [Mango Groove, Springbok Nude Girls, Van Coke Kartel, Perez] handled the recording and production duties for N2L, whilst the bulk of the material for the album was written by John and guitarist Eddie Neethling. John elaborates on the strong songwriting connection that exists between him and Eddie. “With me and Eddie, it is just natural; we are natural lyricists. [In terms of the band], we all write songs together, but obviously [when it comes to melody and lyrics] it is me and Eddie.”

The Local Music Industry Since signing a record deal with Sony Music Africa, Newton’s 2nd Law have been thrust further into the spotlight and presented with the opportunity to focus on developing their career more than before. Being actively involved in the local music industry now, John explains the biggest reality he has had to come to terms with.

“You need to be patient; you have no choice - no matter how good you are.” Speaking of good bands... In Johannesburg at the moment, there are three groups on the scene with names that might confuse their listeners: Newtown Knife Gang, Newtown and, obviously, Newton’s Second Law. I have to ask John if his band has ever been confused with NKG, especially. “Not that I recall. I don’t think so. Never. But a guy has made the mistake of calling us Newtown’s Second Law, instead of Newton’s,” John laughs.

Taking Over in 2013 With an album on the shelves, two singles on the radio, and a music video on high rotation, the plan for the next year should be Newton’s Second Law focusing on the road and touring correct? “Definitely, definitely,” John confirms. “That’s the whole idea. We have a new agent now - and she’s very good. So, yeah, that’s what we’re working on now.” Undoubtedly, if the band continues to build on the hot streak of 2012 and carries over the momentum into 2013, Newton’s 2nd Law will certainly be a force to be reckoned with in the local industry. May the force be with you, John and company. For more information on Newton’s 2nd Law, please visit www.facebook.com/Newtons2ndLaw.

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

Inside the MACHINE AC/DC TURNS 40: BAND CELEBRATES WITH FIRST RELEASE IN 20 YEARS

he headline reads like a parody. The reality only adds to the humour: AC/DC Live At River Plate is actually the legendary hard rock band’s first LIVE album in 20 years. Who could forget Black Ice? Although it’s hard to believe that their last studio album was released 4 years ago, back in 2008. How the time flies. Live At River Plate is a collection of 19-tracks that was first released last year on DVD and debuted at #1 in 17 countries and cemented the fact that fans never seem to get enough of the hard rockers. Clips of Thunderstruck and Shoot To Thrill from AC/DC Live at River Plate have garnered 14 million and 22 million views respectively on YouTube. To date AC/DC’s videos have over 72 million views online, with an average 600,000 views per week. This live recording chronicles one of the largest shows from their massively successful Black Ice World Tour (where they performed to over 5 million fans in 108 cities in over 28 countries). Amazing that with such a vast tour, South Africa totally missed out. The 19 tracks on Live At River Plate span AC/DC’s extensive repertoire, including old and new classics like Back In Black, Thunderstruck, You Shook Me

THE BREATHE SUNSHINE AFRICA MUSIC CONFERENCE CAPE TOWN – 1 & 2 APRIL 2013 “Pioneering and growing the African music industry” The inaugural Breathe Sunshine Africa Music Conference aims to encourage networking and the sharing of information between all involved in the African music industry. The

All Night Long and Rock N Roll Train. The album will be available as a special 3 disc red vinyl package as well as a special 2-CD package featuring multiple covers and a comprehensive 24-page booklet. It was recorded in Buenos Aires in 2009 when 200 000 fans, over 3 sold-out nights, welcomed the Aussie rockers back after a 13-year absence. Statistically speaking, the betting odds of a new AC/DC album are not that great although next year is their 40th anniversary so who knows. The live album recalls the best moments from all their past favourites. The songs are as familiar as the back of your hands. To quote Michael Gallucci’s review (find it on: Ultimate) who said it best: “you know what you are getting with Live at River Plate, which makes it as disposable as it is dependable.” Excerpts from their 2011 interview

in the Sunday Sun about the Buenos Aires shows... Brian Johnson on the Black ice Tour: “[It was] Fast. Just whoosh. It didn’t seem like it in the middle, then all of a sudden we were saying goodbye on the tarmac. I was in shock for over two weeks. I was just sitting around back home, twiddling about with the wife looking at us, going, ‘Will you get off your arse and do something?’” Angus Young: “Some shows, you can feel a buzz before you even come out. It’s almost like you don’t have to be there. They’re already having fun. And you can’t hype an audience. It never works.” If you’re still reading, it probably means you’ll love them forever. And no, they couldn’t have done it better in twice the lifetime. It’s been a long way to the top indeed.” For more: acdc.com

conference aims to attract a diverse audience from the local community, national visitors, other African countries as well as European and American delegates who are working with African music in their respective territories. The event will take place over two days and the format includes workshops, panel discussions, presentations and an exhibition hall. Muse Magazine is proud to be a media partner in this event. www.breathsunshinemusicconference.com

27 THE WOLMER NEW YEARS PARTY

RAMFEST 2013

‘With a capital “P”’

After raising the bar this year, and seeing others raise it a little more, The Real Alternative Music Festival has a lot to live up to in 2013. It’s time we review the checklist: 1. Still the only festival taking the fun on tour across 5 major cities in SA? Check. 2. Have they once again answered with complete confidence that yearly question they inspired: “man! I wonder who RAMfest is bringing down next?” Check. Flying in are Rise Against, Pendulum who are performing a DJ set with Verse, Bring Me The Horizon (confirmed after several nasty rumours), and As I Lay Dying. 3. Lastly, have they once more inspired and intimidated conservative mothers and their guilt-free children, with ominous fear, through unforgiving liberated art that features an animal playing the role of rock mascot and prophet foretelling of the forthcoming experience? Check! For more: ramfest.co.za

Wolmer Bush Lounge in Akasia, Pretoria is hosting a NYE Festival. Ticket prices are very reasonable: R 80 or R 150 with camping. The lineup includes; Cover Up Band, The Dying Breed, Juggernaught and headliners, FUZIGISH. Other fest features include: Jumping Castles, Waterslides, giveaways, specials, FREE Champagne at Midnight and SO MUCH MORE! Delicious African cuisine, full stocked bar and many different stalls to browse and enjoy. Bring your own cooler box for R 70 per cooler box. For more: facebook.com/WolmerBushLounge

