[REVIEW] FPK – Selfmedikasie: The result of our youth!

Francois, Wynand, Hunter, Johnny, and Snake have delivered another album so perfectly crafted and relevant to the time of its release, just like they always have when we were still teenagers – angry and desperate to find ourselves.
We don’t have to shy our faces when people talk about being Afrikaans, there’s only a handful of Afrikaners holding onto racism and apartheid – we’ve shown the middle fingers to our parent’s ways, the wrongs in Christianity and we’ve formed our own persona’s in the new South Africa. We aren’t pissed off anymore, we are proud of who we’ve become! Continue reading [REVIEW] FPK – Selfmedikasie: The result of our youth!

Fokofpolisiekar – Selfmedikasie

An album so highly anticipated that it’s received R1’082’780 crowdfunding and not just their dream goal of R500’000.00 to create, record, produce and release their brand new album. The feedback of this crowdfunding campaign built a bit of a love-hate relationship towards the album in the South African music industry, but today the fruits of this campaign will be available for picking to fans and critics who pledged… Continue reading Fokofpolisiekar – Selfmedikasie

Rocking the Daisies 17

Rocking the Daisies proudly announces the full 2017 line-up! Main features of this year’s festival include Flume (DJ set), Two Door Cinema Club, Black Coffee, The Naked and Famous, Joey Bada$$, Cassper Nyovest, Snakehips, Sam Paganini, Patrick Topping, Riky Rick, Fokofpolisiekar, Die Heuwels Fantasties, Ray Phiri and Beatenberg.

Continue reading Rocking the Daisies 17

Fokofpolisiekar Interview Voor Park Acoustics

Foto deur Jaco S. Venter

 

Ons het bietjie met Wynand Myburgh gesels van Fokofpolisiekar oor hulle crowdfunding projek, die toekoms van Fokof en ook Park Acoustics wat die Sondag hulle 8ste verjaarsdag vier!  Check dit hier uit:

Continue reading Fokofpolisiekar Interview Voor Park Acoustics

WIN: Afrikaans Rock Vol 2

Afrikaans Rock is back due to popular demand and the second of the series is set to take place this April! Afrikaans Rock, in partnership with Hunters’ Dry, brings together for the second time, South African music’s biggest names on the iconic Shimmy Beach Club Stage.

Continue reading WIN: Afrikaans Rock Vol 2

EP REVIEW: The Jumping Guns – Self-Titled

The over-saturation of the indie scene can be partially blamed on the South African aversion to calling bands pop rock. Any band with an upbeat tempo and catchy choruses tend to be placed directly into indie category and are left there to fight for attention. This ultimately results in years of hard work to gain a sliver of mainstream attention or in the band stagnating and conforming to genre norms just to get that one big break. Luckily, some bands don’t tend to get hung up on the niches into which people place them and just go about making music.

The Jumping Guns embody this spirit as there is an enormous disconnect between how they sound onstage, and how they sound on a studio EP. Frequent gig-attenders in Stellenbosch would have become accustomed to the band’s energetic indie-rock sound that suits the nicotine-drenched walls of Aandklas. It is a sound that has allowed them to perform alongside the likes of Al Bairre, Desmond and the Tutus and Fokofpolisiekar without anyone really batting an eyelid.

However, their debut self-titled EP sees the band embracing a hybrid of boisterous pop rock and intricate indie rock whilst tempering it all with the glossy synthetic sheen of alt-pop. Their opening song, aptly named “Intro Song”, starts off sounding like it should be included on the OST of Stranger Things until gritty guitar riffs kick in to give it a foreboding and serious aesthetic. This is rather ironic considering the rest of the EP is the epitome of aloof happiness as lead singer JH van der Westhuizen delivers lyrics soaked in romance and teenage-like praise for falling-in-love.

