Get Turned On
“Online radio is the response to the sea of meaningless broadcast content”
Video may have killed the radio star; but never fear, the internet is here to administer CPR. Most commercial radio stations are just noise: generic warbling of pop music, advertisements, and of opinionated, yet poorly informed disc jockeys. The programming is generally bland and obvious; and aimed at the lowest common denominator—or so they think.
Suppress individualism in any way; and the consequence will always be some kind of underground movement. And, online radio is the response to the sea of meaningless broadcast content.
Bedroom DJs, so called because all they need is a laptop and a broadband connection, are here to turn us back onto radio. Imagine tuning into a radio station that plays your style of music, uninterrupted by noxious jingles? Internationally, internet radio has set the web alight, with literally thousands of stations to choose from. And, although our internet can be slower than a homing pigeon (true story), we’ve followed suit.
There are a number of underground stations to tune into. One of which is Mutha FM. Not just a broadcast medium, but a platform for the SA music industry as a whole; a place to showcase home-grown talent, whether it’s EDM, or rock ‘n roll. “It’s like the Mickey Mouse Club on crack,” says Caely Jo Levy host of Swingin’ Sundaze. “We work for free; but there’s a great creative and supportive energy amongst the talented team, and a huge passion for music!” [Quote from Nick E Louder re: payment; “we are now paying about 40% of the DJs through sponsorship deals, as I said everyone can make their bit if they bring in sponsors.]
Originally a pirate station started by well-known DJ Nick E Louder, it ran for six years before making it official on the World Wide Web. Mutha FM also broadcasts live from La Vie on Sea Point’s promenade every Friday: expect the likes of the aforementioned Nick E Louder, Tony Finger, and Danalog, amongst others throwing down during cocktail hour.
“And the best part,” says Caely, “is that you can listen to it anywhere in the world. All you need is an internet connection.”
2oceansVibe Radio, another front-runner in the digital radio scene, style themselves as ‘different, but deliberately so.’ Born of famous blog, ‘Two Oceans Vibe’, this radio station ‘aims to talk to you like a grown-up’. The focus is on irreverent social commentary and hip tunes; their line-up reads like Cape Town’s cool collective. What’s interesting about this station is that not only can you stream it online, but you can buy an app—so you can have smart-asses on your smartphone.
The first time I ever listened to online radio was, funnily enough, in my car. We had downloaded a Kevin Shu mix from Frisky Radio: that’s the beauty of this medium; you can choose when, and where, you want to listen to it. It’s not just the underground stations though; you can also download podcasts from most commercial radio stations, if you really wanted to…
The rise of these stations highlight a point: the listening public don’t want to be dictated to. They want to interact, and make informed decisions led by people whose taste they trust. Not everyone wants to plug into ruler-of-radio Gareth Cliff’s brain-numbing sermons.
Heard of Mixcloud? This online platform allows anyone to upload a mix, or radio show; and enables friends to share and comment on uploaded ‘cloudcasts’. Then there’s Playdio, a combination of a playlist and radio, which lets users make their own radio shows by creating playlists edited with spoken links.
Last.FM is also worth a listen. A multi-platform online radio community, where you ‘scrobble’. Yes, scrobble. This is a function that keeps note of what you’re playing, what your friends are playing, and so on, it aggregates this information and ‘helps’ you discover more music, according to your tastes.
Yes, the future is most certainly here for radio, unfortunately, as Caely from Mutha FM tells me, the biggest challenge is sponsorship. Can these stations survive without it? And if they can’t, I’m afraid it may mean that they’ll have to let in some of the noise. And what a good way to get turned off.
Spaza$hop Boyz
“It is our intention to show the people kokasi; the world outside the township. Too many of our people are trapped. We want to take people away from the hood and allow them to travel when they listen to SPAZA$HOP.”
The name Spaza$hop Boyz has been swinging around the JHB hip-hop scene for a while now, making it hard to ignore them. My first experience was when I caught them live at a street event earlier this year. They had a bigger than life presence that automatically made you wonder, “who are these kids?”
That was shortly answered when they took to the stage with their distinctive ‘swagger’ raps and catchy snap-back, clap production. The crowd sang along to songs, danced in agreement and before my eyes I saw that they were indeed on to something.