ROCK THE RIVER: ANTICIPATING ANOTHER SELL-OUT SUCCESS The fans have been suspecting it for a while now, but only recently did they claim it (albeit modestly) with growing confidence: “RTR is fast becoming CT’s premier New Year’s destination, and with good reason - the festival provides a crazy entertainment line-up at a convenient location close to the city, and for a reasonable price.” This year takes place from 28 Dec to 1 Jan @ Savannah Farm (Windmeul Road, Perdeweg), just 30 minutes from CT. There will be 3 stages, each dubbed according to function: Main, Metal and Electronic. For more: rocktheriversa.co.za

UP THE CREEK: OFFICIAL DETAILS Red Hot Events have confirmed: “Creekers, we have finalised the line-up for 2013, it’s going to be one big rocking river party! In typical Creek tradition, we will be running live music on 3 stages throughout the weekend: 4th Street Main Stage; The MK River stage; and the all-night-long Rolling Stone stage. But remember, only 1 at a time, so don’t miss out on your favourite acts.” Tickets start @ R450. Kids under 13 get in free. To purchase: ticketbreak.co.za For more: upthecreek.co.za

BIG BLUE MUSIC FESTIVAL: BIGGER, BUT LINE-UP REMAINS A MYSTERY The 2 year old event recently found its new home: the Kleinmond Harbour, measuring at 1050 square metres for shade, safe parking, a buddy bus to get you home, a kiddies club, art stalls and a line-up that remains a closely guarded secret... nevertheless, organisers promise something unique and exciting. Bear in mind, the event is now owned and coordinated by the HangklipKleinmond Tourism Bureau after a recent

WIN A MUSE - 2ND LAW HAMPER Just in time for the festive season you can win a fantastic hamper, compliments of Warner-Gallo Music.

Simply go to

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signing with coastal officials, who made the little festival a must-see on the Blues Calendar. And putting money to mouth, they’ve made the best of the breathtaking seaside view on offer - the layout has changed and the venue softened. As of going to print, the organisers claimed online: “Selecting the final lineup for 2 days of mind blowing blues, is the hardest part. Thank you to all artists and bands that submitted their applications. Times will be available soon as the line-up has been confirmed.” Tickets start @ R100. For more: bigblues.co.za

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

ALBUMS, EP’s, SINGLES & VIDEOS DIE HEUWELS FANTASTIES - another month and more from the ‘lectroAfrikaans-rockers. They’ve just released their 3rd offering: Alleswat Mal Is. Get it at all fine music stores, or Download it here: suprashop.co.za

Die Heuwels Fantasties Photo: Manfred Werner

JACK PAROW will be attempting to sneak into Christmas stockings with a special edition of Eksie Ou. It boasts six new tracks, a gevaarlike drinking game (try it with your mother’s eggnog), and a 12-page comic book. Dubbed a collector’s edition, it will be available at all good music stores where Santa gets his goodies. For more: jackparow.com/music.html

Jack Parow

DESMOND AND THE “MERRY” TUTUS - 2012 saw the 4 crazy indie-pop rebels officially become a real band: they signed to a major label, released an album, did the interview, and got [mostly] enthusiastic reviews. And now they’re cashing in with a Christmas Hamper featuring all their EP’s, albums, rough recordings and an Xmas card - all for only 280 fan-loving Rands. Order by email: hi@desmondandthetutus.co.za

Luna Paige Photo: Hannie du Plessis

Photo: Manfred Werner

aKING, are also cashing in their Christmas chips with a special edition of The Red Blooded Years, the decision follows a successful run of the original. Fans can expect some added goodies too. For more check aKING FB page.

LUCY KRUGER might have been around for 6 years, but she’s SA’s newest bittersweet sweetheart. Her debut Cut Those Strings (produced by heavy-weight Schalk Joubert) launched earlier this year, and now there’s a video - find it on YouTube. For more: lucykruger.com

MiNNAAR - is the name of celebrated PTA photographer, and Fokof favourite, Louis Minnaar’s electronic musical collaboration with sister Magdalene (and possibly a sonic insight into what happens to your mind after documenting many SA rock bands). First EP Volcano is available now. Get it free: minnaar.net WOLFTOWN (after many successful attempts as The Ragdolls, and one EP), the female fronted CT hard-rock 3-piece, has a new single with a video for your intimate pleasure. Enjoy. This one took great time and effort. Find it on YouTube. For more: wolftown.co.za RED TAPE RIOT - CT’s indie dancing 4piece has only been around for a year, but it doesn’t show on their CV. They’re quite the ambitious bunch, having released a single in August (Love Is A Feeling), and just made their first video. See it: redtaperiot.co.za/video

LUNA PAIGE often plays the role of the deserving underdog. It might be all her good deeds, or the lack of showiness and sex, nonetheless she’s SA’s female vegetarian option: different and wholesome. She’s just released a DVD/CD titled Storielied (or Story Song) - a combination of Afrikaans literature and music. To paraphrase the press release, the lyrics might be Afrikaans, but the music speaks a universal language. For more: www.lunapaige.com

Lucy Kruger Photo: Francois Visser

BITTEREINDER - after two years, the PTA rappers finally have something to really show for it with a sophomoric release: DIE DINKDANSMASJIEN (Think Dance Machine). According to them, it ‘sparkles’ a host of collaborators and next level production. Expect 10 tracks featuring what you least expect. For more: bittereinder.com

GENTLEMEN CALLERS - the name might be have Gay connotations, but a cover of Stooges’ I Wanna Be Your Dog is all you need to know from this Grahamstown 4-piece. Interestingly, their mission is to be against the goodtime frivolities of rock (and no, they’re not Straight-Edge). An EP is in the works. For more: fb.com/gentlemencallershc FOKOFPOLISIEKAR LET THE GOOD TIMES ROLL TOUR Details have been confirmed. And if you don’t know, it’s all an early effort to celebrate their ten year anniversary next year. Hiers tot die toekoms ouens. Cheers.

Classic Albums | HOUNDS OF LOVE | words: Mickdotcom

HOUNDS OF LOVE FOREST OF A THOUSAND TONGUES KATE BUSH AND THE KICK INSIDE.

hen Catherine Bush was thirteen years old she was already versed in the language of piano, and in the old pump organ kept in the shed of the family’s sprawling, East Wickham farm. She had already authored dozens of songs, some of which – including hit ‘The Man with the Child in his eyes’– would appear on her debut album six years later. Intrinsically English, Kate Bush’s highly romantic musical world was rooted in the older British Isles which still hummed with legend and lore - whose fields and forests were still home to mysterious creatures of neighboring Gaelic and Celtic descent. Worlds whose secrets were magickal, rather than magical.