The first real musical offering on the album comes in the form of “Again and Again”. Upbeat guitar riffs heavily coated in synth open up the song to give way to a brief piano interlude that accompanies the opening verses of the song. Thereafter, “Again and Again” reverts back to synth-heavy guitar chords backed by a pop-influenced drum beat and a faint piano melody. The song comes off as an intelligent and mature piece of pop rock that is heavily tempered by the synthetic elements of alternative pop. “Chasing Jewels” sees 3rd World Spectator guitarist Justin Versveld emerging out of nowhere to provide the jaunty guitar chords. This strangely pushes the song to sound a lot like the early days of Danceyou’reonfire. Jangling indie rock elements find themselves colliding with pop rock hooks and intricate guitar work. It is one of the few songs of the EP that pushes the band towards the realm of indie rock.

“Sleepercouch” is their most recent single, and the song that is the most far-removed from the rest of the EP. It comes off as less of a pop rock song and more of a typical alt-pop song with its pulsating bass riff and infectious synth tones. It is a fun and catchy song, but compared to the rest of the EP – it is quite possibly one of the weaker songs in terms of songwriting. However, it is still a rather decent song and I can imagine a live crowd losing themselves in its grooving bass and repetitive percussion. “Masses” was one of the first The Jumping Guns singles I ever heard and each time I hear it I am reminded of the talent within this band. It is a jangling, acoustic-based single that showcases the versatility of Westhuizen’s vocals and the ability of the band to create folksy rock ballads tempered by funky synth tones.

“Say Hello” is yet another song that gives the band an indie rock edge with its needling guitar riffs and sweeping guitar melodies punctuated with occasional bass riffs. It’s a hazy, romantic song that is best suited to be listened to on a warm summer’s day. The EP closes on the Mark Haze produced “City Sounds” that immediately hits the listener with a synthetic accordion before launching into a rapid flurry of acoustic chords and needling electric guitar riffs which persistently drive the song towards delivering catchy choruses and infectious pop hooks. The only saying that comes to mind is that the band saved the best for last even though that is one of the most clichéd things a writer could ever say.

Their self-titled EP proves The Jumping Guns to be worthy of all the attention they have received over the past couple of years. It is an indication of a band that has come far and matured in their sound but are not intent on stopping anytime soon.

7/10

Interview: The Shabeen

Acoustic folk-punk duo The Shabeen recently released their superb debut album Folk Is DeadIt is a beautifully and brilliantly cynical album that superbly blends together acoustic instruments and a punk ethos. We decided to catch up with the band and talk to them about combining punk with folk, the folk revival, South Africa’s punk scene and we get their stance of “electronic bullshit”.

A lot of interviews with new bands tend to be focused around rather clichéd and tedious questions like what is your origin story and your influences and so forth. Do you want to give a stock answer to that question to which you can refer all future interviews?

Jon and Ryan started playing music together in Captain Stu in about 2003 and have been writing and performing together ever since. When Captain Stu started to become less active in around 2011 Jon started focusing more on his solo folk career and Ryan enrolled at UCT to study jazz on Double Bass. After building up a solo folk repertoire and following Jon joined up with Ryan again to adapt some of his solo songs into full band arrangements. The duo were joined by Thomas Glendinning (who Ryan had met at music college) on drums. From then onwards the band built up a set of music together, independent of Jon’s solo set.

The most intriguing thing about your origin is that you’re a folk-punk duo (we can use that term right?) that has originated from Cape Town – a city not well-known for having an entrenched folk or punk scene. Did this make starting out rather difficult, or is a difficult start just the generic narrative for all South African artists?

We would have to disagree with that statement. Although there isn’t as much of a punk scene now as there used to be there is definitely a legacy of punk rock with bands like Hog Hoggidy Hog, Fokofpolisiekar, Half Price and many others. When we were teenagers we’d spend every weekend at punk shows. Cape Town also has a great folk legacy kept alive by things like The Barleycorn Club, The Alma Cafe, and the countless quirky Cape Town bars that host singer-songwriter folk sets regularly.

Your music is a rather lively blend of folk music and the no-bullshit ethos of punk. How did you guys come around to fusing these two elements that in traditional musical realms would usually be kept very far apart?

The fusion of folk and punk was a very instinctive sound that just made sense to us and it was a sound that we arrived at without really planning on it. We both grew up in the heart of the Cape Town/SA punk/ska and in our teens we spent every weekend watching (and later playing with) bands like Hog Hoggidy Hog, Fuzigish and Half Price. So we both have this ingrained long-standing love of punk rock but we both also felt very strongly that we could express our songs more emotively and even sincerely using acoustic instruments (nylon string guitar and double bass) instead of electric instruments.