Jonny JoBurg and Charlie Maccare stretch beyond just music; they seem to be developing a following that inclines towards culture, fashion and a genuine feel good vibe. Suggestive of that slick, yet in your face New Age Hip Hop streaming in from LA’s independent scene that the likes of the Cool Kids and Odd Future have made popular, it is something that seems to be growing every time I hear of one of their performances. Their charismatic, bright-clothed personas are more than enough to grab your attention; whether the music can stand up to that is something they are pushing to prove… and with an ever increasing fan base, they seem to be on their way to solidifying themselves on the local scene.
I caught up with Spaza$hop front man, the Prince of Joburg… Jonny JoBurg, to discuss their flight up till now…
Define the Spaza$hop Boyz, musically, persona and objective wise? You list yourselves at Alternative/Progressive Rap, how are you living up to those classifications?
SPAZA$HOP BOYZ are quite simply Hip-hop. Hip-hop’s nature is to mutate. We are just the next level. And the last thing we’ll ever do is live up to a classification. It is our intention to keep switching it up.
The new album is gaining some traction with the Joburg crowd, how do you feel a distinct Joburg mind frame will transcend through the rest of the country or abroad?
Johannesburg is the cultural hub of our country. Johannesburg sells cool to the rest of the country. Our debut video for Rehab Tony will solidify us as the new cool countrywide. Regarding international… There are no more boarders. SPAZA$HOP on every corner.
With continuing criticism that South African mainstream Rap’s sound and style is a derivative of popular American culture and Music, what separates Spaza$hop Boyz from those comments?
SPAZA$HOP BOYZ feel no obligation to regionalize our music. It is our intention to show the people kokasi; the world outside the township. Too many of our people are trapped. We want to take people away from the hood and allow them to travel when they listen to SPAZA$HOP.
The future, what you got for the devotees?
For the near future we have our debut music video, Rehab Tony. For the not too distant future we have ROCK-STARDOM. The best thing an artist can do for a fan is be successful. We don’t disappoint fans. Ever!
For a taste of the Spaza$hop Boyz
peep the FREE Download link to their song BlaK on Blaque
Search SpazaShopBoyz on Reverbnation or Facebook to stay in touch with their movements…
5 Mins with… Harael Salkow
Harael Salkow is a founding member of the Soul Candi Music Group and a man who does not dispense more words than need be to get his point across. This we discovered when we hit him up with 5 minutes of quick-fire questions. Known to be an elusive fella his passion for entrepreneurship is equalled only by his absolute love for music. Known affectionately as Big Daddy H, he refuses to take the glory for the success of the legendary South African brand opting to remind us that team work is at the core of everything they do.
1. What 5 words epitomise the South African sound of urban dance music?
Unique, Innovative, Trending, Soulful, Groove.
2. Big Daddy H.!!! There must be a story behind the name. Who first coined the phrase?
Ask Roger Goode
3. Did you like the nickname at first or was it a case of it just stuck and you had no choice?
The latter
4. Casting your mind back on the 10 years – what three things stand out to you as pivotal moments in the growth of Soul Candi?
Soul Candi Sessions 3, The Death of Vinyl because that forced us to invest in new activities and Spring Fiesta.
5. White boy – black music. Well not exactly but certainly a large part of what Soul Candi Music offers release wise, happens to cater for the urban (read – black house) music market in this country. Were you and your school mates into the same music growing up or did you always have a deeper, soulful side to your music tastes?
I was introduced to this style of music by Mbuse & Claude and I am forever grateful.
6. You have a reputation as a smart businessman who fortunately for urban house in this country happens to love music too. Were you formally educated (business school, varsity etc) or is it good old street smarts?
I started a Bcomm the same year I started Soul Candi but unfortunately [or fortunately] Soul Candi took preference and that was the end of my student life. I credit our success to our great team and their hard work.
7. The SC 10 Classics and Future Box Sets are a great way to commemorate a decade in dance music. Was it tough to decide who to mix each of the 10 CD’s?
Not really since it was a team decision.
8. What is your favourite classic house track of all time?
Kings Of Tomorrow – Finally. Does it get any better?