Of Royal line come. Kate’s journey into the world of Pop music was more than a little charmed. She was born into a musical family - her dad was a doctor who was also a talented pianist, and all of her siblings became musicians. Much of the material for her first albums was conceived in the rambling idyll of the Bush farmstead. Discovered at age sixteen by Pink Floyd guitarist David Gilmour, who subsequently championed her - even producing her first professional demos by nineteen she was topping the British charts with the delicious histrionics of Wuthering Heights. Bush’s first album, The Kick Inside, was an auspicious debut. Her already sophisticated musicality and gymnastic vocals aside, its songs referenced literature, philosophy, and more obscure fields, and wasn’t shy of courting the dark and outré - the title track tells the story of an incest-sprung pregnancy by way of the sister’s romantic suicide note. Bush was also unabashedly sensual, but rendered sex and sexuality elegantly - poetically - compared to the coy vulgarity of most Pop and Rock trends. Her infectious celebration of feminine self was manifest in the gloriously unchecked twists and leaps of her shining vox.

More so than any female artist before her, even Patti Smith, Bush was a potently independent artist. Still a teenager when The Kick Inside was released, she stood her ground against her record label, EMI, insisting that the idiosyncratic Wuthering Heights be the lead single, rather than their pick - the more Rock oriented, accessible, James and The Cold Gun. By the release of her third album, Bush had asserted near total control of her music. By 1985, with the release of masterpiece Hounds of Love, she controlled every aspect of recording; operating from her stable-turned-cutting edge-studio. Bush’s unflinching independence would inspire a legion of subsequent female artists, perhaps even more so than her brilliant musical flair. The likes of Tori Amos, Aimee Mann, Florence & The Machine and Joanna Newsom seem unthinkable without her precedence.

Beneath the shimmering surfaces. That Bush’s 5th LP, Hounds of Love, following on a string of commercial hits from previous albums, would be her

highest charter yet, is testament to her uncanny gift for marrying commercial success with eccentric originality. If one takes into account that the second half of the record is essentially a Prog-Rock concept album about a woman drowning – now humming, now booming with technological experimentalism and Jazz undercurrents - its success beggars belief. The single (and four of the first five songs on Hounds of Love would become highcharting singles) Cloudbusting even knocked Madonna’s Like a Virgin off the number one slot in the charts. As a whole, Hounds of Love is a strange creature: It was sonically sculpted to have two halves. The first consists of ‘The Pop World According to Kate Bush’ – a sonically delightful space which houses Running Up That Hill and Cloudbusting. Its second half is more demanding: An aural suite exploring the hallucinatory experiences of a drowning woman, it flows and ebbs, never becoming prosaic. The Ninth Wave suite contains in its depths even more layered beauty than is to be found in the glinting genius of songs that precede it. A phenomenon of an album.

Eruption | IT'S A METAL THING! | words: Paul Blom

IT'S A METAL THING! “Our philosophy has always been to attack everything we deem to be wrong and say it straight.”

n a country of sociopolitical opposites, factions and general cross-culture pig-headedness, ING is one Metal band that took the leap to thumb its nose at political correctness, saying it like they see it. With controversial songs hurling Molotov cocktails at everyone from China to Julius Malema, they are no strangers to controversy. We fired some questions off at founder & frontman Bryan Villain to find out what makes their timebomb tick within the South African Metal community. How would you sum up the ING philosophy in one sentence? “Don't discriminate in your hate!!” What is wrong with Metal today and how does ING plan to fix it? “Internationally I would say Metal is on the up and up. After seeing the support at Graspop (Belgium) by a well spanned age group, gobbling up merchandise, one can see the growth. However locally it seems to be a different story. People are not willing to go see 3 or 4 international standard local bands on a bill for anything more than R30. That renders making some sort of living out of it impossible unless you have a serious trust fund...” And it is interesting how some don’t flinch to pay hundreds to see a single international band perform on our shores… “Unfortunately ING cannot change that mindset alone other than being willing patrons at a higher entrance fee at local gigs, which we are more prepared to do. Another issue is that I find other bands’ members less eager to go see fellow Metal bands when their own band is not

on the bill… As a bunch of old guys, we do try our level best to go see as many bands as we possibly can, even if it's just one of us. At least this helps build some sort of brotherhood. So our challenge to other bands is to make an appearance, or at the very least have a representative of your band at other people's gigs.“ How many other bands make the effort? “I know that Sindulgence and The Impalement Theory try their best in this regard and they really deserve big kudos for it. We just really want to build a scene where there are no longer disappointing attendances, that bands help each other out to build the scene whether it be attending, reposting or mentioning. Every little bit helps.” And Eruption tries to do its part! People tend to forget that Metal music is also a part of the country’s culture (albeit largely a sub-culture). Do you feel bands in SA have to play Metal for the love of it, or is there a chance of a larger

community growing to sustain both hardworking and trend following bands alike? “South Africa has too wide a split in cultures and the government tries its best to segregate it even further. Only few dare step over to a Metal culture in the fear of being ostracized or labeled by their peers and family. If the cultural divide can be bridged, we have the potential for a real market in this country. Botswana is a shining example of this. However with our government's lust for power to enrich themselves, they will do anything to maintain that divide for votes. If nothing changes I fear the genre will slowly die as more people leave the country. We do however remain optimistic that a new culture is created in which no boundaries exist. For now it will have to be for the love of Metal.” Instead of me telling people what they can expect from the new ING album Ingquisition, what say you? “It’s exactly what you’d expect from us if you know our music. It’s political, fast and in your face. Our philosophy has always been to attack everything we deem to be wrong and say it straight. This country is being butchered and run by criminals. The people who realize this leave, and those who can’t, stay and quietly wait for the shit to hit the fan. The album is our modest attempt at creating awareness about what’s going on in this country and to do it the only way we know how… with a violent militant lyrical fist wrapped in a Thrash Metal chain! To dig deeper into the ING psyche and get the new album, head to www.ingtheband.com