Your music puts me in mind of a trend that can be seen with a few international artists like Frank Turner Rob Lynch and The Homeless Gospel Choir where they are fusing the raw, hard-hitting lyricism of punk rock with the personal and relatable feel that comes with folk music. It is actually becoming quite popular overseas, especially in the UK, but has hardly made much of an impact in South Africa. Why do you think this is the case?

I think South Africa is just naturally behind the rest of the world when it comes to setting trends. I don’t mean that in a bad way. There are obviously exceptions to the rules. But I think there have been a few bands trying similar things in this country, they just haven’t had the resources to get it out there as much because there’s not a lot of support for alternative music. In the UK, Frank Turner can pack out Wembley Arena and the O2 Arena. That’s incredible. But over there, he has radio play and he’s also just been playing for over 10 years. If we work hard enough we can also achieve more. It’s just really difficult in this country because of our media support and infrastructure.

 You’ve managed to secure yourself a tour of Europe later this year – how did this come about and where are you going to be playing?

It basically came about through us just building a data base by following what other musicians were doing in a similar scene to us. Then we either contacted them directly or the venues they had listed and started booking dates. The full itinerary will hopefully be launched by the end of March. We’re excited to go play in new territories and see how well our music gets received. As it stands we have gigs confirmed in England and Germany. More to follow

I recently had a discussion with an Australian band about how geographic locations can play an enormous role in influencing one’s sound. Do you think that your position in Cape Town played a role in influencing your album? It seems the case when you consider the laidback aspects of your album – a quality that is attributed to Cape Town.

As mentioned above, we were definitely influenced by the punk scene we grew up in. Our love for that kind of music will never fade. To answer the question concisely I think we would have to say yes, where we’re from did play a part in the style of music we found as a band.

You mentioned in your initial press release regarding Folk Is Dead that the title is a play on the concept of “punk is dead”, which is rather ironic considering how the culture of punk is so deeply ingrained in your music. I find it to be a rather interesting choice seeing as how both folk and punk are in the midst of a revival on the global circuit, yet in South Africa it seems that many folk and punk artists, that do not adhere to what mainstream audiences want, are still stuck in the underground. What are your thought on this?

We came up with the name as a tongue in cheek approach to what we’re doing. It’s not a literal thought of ours that folk is dying. We thought it was quite apt because the concept of ‘Punk is Dead’ came around through the face that certain bands were selling out and the style was becoming quite popular and commercial at one stage. We feel that folk is going through that trend at the moment. Bands like Mumford and Song, Avicii and more are exploiting folk and almost turning it electronic. We have nothing against that at all, we just thought the tie in was clever and the name was appropriate for now.

On the note of Folk Is Dead – you guys engineered and produced the album all on your own. Why did you choose this process and was it rather difficult?

We chose the process because we had the opportunity to use Vanguard Studios ourselves and spend as much time there as we needed. Jon and Tom are both qualified sound engineers so the plan was to save money on employing and engineer to track the album when we were capable of doing that ourselves. Production wise, we really had fun adding new things to the songs and playing around with certain sounds and ideas. We can put that down to having the time to do so. It was difficult at certain stages but at the same time, we are so proud of our product now because we did it all ourselves.

There is a raw and authentic sense of catharsis to your music. Do you find it difficult to present these personal and emotional songs to complete strangers?

At first, it was quite difficult. I kind of had to view the lyrics just as part of the music and not think about what I was actually saying when I was performing. But lately, the new stuff we’ve been writing as a band is less personal and easier to relate to on a general scale. If people are actually listening, we’re happy

Your music goes against the indie-pop/indie rock narrative that has become so firmly entrenched in South Africa – to the point where nearly every other young band is an indie band. What is your opinion on how fixated people have become on the genre?