9. And on the Futures box set. Which track stands out for you as one that represents the future of Soul Candi?
That’s not possible as Soul Candi represents more than one sound hence the 5 different styles across the 5 discs.
10. My favourite way to relax when I’m not working is….
I play tennis
11. The first thing I do when I wake up every morning is….
I turn on CNBC
12. Steak or sushi?
Steak
13. The one thing you will always find in my fridge is….
Phat Jack
14. I DJ because….
I love it
15. The one thing most people don’t know about me is…
I love trance music
16. The South African dance scene needs more…
Better DJ set ups and attention to technical specs.
The Ghost in the Machine – Mortal needs do not concern you
“…to then find out it’s a made-to-order track, well, you end up feeling cheated, and a little bit silly.”
It is midnight, holding the phone up against my ear it crackles with static. The voice on the other end is whispering: an effort to disguise his voice. We’re talking about the music industry’s dirtiest secret since Milli Vanilli were shamed for lip syncing.
Okay, it’s actually the middle of the day, the line is perfectly clear, and my informant is more than happy to discuss the controversial topic of ghost-writers in the EDM scene.
This may be news to some; but many prominent acts don’t write their own music, in any case, not all of it. From a business standpoint it makes total sense. A DJ like Armin van Buuren is the EDM equivalent of a rockstar; traveling around the world playing sold-out gigs. Does he really have time to tinker in the studio? Armin has a team of people that collaborate on his tracks, some of them simply responsible for creating loops.
But for those on the dancefloor, it’s much more of an emotive issue. EDM is, after all, about emotion; that euphoric rush a song can incite. By default we associate that feeling with the producer. To then find out it’s a made-to-order track, well, you end up feeling cheated, and a little bit silly.
The person I’m chatting to is a producer himself, and although he says he doesn’t ghost-write, he does help others to finish tracks. He says he adds some finishing flourishes, and tightens the production. Fair enough. But this is exactly what makes the topic so thorny, where do you draw the line?
Most producers have their tracks mastered by another professional; this at least is common knowledge. And, yes, to a certain extent it’s understandable, if not acceptable that big name producers have help, but what about those producers who are completely manufactured?
Dash Berlin, my spy tells me, is a manufactured super-star DJ, and just like any pop fairy-tale: ‘they found him in a record shop; he had the right look.’ This raises an interesting point. Hypothetically speaking, a wannabe DJ could pay a talented, cash-strapped producer to ghost-write an album. And with the right management, marketing, and positioning; this nobody could be somebody very quickly. Ultimately they’re buying their profile.
It’s a struggle to turn a track into Dollar signs: the music gets the gigs, and this is where DJs make bank. More gigs equal more money and in turn, less time in the studio.
And produce you have to. DJs make a career out of picking music, essentially getting paid for their taste. But any spin-doctor knows that to get onto the bigger line-ups (read bigger pay days) they need to produce their own tunes. There are the exceptions to the rule, of course, but number ten to one.
One of the most famous examples of a ghost-writer is Charlie May. He was happy to craft soundscapes in the studio while DJ Sasha belted them out to mammoth crowds. Some tracks include: Xpander, Scorchio, and Belfunk. He was also co-engineer of albums Airdrawndagger, Involver, and Invol2ver.
Charlie was happy to take a back seat as he wasn’t into ‘the rockstar’ life. It wasn’t a secret, look at the inside cover of any of those albums and you’ll see Charlie was credited as ‘the programmer’. But it wasn’t exactly shouted from the rooftops either. These days he has his own eponymous project.
Is it fair to expect DJs to work alone? In no other genre, do musicians work in solitude. Singers have lyricists and indeed a whole band and producers to boot. Even solo violinists have help from composers. Your average radio-friendly song is so far removed from something real, it may as well have been cooked up in a lab.
So is it really all that bad, that our favourite producers get some musical Viagra? My canary doesn’t think so: ‘It’s a brand at the end of the day. How you go about it is your business.’ I only think producers should be more open about it; lest they alienate their dancing public when the truth emerges!
House Headz UP
“South African House music (in its current form) has been referred to by a myriad of terms called Afro House, Deep Tribal, Ancestral, however it’s only now in recent years that it has culminated in a hybrid ensemble of indigenous sounds fused with international trends.”