33 FRESH MAGMA (New acts to look out for) Formed in 2011, BLOODBEAST may be a new band in the general sense of the word, but the members comprising this Death Metal outfit hail from established Gauteng bands like ARCHITECTURE OF AGGRESSION, BILE OF MAN and FUCK THE CORPSES. Consisting of Van666 (lead guitar / vocals), Werner Labuschagne (drums), Andre Diamond (guitar / vocals), and Choroz Bileous (bass), the band’s modus operandi is to mash the listener’s face with liberal doses of old-school Death / Thrash / Grind. Check them out and get their debut album Bloodlust at www.bloodbeast.co.za

AFTERSHOCKS In this issue there are some real Metal shockers, here and abroad. Some crazy news from one of the world’s most consistent and respected Metal bands, SLAYER. For those who haven’t heard, over a year ago guitarist Jeff Hanneman was inflicted by the flesh eating disease necrotizing fasciitis (believed to be due to a spider bite). Sounding like an ideal visceral theme of a Metal song, it was so serious that they feared his arm might need to be amputated! He was placed in a medically induced coma for surgery. His slow recovery resulted in Exodus guitarist Gary Holt filling in for him at live shows. This hasn’t stopped work on their new album, and Hannemann joined the band on stage at the Big Four tour for a few encore songs. Several gaps had been left in the Hard music realm by the Grim Reaper this year. SUICIDE SILENCE vocalist Mitch Lucker died in a motorcycle accident on Halloween night in Huntington Beach. It is not clear if alcohol was involved. Other rock musicians who won’t see 2013 (unless the doomsday interpretations of the Mayans are accurate, leaving few of us with that privilege): Black Metal band URGEHAL’s frontman Trondr Nefas died of unknown causes in a forest cabin; SONS OF AZRAEL’s vocalist Joe Siracuse passed away (last year the band’s guitarist Tony

As I Lay Dying

Lorenzo was shot in the back and paralyzed); Ill health took drummer Marc McConnell who played for Sebastian Bach (SKID ROW); Finland’s LORDI lost their drummer Tonmi Lillman; Crohn’s disease took RIOT guitarist Mark Reale; Some people who didn’t make it due to post-surgical complications include guitarist Steeve Hurdle from GORGUTS, and Vance Bockis, PENTAGRAM & OBSESSED bassist; Eric Cook, guitarist for LETHAL died of cancer; DICTATORS drummer Ritchie Teeter and Jim Marshall of legendary Marshall amps also didn’t make it; plus of course some Metal foundation layers: DEEP PURPLE’s keyboard player Jon Lord, HAWKWIND’s bassist John Harrison (before Motorhead’s Lemmy joined), MC5 bassist Michael Davis, IRON BUTTERFLY guitarist Larry Reinhardt, and DIAMOND HEAD drummer Robbie France. Sadly there are more, but we don’t have space to mention all… Before LINKIN PARK’s Cape Town

show, a weather-related accident outside the stadium resulted in one death and 19 injuries when branding scaffolding collapsed in the high winds. A probe into the accident is ongoing. In August LAMB OF GOD vocalist Randy Blythe was released after 5 weeks in a Czech prison. Blythe was arrested for manslaughter in the Czech Republic late-June for an on-stage scuffle with a fan in mid-2010, which allegedly later resulted in

Jeff Hanneman - Slayer

the fan’s death. All are awaiting news on a trial.

AND ON A LIGHTER NOTE: Thrash legends MEGADETH started producing their latest album, after frontman Dave Mustaine came out of his back surgery with no problems. His vocal cord issue is also under control. In addition to METAL4AFRICA’s Monster stage at RAMfest with a host of local acts set to singe your eyebrows, international Metal / HardCore / PunkRock bands headlining the festival will include AS I LAY DYING, BRING ME THE HORIZON and RISE AGAINST. A new MACHINE HEAD live album hit shelves in November, and next year KISS (the rock band that re-invented the live album concept) will celebrate their 40th year!

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 AS I LAY DYING Awakened Some may only have caught wind of As I Lay Dying in recent years (and maybe even months, due to their appearance at the upcoming 2013 RAMfest), but this band is about to enter their second decade. Awakened is their 6th album, and they deliver a disc of pure Metal. With speed in high supply, from well-placed blast beats and ferocious bass drums, to motion-blurring lightning riffs, the band does allow for some groove-scope, and crunches out both traditional and modern Metal sounds. When it comes to vocals, the predominantly heavy delivery’s clean alternated pieces are sparse, but also get performed with power and not as singalong ditties. Interestingly they opted to work with (predominantly Punk-Rock) producer Bill Stevenson on this record, which allowed the band to expand their scope and not get entrenched in Metal expectations. I wouldn’t be surprised if more bands try this after hearing the results. Basically, the album is pretty damn fierce (and I definitely don’t mean in a fashion runway / drag-queen sort of way!).

P.O.D. Murdered Love In the early Nu-Metal genesis, P.O.D. (Payable On Death) made a big splash entering the new millennium, their third release The Fundamental Elements of Southtown really pushing them into the spotlight of rising acts within this vibrant new genre. Their fourth album Satellite spawned stand-out tracks like the memorable Grammy nominated Alive and Youth Of The Nation. But since that 2001 release, (while active) I haven’t really noticed them until this brand new 8th offering. Their style is still intact and continues their passion explosion as before, the conscientious view questioning the word’s injustice. I remember Zion being a focus previously, and here Babylon gets honed in on. While still heavy, P.O.D. is a more accessible beast, the rap / hip-hop, reggae and funkified influences still present. Several songs retain that classic Nu-Metal low / high guitar technique, but at times one cannot help but hear passages reminiscent of bands like Rage Against

The Machine and Red Hot Chili Peppers. If blasphemous Black Metal is all you crave, then the Christian leaning attitude of P.O.D. may not be what you’re looking for.