It’s a cliché, of course; but I’m certain that inside every artist, musician or band is an aching desire to disappear from the rat race, find an isolated habitat and commune with nature for a while to rekindle and spark that surge of creativity again.
With most of us, the feeling manifests itself in a walk in the park – until you realise that you need to run to the shops to buy a chocolate bar and a loose cigarette. A more idyllic sojourn perhaps is in the heart of free living ala Earthdance or Rocking The Daisies, where like-minded people gather together for a long weekend of music, love and possibly some narcotics…until Monday morning, when they hustle back to real toilets, loo paper and shops that sell chocolate and loose cigarettes (at a reasonable price).
These are just some of the delights that even Radio One’s jock Pete Tong felt were the way to go to best capture the spirit of adventure, the golden sands of Thailand when he set about compiling the soundtrack album of Alex Garland’s acclaimed novel ‘The Beach’.
The point I’m making here is that no matter how successful, how popular an artist, band or musician is, there comes a time in their existence when they no longer feel a sense of complete pleasure with their art. Somehow the very ‘sound’ that catapulted them into a ‘mansion on the hills’ seems to turn into a creative straight-jacket. The flipside of the coin at the same time is that it all lies in giving up the ‘cash cow’ for an unverified creative muse and that adds to a shift from that all important safety net. To some this is the ultimate (bitter) pill to swallow. In my mind I’m inclined to think that these are the premises at which the old debate of music as an expression versus music as entertainment comes from. Yes, you are right it is a tired old argument (I hear you say) – but let me flip the script on this one; I say in the South African context it’s only now that the idea is becoming worn in. Let me try and illustrate this. South African House music (in its current form) has been referred to by a myriad of terms called Afro House, Deep Tribal, Ancestral, however it’s only now in recent years that it has culminated in a hybrid ensemble of indigenous sounds fused with international trends.
“It’s a funny state of affairs actually”, says [Cape Town DJ/Producer] Erefaan Pearce. “At first the South African sound was so pigeon-holed by what the media thinks people need to know about House music in South Africa. For a while the ‘French’ were showing us how to be African – Yellow Productions bringing out all the hits like the ‘Africanism’ series of records.” Now, the tables have turned. Young producers and musicians with deft local and international nuances create sounds that not only the international scene has sponged from but has remained authentically theirs. Artist like Spoek Mathambo among others have introduced these new vibes to new territories.
The thing that is fascinating with this is the openness of the game, and in my books it has a potential to create a seductive and timeless subculture that’ll see many other artists latch onto it purely because they [guys like Gervase Gordon - SA born member of the London based trio LV, who blend Kwaito elements into their interpretation of funky House music] didn’t sit on their laurels and waited for somebody/trend to dictate to them how they need to craft what is ultimately theirs.
It’s a somewhat forward thinking interpretation of typical House music expressions blended with the underground vibrancy borne I believe out of a rampant self-satisfaction of an artist or musician’s creative journey and no artist it seems is big or even important enough to contain this.
Besides, where else will you find such a glorious assortment of languages, regional heritage and cultural dialects that when harnessed the right way only distinct South African music characteristics emerge and can ‘only’ be derived in this country?
Columnist: School’s Out For Summer By The Little Misfit
School’s Out For Summer
“No water for me thanks, only tequila.” You’re unstoppable, invincible. Mortal needs do not concern you.
Have you ever seen a mosh-pit at a trance party? I have. The party was Orca and there I was on the balcony of The Fez looking down at a dancefloor, meant for 1000 people, heave with 2500 (at the promoter’s last count). Like psychedelic blood cells the crowd swelled as one. I heard stories later of feet not even touching the ground. Along with the party’s namesake, Orca, scene stalwarts like the Commercial Hippies and Super Evil tore the roof off. The crowd was rabid. I had been to Fez a week before, the turn out then had been, well, limp, in comparison.
I have news for the sticker-kids and the board shorts brigade; there’s a new generation in town, and there are more of them than ever before. So it’s with this indoor orgy in mind that I look ahead to the summer season. At last we’ll be able to party under the stars and sun alike. But raving in the bush is not for the mild at heart; indeed it takes some balls, but you should be fine with a little preparation.
Your summer survival guide:
A Car Bar is not a luxury but a necessity. Make sure you decant all boozy beverages into plastic bottles or the Red Jackets will be the ones tucking into your supply – and you’ll be left paying bar prices. Cash aside, just like any bar, the Car Bar is a social watering-hole and can provide much entertainment and ‘missions’ to and from the dancefloor.
Water is not your enemy. There comes a time though when hedonism rules. No water for me thanks, only tequila. You’re unstoppable, invincible. Mortal needs do not concern you. But come Monday morning when you feel ‘trance-partied’ you will have wished you had imbibed in H2O. There are some sneaky ways to keep hydrated; drink whiskey with lots of ice and water; top up wine with soda water; stick your head under the tap whenever you walk past it.
Dust. It’ll seep into your clothes, clog your nose, and gather around your mouth. It will own you if you let it. The simple solution? Wet wipes. Buy a packet and leave it in the car. A great way to make friends too; hand them out to the great unwashed.
Your phone. Leave your smart phone at home. The trance gods are known to demand BlackBerry sacrifices. Instead, take along that spare Nokia. Besides some of the makes have a handy torch – useful for night-time navigation.
Cameras. Avoid that sinking feeling on Monday; the after-party Facebook dread. Keep the memories alive sure, but when photo after photo of you with your drunk-face on is all over the net, you’ll regret those shots in the mud. The beauty of the scene has always been the anonymity – the fact that you can let your hair down and go wild without the fear of being judged. Nowadays, with all this rampant technology, you need to keep your wits about you.
Sunglasses are non-negotiable. Not only will they protect your eyes from dust and sunlight, but if you happen to get caught in camera cross-fire at least you’ll look partly normal. Just don’t wear them at night. [So uncool.]
Tent-tiquette. If you’re planning to ‘tent it’ there are a few things you need to keep in mind. One, where you set up camp in the first place ‘by the apple tree with the weird leaves…’ Two, this isn’t your usual camping scenario; there will be people falling over your abode, the music will make the ground vibrate, and you won’t feel fresh in the morning. Bring earplugs and water and you may just make it through the night.
And finally have a snarky answer ready for when you get asked the question: “What time did you get here?”
There you have it, follow all of the above guidelines and you’re guaranteed to have a happy, shiny summer.
Columnist: Miss Isis By Raiko Heads of State
Miss Isis
“For me to learn and absorb more, I have to be understanding to what is out there. But Hip hop is my first sound and influence.”
Now being on Facebook one comes across countless low quality mixtapes, tracks and so on sent through every day, half of which are hard to listen to, let alone grasp. Which deters my attitude and inclines me not to pay attention to half the stuff I get sent, but every now and then you get a link to something that just feels right and grabs one’s attention immediately.
This was the case when a certain Pretoria lady hit me up with a simple link to her music page, where she conducts her ‘bizness’ under the name Miss Isis. I had a listen and enjoyed it from the start; her jazzy soulful approach is warm on the ears and the combination of the playful content with the easily accessible beats, most of which she makes herself, are most hospitable. I got chatting to Miss Isis…
One can hear the various influences in your music; a distinct Pretoria flava that we’ve become accustomed to as well as a personal take of your own. Who personally influences your sound and vocals?
Let me say this. At the moment, everything influences me. It has to. For me to learn and absorb more, I have to be understanding to what is out there. But Hip hop is my first sound and influence. When I was smaller I was into your Commons, Talibs, ATCQ, Biggie… etc. As I got older and got out the box a bit, I started diggin’ a little deeper to see where this music originates from and yes, I do believe it’s jazz. Jazz grew into me. My voice changed and developed into a more accomodating voice. In came Nina Simone and Jimmy Smith. Growing up opened my eyes to studios and music tools and once I tried, I kept going. I had found hip hop and its origins so I started fiddling around with the programmes and software. Now I can comfortably say I am a producer.
Being a producer as well as vocalist, what’s your approach when making a beat and laying vocals over it and what tools do you use?