OAKENSHIELD Legacy As the brainchild of North England’s Ben Corkhill, Oakenshield has his fingerprints all over it as sole member, from writing and performing to engineering and mixing. Initially his project started as Nifelhel in 2004, but morphed into its current state. With his home turf being full of Viking history, this forms the basis of his music, which can take on a very cinematic, orchestral and epic expanse, many songs with their basis in traditional arrangements from English, Irish and Scottish, to Norwegian and Scandinavian. The Black-tinged Folk-Metal sound also incorporates traditional fife / flute, and guest violin by David Denyer. With Corkhill so invested in his project, overseeing all aspects, it is understandable that he would want control across all areas - but one sector where I feel it could have benefited more is in the vocals. While many will love it, his (what I like to call, Black Metal Goblin) vocals take away from the grand scope of the music with its mostly one-dimensional growl style. If a singer of the calibre of Manowar’s Eric Adams can be brought in, this would be quite something. (Import available at www.einheit-produktionen.de)

DEFTONES Koi No Yokan As triumphant survivors of the NuMetal era, Deftones have always maintained their unique sound and style. The combination of sometimes very simple but very effectively constructed riffs along with infectious drumming and Chino Moreno’s unmistakable vocals, result in a powerful and hypnotic audio experience. The (mostly) steady pace of the tempo further draws you into their web of crushingly cool sound layers, dipping into chill delayed guitar notes, or erupting into hard hitting and pounding bouts, once the hooks are in, you’re strapped in for the ride across the entire album and its emotionally laden tracks.

An altered state and trippy mood is wrapped within the band’s sound, the gliding, sliding, subtle, melodic and intense vocal outbursts adding colours to the dark instrumentation textures that usually work perfectly in their impacting simplicity. Like the music, even the album cover draws you into a mysterious realm, removed from traditional Heavy music, just like Tool managed to do.

AC/DC Live At River Plate Still rocking after 40 years, these Aussie legends have been the inspiration for thousands of bands, including many local ones. Their trademark sound has retained its energy and party mood, with Angus Young’s classic Gibson SG guitar style, and Brian Johnson’s gutter-gravel voice a match forged in hell (the latter’s replacement of Bon Scott after his tragic death sending them to even greater heights, where other bands could’ve folded). I can’t believe it has been 4 years since their Black Ice album, so something was needed to keep the rabid fans at bay. While this is their first live album in 20 years the 1992 double disc (on the back of their Razor’s Edge album), was rereleased in 2003, and also had a DVD version of their killer ‘91 show at Donnington’s Monsters Of Rock around that time. With many miles and gallons behind them after another two decades, those shows understandably do seem to have a bit more energy. My favourite albums are Highway To Hell, Back In Black, For Those About To Rock and Fly On The Wall, but as to be expected, with a career span like that, you can’t include everyone’s preferences, although they touch on as many as possible. These include some of the aforementioned titletracks, Hell’s Bells, You Shook Me All Night Long, Thunderstruck, War Machine and for old-school fans a good slice of Bon Scott-era cuts like Dirty Deeds Done Dirt Cheap, Dog Eat Dog, Whole Lotta Rosie, Let There Be Rock, T.N.T., and the sleazy Blues tune She’s Got The Jack. Recorded live in Buenos Aires, Argentina in 2009, this double live CD interestingly arrives a year after its DVD version. Don’t know if those who have the video rendition will pick up its audio counterpart, but I’m sure there is method in the record exec’s madness. Like the Rolling Stones, we hope AC/DC never retires!

ALBUM REVIEWS

Album Reviews MUSE – THE 2ND LAW

uch like The Resistance, Muse’s new album, The 2nd Law, has divided many of their fans again. People are calling it “Musestep” and the soundtrack to a Village Peoplethemed rainbow party. Nonetheless, I’m going to bite the bullet and admit that it wasn’t too bad; it’s certainly better than the toothless flipping and flopping of The Resistance. From the Queen (Survival) to Led Zeppelin (Supremacy) tributes masqueraded in electronic music to the dance club vibe of Madness and Panic Station, The 2nd Law is an intriguing listen especially for people with a keen

Green Day iUno!, iDos! Since their debut as late-Eighties PunkRock teens gone ballistic, and subsequent success as Punk’s Nineties poster boys, Green Day have been howling, rolling mascaraed eyes, and thrashing out powerchords for far longer than anyone might’ve predicted. These kids have been around for near a quarter century! The secret to their enduring appeal is sprinkled throughout the first two albums of their 2012 triptych (ambition, anyone?), but was first evidenced by their mid-career watershed American Idiot: Green Day understand the craft of song. Billie Joe and cohorts Mike and Tre know how to slip a neat, sparkling Pop hook into affairs, or unveil a stirringly melodic ballad. With American Idiot, they confidently strode into more mainstream Alternative/Rock styles, to massive success. The heavy themes of their prior two albums are cleverly dispensed with here, Green Day returns to its original, carefree concerns - getting wasted, dissing sell-outs, partying and shagging. Dos, especially, hones in on hormone-drunk hedonism, ‘Fuck time’ getting straight to the point with its wittily sped-up Doo-Wop guitar

interest in musical diversity, intricate composition structures, film scores and a firm appreciation of multiple genres. Look, for those hoping for Absolution or Black Holes and Revelations, this album will undoubtedly disappoint you more than a 2 Unlimited reunion concert; The 2nd Law is a much tamer Muse (sorry, no Stockholm Syndrome or Hysteria here). Indeed, you’ll probably curse Kate Hudson for emasculating frontman Matt Bellamy and hiding away his magic mushroom stash - but hey, bassist Chris Wolstenholme did say that this album would be radically different, so you can’t say that Muse didn’t warn you. If you fear peer pressure, listen to it on the sly. | SP

lines, and a nod to Hendrix’ Foxy Lady, for good measure. Another, unexpected highlight is the touching, acoustic Amy Winehouse tribute. Get ready for a Green festive season! (Tres out as you read this...) | MD

Aerosmith Music From Another Dimension! The return of Aerosmith producer Jack Douglas (who helmed fan favourites Toys in the Attic and Rocks), and guitarist Joe Perry more-than-hinting at a return to their 70’s sound, set the bar of expectation high for the band’s first new material in 11 years. Following a hit-and-miss 80’s Aerosmith came back to power again during the Nineties, with grungy, sexy MTV videos and big-screen Pop-Rock ballads - they were the old Rock group who became hip again. But since then, things have petered out, hitting a career low with 2001’s Just Push Play. Good news is the more rustic, unkempt 70’s Aerosmith is back for much of Music From Another Dimension! (as its title hyperbolically implies) - tracks like Oh Yeah, Out Go the Lights and Street Jesus stomp forward with classic, muscular 70’s riffs Perry in his element - while single Legendary Child recalls the lilting melodic intro to Sweet Emotion. The two Perry voiced songs, while lacking Tyler’s serpentine, grandstanding

vocals, especially evoke early Aerosmith, their riffs both locked-down and rambling. Where the album dips is where outside help was brought in - super songwriter Diane Warren’s We All Fall Down doesn’t rise, and the saccharine Carrie Underwood duet might have hardcore fans crying for all the wrong reasons. Welcome back, Classic Rock! | MD