I never have a ready plan of action. It usually depends on the mood that I’m in that day. If the sun shines, the beat will shine. Dull days have dark beats but nevertheless, they speak more with the song that way. That’s more of the spontaneous approach. Technically, I usually listen to what I’d like to sound like. I’d concentrate and try seperate the elements of the song and try repeat the process. Once I have familiarized myself with the foundation of the track, the magic begins. From sampling to cutting and editing waves, I construct my own sound. From here, the song is shaped, formed and twisted to what I want to be heard, of course with a dose of creativity, the pots keep bubblin’! I’ve watched a lot of hip hop documentaries, more like drilled to me, at a young age and became interested in producing. Fruity Loops , Sony Sound Forge and Acid are my main chopping tools. I use Cubase to record.
You’re at the dawn of a musical career in terms of dropping an album and getting it out. What are your plans to make that journey last?
Wow… um… tough question. I’d love to be remembered more than anything. So I’m really under pressure for time. But I have made plans for progress and growth’s sake. Cartoon Background [forthcoming album] was an old concept redone consisting of me on the beats and some vocals and getting a few mcees, vocalists, poets to be put on. Diggin’ for fresh new art to be recorded so yeah, that’s my first project to introduce myself as a beat maker. The EP is due soon. Then the album of course at a later stage. I’m busy with a dope contact overseas, Saneyes. She’s a beautiful producer. Check me out on the Ladies of the Mic Collaboration ft. Nthabi, Nombongo, Supa, Yugen Blakrok and other ladies as well. Also a track or two with Fifi Rai Blaster so yeah, will update you as time passes.
Any wish list artists or musicians that you would like to work with along the way?
The list is endless as they say. I’m crossin’ my fingers for Georgia Anne Muldrow. Anything is possible. Musinah. I would love to work with Hishaam (P.E. rapper, I previously produced for) again. I’m a huge fan of 34OML, and then my girl, Qba.
To stay in the loop with MISS ISIS visit:
http://www.reverbnation.com/missisis
INTERVIEW: DJ Raiko
Columnist: House Heads Up By Nduduzo Smalz Ngobese
House Headz UP
“As a DJ if you mind being a source of constant giggles behind your back, you can easily turn the embarrassment into awe by downloading this week’s Top 10 song collection…”
Be a Cool House DJ with… [download site-name withheld] DJ Song Lists” reads the email subject line in my email inbox. Inquisitively, I click open. I kid you not but this is how the first few lines of the email read. “As a DJ if you mind being a source of constant giggles behind your back, you can easily turn the embarrassment into awe by downloading this week’s Top 10 song collection from [download site-name withheld].”
What is this I questioned myself… is this where we’re at now? As a DJ no more searching for new dance trends or those sonically gilded tracks that you’ll imaginatively and creatively compile to come up with an exclusive set for the night? Has it all been relegated to a common denominator that is a ‘DJ Top 10′ from some download site, so that when you download you are almost guaranteed a rocking set?
Part of the fascination with underground electronic music is finding really good music that isn’t charting. It’s the search, the find, and the ability to put it all together into a great mix that makes it. I don’t know about you but I have a problem with billboard chart/dance tracks or ‘DJ Top 10′ as a method of influencing or even dictating which direction Dance/House music needs to take. Let me state categorically; I love the direction underground House music has taken lately.
The ‘back to roots’, thick, chunky vibe that permeates the airwaves these days makes me really happy – but I really dislike the way that charts/DJ top 10′s on some download sites are so remote from reality.
Yes, perhaps as a country that’s viewed to be on the ‘front row seat’ and kicking its sneakers to the rhythms of Dance/House music for which we should be thankful (depending on your point of view) to the internet as a medium; however I refuse to give into this pervasive ‘email & download invitation link peer pressure’. Kind of like ‘Oh, be a sport and click on the link to download another hot ‘DJ Top 10′ that will make your set rock!
I share with Osunlade’s insights when he says DJ’s and producers alike should, especially here in South Africa, “invest a lot of effort in studying music, the sensibilities of the sound, listening to an array of sounds and knowing what the music is about.”
Or else we are running a risk of becoming a very much monotone/ homogenized DJ culture, that lacks depth and variation – where DJ’s rock up to a club with similar sounding sets (if it’s not happening already).
I’m afraid we’ll become another ‘familiar’ scene on public transport where a taxi or bus is packed to overflow when suddenly that popular ring tone squeals out in a series of ugly caterwauling bleeps and almost everybody grapples their mobiles similar to the Wild West gunslingers.