Animal Collective Centipede Hz The tenth studio album from Animal Collective is a cerebral slap on the brain. You don't even get a second to think as the compilation kicks off with Moonjock and the first single, Today's Supernatural. Their sound on Centipede Hz is a progression from psychedelic folk funk to frantic digi-pop on a steady drip of insanity. There's just so much going on here. Imagine sitting in front of MTV, ten years ago when there was still a little music and a lot of weird subliminal advertising going on between the clips of NIN and Boy George. A eulogy to the free thinking of former years before we were drowned in technology and toy money. Great album. | ED

ALBUM REVIEWS

Cat Power Sun Cat is back! It’s been nearly 7 years since Chan Marshall released The Greatest, which in itself was a ‘comeback’. The indie songstress has been at it since the days when ‘indie’ was still an abbreviation for independent. 20 years later and seven sparsely released albums, just knowing Chan Marshall’s history is enough to consider Sun a triumph. It’s been a long, tumultuous road for the singer. Mental breakdowns, alcoholism, erratic live shows, hallucinations and suicidal tendencies have been as much a part of the Cat Power story as her music. These elements permeated her earlier records, making her unofficially ‘The Queen of Sadcore.’ Sun feels like warm rays of therapy for Marshall. There’s a positive spring in her step and by her standards, this is her most uplifting and adventurous album to date. While The Greatest enlisted the cream of Memphis soul musos, this time it’s all her. A bold mix of electronic instruments combined with her smoky, blues-battered voice. 808 kicks and claps blend perfectly well with her more traditional alt rock. Sun is by no means ‘pop’ by radio’s definition but it is certainly Cat Power’s most accessible and affable effort. And it’s her best. | SO

The Heavy The Glorious Dead The English hamlet of Noid has about as much in common with the swampy Deep South as Earl Grey and Jack Daniels. That doesn’t seem to bother The Heavy in the slightest. They are essentially a rock band and this is essentially a rock album, but it’s one unashamedly drenched in neosoul and retro rhythm & blues. It’s an interesting mix of ‘modern-trying-to-soundretro-trying-to-sound-modern’. The drums are massive, the bass is dirty and the electric guitar is understated enough to allow horns and strings to shine. But it’s Kelvin Swaby who commands the tracks, with his James Brown/Curtis Mayfield meets Mick Jagger vocal style. The lyrical themes are there too the mythical ‘she-beast’. Blues cats have always been powerless to the evil ways of women. And they like it that way. The Heavy deliver The Glorious Dead with swagger. The choruses are ultra-catchy, made epic by a team of female gospel singers. There are times when it’s questionable. Moments when you wonder whether it’s an over-stylized take on bygone genres or whether it’s authentic. But it really doesn’t matter. The songs are that cool. 7/10 | SO

ISO Piece by Piece The newly abbreviated ISO's revamped sound hits with the veils and trickery of The Twilight Zone. Gone is the sprawling Pretoria Prog Rock the flailing solos and questing instrumentals. Entering the scene is 80's melancholy Pop - all sniffing, sobbing keyboards and general vibes of synth apprehension, with pretty, curtailed teen man vocals, throbbing bass, and subtle rhythmic and melodic sophistry. ISO, clearly, have been mainlining the Drive soundtrack. And good on ‘em! Piece by Piece grabs from the get-go. Rarely is such a drastic - and such an assured - change in modus operandi encountered with a band. It works consummately. At Piece by Piece’s essence is the charming, naïve melancholy that suffused 80’s Pop melodies - those sonic, saturated moods that succeed in invoking the profound and kitsch emotional kingdoms of Teenhood, with its waterfall heartbreaks and megalomaniac, fantasized heroics, with its ‘Usagainst-the-galaxy’ romances and general, hormone-addled delusions. The band have updated legendary Pop producer Phil Spector’s Wall-Of-Sound notion via the dazzlingly textured, neon canvases of Cliff Martinez & Johnny Jewel’s Drive soundtrack. Super-kiff hooks and sonic surprises abound, as on the devilishly cool Heaven. Ye olde Isochronous fans take note: Behind the waterfalls of glittering sound and emotion one can spy complex instrumental shadows at play - the musical sophistication and daring of past Isochronous is still here, just operating in stealth. I predict greatness. Get it yesterday. | MD

Yeasayer Fragrant World Here’s some irony. The harder a band tries to actively create an album different to their previous albums, the more everyone attempts to make comparisons. I mean, no one really tries to compare one AC/DC album to another. Yeasayer are a band of musical risk-takers, never content with repetition or tried and tested. Grand ideas, elaborate attempts to toy with conventional music wisdom and unabashed pop hooks. Fragrant World, their third album, sees them continue down the path of ever-change and yet, at the same time it seems, equally, like a natural progression from Odd Blood and All Hour Cymbals. Long gone are the psychedelic indie-rock and folk melodies of the debut album. Forget the eastern-influenced sounds and lo-fi drums. This is new-age psychedelic R&B. It’s urban music on ‘shrooms. It’s like Depeche Mode produced by Timbaland, in 2015. The production is slick, the layers of synths are dense and the bass will rattle your

sub-woofer. Fragrant World has no massive stand-out tracks like Odd Blood’s O.N.E or All Hour Cymbal’s 2080, yet it’s the band’s most cohesive and consistent album as a whole. It’s a darker, more constrained affair but one that builds and grows in time. So, while it’s natural to make comparisons and look for all the things that may be better or worse, we should rather commend the bands that don’t keep repeating the past. | SO

Newton’s 2nd Law N2L Saying something is “pop-sensible” isn’t always flattering, however, in the case of Newton’s 2nd Law’s debut album, N2L, it’s meant as an absolute compliment. Even though they’re relative newcomers to the local music scene, Newton’s 2nd Law sound like seasoned veterans, knowing what elements to tweak and accentuate to make sure that their hybrid genre songs can take on the radio play-listing gauntlet. The two opening tracks, Imaginary World and Fact of Life, which also happen to be their radio singles, harbour gargantuan melodies and showcase lead singer John Mani’s warm soulful range. Free from auto-tune and feeling more old school than new, the singles immediately set a high bar for the rest of N2L. Unfortunately, aside from Need You to Stay, the album never reaches the peaks of the opening songs. Whilst Imaginary World, Fact of Life and Need You to Stay are easily eights or nines (out of ten), the other tracks are flat sixes - slightly above mediocre, but leaving you wanting so much more. All the same, as a debut album, N2L delivers a healthy slice of the band’s simmering potential. If they continue to build on what they’ve done, these guys could be here for the long haul. | SP