I also get frustrated by young producers approaching me wielding their Blackberry’s, boasting to me about their tracks that have made it to that popular download site’s top 10. And you know what? When I do listen to them I realize that I don’t know any single person that has bought or even heard it play in a club or radio.
Perhaps they may be useful to other DJ’s (and if you have a counter argument to this perspective – by all means hit me) but I get sneered at when I tell them that these charts are completely useless for anything other than pure hype and there is no better way to lose my attention.
In closing I’m starting to believe that those who buy from charts are not real music fans; they are just people who only DJ because they want to play something that everybody has heard without structuring a set according to the energy the crowd emits. Sadly then, the ones that contain that sheer raw creativity from producers who take time and always seek to perfect the beat – may not see the light of day as we are submerged in clubs filled with generic chart hits.
Words: Nduduzo Smalz Ngobese
5 Mins with Culoe De Song
5 Mins with Culoe De Song
We grab 5 minutes with some of our favourite DJ’s and ask them… Well… Just about anything we feel like!!!
Young and gifted twenty one year old Zulu Boy Culolethu Zulu also known by his DJ name as Culoe De Song is signed under Black Coffee’s label Soulistic Music. He has been producing and DJ’ing his specialized version of World House music since 2007. His effect has taken the SA Dance scene by storm as he continues to grow his brand of epic African House with that unique touch that you haven’t quite heard before. If you are a fan you will know and love him for his contribution to the track Have Another One off Black Coffee’s second album. One of his own first releases 100 Zulu Warriors carries a distinct and fundamental importance for Culoe De Song with the song being a reflection of who he is and where he came from – a talented artist extraordinaire from Kwazulu Natal. He considers this track as the beginning part of the story regarding his impact on South African Music.
Culoe gave us 5 minutes of his time over a quick Facebook chat…
1. Going to war means…
Fighting, reason or no reason, it’s a fight.
2. Happiness is…
Comfort of the spirit in the space of reality.
3. What do you appreciate most about your friends?
Love & craziness!!! I have the best friends in the world!!!
4. If you were a Hip Hop MC what would your aka name be?
De Great.
5. Assuming reincarnation exists, what animal do you think you could have been in a past life?
A Lion.
6. The first thing you said when you woke up this morning?
“Wow I only slept 3 hours.”
7. I never leave home without my…
Self.
8. What is the one thing you were told as a kid that has always stuck with you?
“Good night prayer” in the name of the father and the holy spirit, god bless our night.
9. The one talent you’d never openly admit to having is…
Doing domestic work myself.
10. Your favourite world history character?
Che Guevara
11. One thing that always irritates you is….
Ego driven attitude.
12. Seduction is being able to…
Make your way into getting what you want.
13. Beer, Whisky or Wine?
Definitely wine
14. What’s your favourite meal?
I really like curry & rice.
15. Dream place to live would be…
Barcelona
16. If I wasn’t a DJ I would get my kicks from…
I.T.
17. Any phobias or Pre-DJ rituals to calm yourself down before a set?
Breath & smile.
18. Ever taken advantage of a groupie or fan just because you could?
Going back to the seduction case, maybe I have.
19. The last time you deejayed a fan came up to you and said…
You’re the best.
20. What feature impresses you most about a woman?
They are great in acting, action and obvious in reaction.
21. The Word that describes me best is…
Mellow-dramatic
22. When I’m not rocking to Dance music I like…
Hip hop and world music
23. Your Favourite Restaurant?
The Grill House
24. Your favourite international DJ/ Producers…
My favourite producers are Osunlade, Kanye West, Dr Dre, Charles Webster and Carl Craig.
25. The best thing about being a DJ in South Africa is…
You feel the people through the music… This country has a lot to tell.
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The Little Missfit: E.T. Phone Home
“We’re cut adrift in a sea of non-genre specific clubs, where electro trash is juxtaposed with hipster rock, and the décor is limited to sticky floors and foosball tables.”
I write this with ringing ears, smoky hair and residual feelings of shame. Yip, all indicators that last night’s party rocked. The shindig in question was Labyrinth at Trinity. Never mind the hangover, the thing that’s stuck with me most after last night is the uneasy notion that the trance scene, in club-land anyway, is but a series of revolving nights. Is there no place for the misfits to call their own?
I found this handy definition of a misfit in a dictionary: ‘One who is unable to adjust to one’s environment or circumstances, or is considered to be disturbingly different from others.’ Preach! I, as my nom de plume would imply, have always been a bit of a misfit. I was the girl with blue hair reading Anne Rice perched on the branch of a tree (no really). While my peers wore platform shoes and had belly rings, I wore tutus and used a Turkish puppet as a belt (yes really).
One fateful night, desperately under age I was asked for my ID at the door to the Boiler Room. Maybe it was my baby face, or perhaps the bouncer astutely sniffed out that I wasn’t one of their kind. Left to Cape Town’s dark streets, I needed to find somewhere to party until dawn—after all I had to wait for a bus home. I had a friend in tow, whose name and face are now a blur, but what I do remember is finding Getafix; a trance club in the loft of a creaking wooden house on Shortmarket Street. Who are these people? I thought. These smiley happy folk, who had even odder fashion sense than mine. And with that a Friday night habit was born; I had found the other misfits, and finally felt as if I had come home.
But it wasn’t just this club that had me enthralled, not too far down the road was another hippy haunt called The Afrogalactic Cafe. Spoilt I tell you. There was a real sense of community, being different was suddenly something to be celebrated. When the mundane passing of regular life became too soul-crushing, there were smoky rooms with ambient lamps and psychedelic beats to disappear into.
Back in present day, things aren’t quite as atmospheric. Sure there are some epic events, like last night’s Labyrinth or say the regular whomping Psynopticz Thursdays. But in-between these naughty nights, it seems we’re cut adrift in a sea of non-genre specific clubs, where electro trash is juxtaposed with hipster rock, and the décor is limited to sticky floors and foosball tables. And Capetonians aren’t even the worst off; jet-setting Joburgers have become the norm, flying to our city to get their fix. But let’s cut the nostalgia for a moment. Trance is a cash cow. Promoters are well aware of how starved people are for psy, and a solid party can rake in the moolah. So why not open a club? Let’s look at the mechanics; a solid sound system (why is this so hard to achieve?), some groovy décor, a cosy dance floor, nag champa, and a liquor license. Ah…is it simply not viable to open any sort of club in Cape Town anymore? Our fine city’s new liquor laws mean that the drinking hours are cut short—and man (or dude) cannot party on nag champa alone.
The odds are against us misfits (funny that), while trance music is here to stay, the venues where we can enjoy it at are dictated. Clubs that usually play house music occasionally get dressed up in lumo and let us freaks come out and play. The décor is soon torn down and normal business resumes. Sitting here, with my head spinning, I reflect on how nice it would be to go somewhere and hang out with the other misfits. As fun as last night was, I don’t always want to crawl home at 5am; a quick smoke, a chill-out session, a drink with friends… But instead, we’ll just have to wait ‘till someone throws another party with a psy-studded line-up, and melt our brains all over again.
Written By : The Little Misfit
Photography By : www.jadedmedia.co.za
Stage Invaders : The Final Frontier
The Stage Invader gets its kicks from soaking up the energy created by a musician, much like a musical vampire
Picture the scene; the music’s thumping at Groovy Trooper’s Vision Serpent party, a DJ (who shall not be named) is whipping the crowd into a frenzy. So much so, that a girl – who’s managed to climb on stage – is grooving big time to the beats. The Red Jackets have spotted her presence and are on the move. Grooving Girl notices them and makes a dash for it, en route she takes a detour, crawls under the DJ’s table and – wait for it – kisses his foot.
Written By : The Little Misfit
Picture By : Keli van der Weijde
Raiko’s Head of State : Ras Kass
“I think I have a love affair with any person of African descent or offspring.”
Ras Kass
[LAUGHS] I think I have a love affair with any person of African descent or offspring. There’s an African part of me, not necessary South Africa, but the entire continent. I can relate to the parallels between black people here and back home as well as other races; there are good people, bad people. It was the same but different. I was fascinated by the transformation from English into the local dialect, thru Afrikaans, Zulu, and Xhosa, which was dope; I would love to come back again and again.
House Heads Up with Smalz : The Rise of The Nocturnal Gadget Wielding Celebrity
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