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37 Twin Atlantic Free When you’re personally picked by Jimmy Chamberlin to open for the Smashing Pumpkins, you know you’re doing something right. A few more big slots with Blink-182, Biffy Clyro and My Chemical Romance over the years, and Twin Atlantic could’ve easily rested on their laurels, counted their dollars, joined supergroups and become average *cough* Bullet For My Valentine *cough*. Well, the good news is that TA aren’t like that. In fact, they must be driven by the spirit of William Wallace to reach the musical Promised Land or something, because, judging by Free, they’re ready to take the step up from being supporting band to headliners. Take your pick from Time For You to Stand Up, Apocalyptic Renegade, Yes, I Was Drunk, Make A Beast of Myself, and The Ghost of Eddie: each of these songs contains more than enough powerpopalicious melody to turn that hipster frown upside-down. Merge these unshakable melodies with Sam McTrusy’s Scottish drawl and soaring, stadium rock choruses, and you have a band that actually sounds both unique and pleasing on the ears. Prepare to be liberated by Free; it’s the punchy, fresh injection which alternative rock has craved and desired for so long. Awesome album. | SP

Johannes Kerkorrel Hoe Ek Voel It’s been 10 years since Johannes Kerkorrel, the Alternative Afrikaans musician, committed suicide. Kerkorrel was a pioneer and hugely influential ‘ringleader’ of the Voelvry movement, a group of forward-thinking Afrikaans musicians defiantly protesting against the Apartheid government. Hoe Ek Voel is a collection of 17 songs spanning Kerkorrel’s entire career which began 25 years ago. It’s a selection of tracks that really gives one an insight into ‘how he felt’. It captures the best of his poetic lyrics and emotional viewpoints on love and life in South Africa. It seems like there was a conscious effort while compiling the songs to select his more personal, slower ballades. Perhaps a deliberate attempt to not get too political on this anniversary. This is demonstrated by the absence of songs like the PW Botha satirical classic Sit Dit Af. While some songs, understandably, sound a bit dated (recording in SA in the early 90’s will do that) songs like Hillbrow, Onder In My Whiskey Glas and Ou Ou Lied Van Afrika are beautifully timeless. Hoe Ek Voel is a great addition for Kerkorrel fans as well as a good introduction for a new generation of Afrikaans alternative listeners. | SO

Yoav Blood Vine Yoav incorporates his trademark strumming and loop pedal layers full of eastern influence and eurodance beats. However, the overall quality lacks emotion and seems… lonely. It's an attempt at something that wants to be very full, evocative and soulful yet Blood Vine is of a vague calibre at times and Yoav's voice can let down his otherwise, very pleasing compositions. Blink is the first single off of the album. It's a Euro Trash beat layered in a stripped guitar and overall sounds too diluted to get the limbs moving and could probably do with a lot more guitar as a feature. The album sounds rather tired by this time and the title of the next song, Keep Calm, Carry On, does nothing to deliver much hope for the rest of it. However, this song is one of the better ideas on the collection. Cool(er) lyrics raise the bar as Yoav dips into trip-hop, 'Devil in the details… none of this is real,' has a nice spidery quality to it that slices some cheese off Blood Vine and reminds me of Maxi Jazz. Yoav picks up an eastern flavour too and this track really does warm you up and keeps the pace with some great guitar riffs. Take this or leave it. | ED

The Plastics PYRAMID First track and single, Occasional Lies, is that brilliant moment we’ve been anticipating from The Plastics. Essentially, it’s much more than the appealing melody suggests: “Where we going? / Cos’ I don’t know the way.” Ironic words, all things considered, but their most honest to date. Think about it. That aside, they’ve also proven: at first you don’t succeed, then you get America’s finest producer Gordon Raphael to come here, and then try, try, try again. And with this sophomore release the effort is seamless; the lessons learnt with undying love shines through. Pascal Righini proves he’s a true crooner; guitars are as mellow as they are a melodious indie-lucky-packet of young fun; and overall nothing stands out more than necessary, everything is one. They’ve grown up, and with a lekka swing leaning more towards Pete Doherty’s post-prison solo efforts, but only with more purer deserving hearts (that seemed to have swapped Amstel for KWV 10), and better production values. The result: they’re worthy of an upgrade from hipster house-party, to late nights with nothing fancy, just an elegant sufficiency of everything you need - and that, you’ll only know once you’ve admitted to occasional lies. For lack of space and poetry: fucking well done.| JS

The Great Apes If The Great Apes never decided to make up and befriend humming Destiny, at least this studio recording (and, I can imagine, dozens of concert bootlegs) would give testimony to a band that roared tall and bliksemed heavy. The album kicks off with The Great Apes signature Human Machine Wild Animal Mountain, all slovenly grandeur and towering gargantua. 'Hail Mary's’ cheeky, veiled quote from Sabbath's Iron Man reveals both their awareness of what lineages they're tapped into, and a sense of humour. These glowering simians prefer overcast, slurred riffs to chordal clarity, at times seemingly dragging massed ankle chains behind them as they stagger/swagger morosely, immutably ahead, into dark horizons promising massacres, or loot. The occasional solos are simplistic more sustained twitches than anything else and are inevitably drowned by the surrounding thunder of wreckage posing as song structures. Already creatures of legend the inspired journo-groupie gushings of RS' Max Barashenkov, their magnificently sprawling/self-destructing live sets, and their own, sudden demise, conspired to ensure this - their brief carpet-bombing of an album prematurely secures them a place in the canon of SA Rock legend. And, who knows, if enough of you grab this blistering, broken majesty of an album, The Great Apes might just drag themselves back out from the mountain of debris they collapsed themselves under, un-dust their tattered leathers, and climb back onstage. | MD

Black Box Revelation My Perception Black Box Revelation comes from that school of bluesy rock 'n roll revival that made 2006 to 2008 so great. You can tell: they have 'black' in their band name (Footnote: think Black Mountain, The Black Keys, The Black Lips, Black Rebel Motor Cycle Club etc). Their fourth album, My Perception is still carrying that great raw garage sound that the duo is known for. They keep the gristle, the broken feedback and smashed drums together on a whistle and whiskey and despite traditionalist sensibilities they don't mind adding the odd synthetic sound to their swampy cacophony. Tracks like Mad House and Good Swimmer are raw rock 'n roll that rely heavily on a drunk sounding Iggy Pop or The Kinks. Additional indie bits infiltrate the album like on White Unicorn, “We’re all white unicorns, tied to the wall,” keeping it cool. Hit this album up if you like the bands mentioned and miss The Archie Bronson Outfit. | ED

GAME REVIEWS | Reviewed by Paul Blom

GAME REVIEWS PS3

TWISTED METAL I had my first run-in with this driving beast on its Twisted Metal Black PS2 release. Now it is set loose on the PS3 with much-improved graphics, sound and more detailed madness and destruction. In this Death Race 2000 / Carmageddon style no-holds-barred automotive mayhem, crazy characters take part in the deadly Twisted Metal contest created by the dark personality Calypso (with a preacher set on defeating him). The game is on with a range of jacked up vehicles loaded with deadly weaponry, driven by maniacs. These include the Meatwagon (ambulance), Shadow (hearse), Talon (helicopter), Death Warrant (sports car), Outlaw (cop 4x4), Reaper (bike), Sweet Tooth (ice cream van), Roadkill (muscle car), Junkyard Dog (tow truck), Juggernaut (18-wheeler truck), Axel (two ridiculous huge wheels, and little else!). Pick up weapons and power-ups, use your garage to switch rebooted vehicles, access a health truck, and select custom paint jobs (incl. cammo, Union Jack, flame-job). And, pedestrians beware! Challenge mode will test your skills on various tracks (incl. LA Skyline, Diesel City, Watkyn's Harbour, Diablo Pass etc), with objectives like killing Bots and Endurance options. But you get several character-driven narrative options in Story mode (which basically links a stream of races.) These include the serial killer clown Sweet Tooth, biker Mr. Grimm, and the crazy woman Dollface. The multi-player option throws up to 16 on-line players together. Music includes the cool soundtrack by Brain, with 16 licensed tracks from Rob Zombie and N.W.A., to Iggy Pop and Sepultura and more. Only for over 18s. 7/10

RESIDENT EVIL 6 One of my favourite survival horror games has hit its 6th chapter! (With its big action-movie style expanse still intact). Some well-known franchise characters

are thrown back in the fray, with others along for the ride. The new C-Virus is set to be unleashed in a global city bio-terror attack. The three intersecting playable story-line choices (in different parts of the world) include that of Chris Redfield (with sniper Piers), Leon Kennedy (with secret service agent Helena Harper), and Jake Wesker (and DSO agent Sherry Birkin). With large unseen forces behind the bioattack, and if deformed creatures were not enough, regular zombies have a new breed to make your life hell, the J'avo. These freaks can plot, organize, use weapons and self-heal! Neo-Umbrella agent Ada Wong is also out to throw further spanners in the works. Amid your weapons upgrades and health upgrades to uncover, a route guide display makes it more effective to guide your way, avoiding aimless running about the many locations. With textures, lighting, and grisly FX constantly improving, this looks great, but you often feel like youâ&#x20AC;&#x2122;re just along for the ride, being channeled through the pre-set course of each characters mission. Extra content includes The Mercenaries game where you have to defeat as many creatures as you can within the allocated time limit, as well as the multi-player Agent Hunt (where you can invade other Resident Evil 6 games!). Exhilarating, gory and graphic, but not for under 18s. 7/10

Xbox

DE BLOB 2 Time again to dust off your Xbox Kinect controls, as you've either grown tired of the few titles you have utilizing this hardware, or you're just a lazy bum who prefers to wield dominion over your gaming worlds with your ass firmly glued to the couch! Whichever, this game may help to rectify that with its all ages, colourful, non-lethal gaming fun. Initially a Wii title, this is now available across the board. In this plastic textured world a fascist dictator character Comrade Black wants to drain the colour from everything, turning the world grey and monotonous under his rule. In steps Blob and his side-kick Pinky who have to thwart Black and Dr. Von Blot, returning colour to the world with the help of the Underground resistance. Blob soaks up

For more gaming reviews, Check out www.flamedrop.com colour and has to brighten up monochrome buildings and areas in various ways. Special moves and power-ups allow for more intensity and tricks. Colour and power is drained if Blob ends up in black ink pools, but can be washed off if you get him to clean water quickly. A second player can jump in as Pinky. The varied locations around this wacky world include Paradise Island, Downtown, State College, Soda Falls, Hydro Station, House Of Fun, Railyards and Rocket Range. There are also around 100 platform sub games you can complete. Blob Party takes you through 9 locations. Silly fun, but I'm not sure how this will play for the roughly 10% of the world's male population with some form of colour blindness (and 0.1% fully monochrome inflicted)... 6/10

Nintendo 3DS

NEW SUPER MARIO BROS. 2 You know the drill when it comes to the classic Super Mario Bros. Set-up. If not, this legendary console and arcade game involves the never-ending mission to save the constantly kidnapped Princess Peach (this time by Bowser, again!) who needs to be rescued by Mario and Luigi. But this is just the throw-away impetus for the charge through a side scrolling platform world with loads of coins to collect and minions to dodge or squash. Pipe ducts take you to different locations, mushrooms make you grow and special leaves give you raccoon additions for extra abilities like tail whipping and gliding. You can play co-operatively with two consoles and cartridges. A bunch of new additions include a spooky castle location, conveyor belt segments that can either help or stifle your progress, special gold blocks and rare star coins to unlock new areas. The focus on coin collection is stronger than ever, with many ways to increase this task, including a post level Coin Rush mode (with a time limit). Hardcore capitalists will love it. A gold flower even turns our heroes into a near indestructible golden Mario and silver Luigi (with the ability to shoot fireballs)! Your coin collection is accumulated with the aim to reach a million. Activating SpotPass keeps you posted on all the players' coin collection worldwide. So, best you get cracking! 8/10

NATIONAL GIG GUIDE R300-R800 | www.computicket.com

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