We’ve been very active in the SA live music scene for a long time now and we’ve seen it go through so many phases. That’s how we view it now. It’s a phase. If it gets kids to get off the couch to start bands because they like it, then we are all for it. We’re not an indie-pop band but we understand that each genre has it’s own pro’s and con’s. At least, this phase is sellable and bands are getting a bit of attention amongst all the electronic bullshit that’s out there

You have mentioned in a few interviews that you could go on for hours about the local industry. I would love for you to go on for hours, but perhaps I should ask what you think are the biggest issues facing the industry and where can the industry go from here?

We are firm believers that there is not enough infrastructure for new bands to launch themselves. When we first started playing music there were so many venues that were the right size and vibe to book gigs and get experience on stage. Now, all those small venues are gone and the bigger venues are just too big and the costs are too high for new bands to put on shows. You can start a band and play in your garage for as long as you like, but the only way you’re going to get better is by playing in front of people on a stage. And you have to make mistakes and roll with the punches. Unfortunately, those stages just don’t exist anymore and hence, there are way less live bands than there were 8 years ago. Hopefully, this is also just a phase and it will come back round full circle soon

Finally, if you could cover one song which would it be?

“Try this at Home” by Frank Turner

Win Tickets To DORPSTRAAT Live

Woordfees is a long standing festival that celebrates all aspects of Afrikaans culture through artistic expression in all forms from poetry to art to music. The past couple of years has seen the festival begin shifting away from its singular Afrikaans roots to allow for the inclusion of English artistic expression. This opened Woordfees up to a much wider audience and it has now become a highlight of Cape Town’s cultural calendar with people flocking in from all over to attend the various events. It has always been described as a festival that caters to a much older and sophisticated demographic.

DORPSTRAAT Live is evidence that Woordfees, in conjunction with Kyknet and Hilltop Live, want to move away from the belief that it is solely for one singular demographic and rather a festival that caters the young, the old and the young at heart. It is a music festival that brings together Afrikaans and English with a lineup that consists of eight of South Africa’s best live acts. On 12 March, Stellenbosch shall play host to Matthew Mole, Spoegwolf, The Plastics, Dan Patlansky, Bittereinder, Fokofpolisiekar, PHFat and GoodLuck at Coetzenburg StadiumTickets are currently on sale for R100 via Computicket. They shall cost R150 at the gate.

South African Music Scene are teaming up with Hilltop Live to give away 3 sets of double tickets. There are three ways to enter. The first is to follow us on Instagram (@SAMusicScene) and tag us and @Hilltoplive in your best summer selfie while using the following hashtag: #MatieSummerSelfie. The second option is toenter by commenting below with your favourite act on the lineup. The third is to post your best summer selfie on Twitter with @CapeTownMusicSc and @HilltopLive tagged in the selfie while using the same hashtag being used for Instagram.

Winners to be announced on 5 March – we shall be picking one winner from each platform.

Show details:

Date: 12 March
Venue: Coetzenburg, Stellenbosch
Tickets: R100 pre-sale (www.computicket.com , Shoprite, Checkers or Checkers Hyper)
Line up:
15:30 Spoegwolf

16:30 The Plastics

17:30 GoodLuck

18:30 Mathew Mole

19:30 Dan Patlansky

20:30 Bittereinder

21:30 Fokofpolisiekar

22:30 PH Fat

 

 

WIN: Fokofpolisiekar at The Assembly 5 Feb

Bellville legendary rockers will be coming together for a long-awaited Cape Town gig at Cape Town’s biggest live music venue: The Assembly supported by up and comers Southern Wild! For one night only The Assembly will be serving Fokofpolisiekar’s craft beer selection!

 

Continue reading WIN: Fokofpolisiekar at The Assembly 5 Feb

The Jameson INDIE Channel Music Video Grant Contest Is Launched For 2016

The Jameson INDIE Channel has been promoting some of South Africa’s best music videos over the past years. They recently released a Top 50 list of some Sout Africa’s best music videos. The list included Taxi Violence’s “Devil ‘n Pistol”, PHFat’s “House of Clashes”, Strident’s “Power Metal From Space”, aKING’s “Man Unkind”, Fokofpolisiekar’s “Brand Suid Afrika” and many more. The full list can be viewed here.

The Top 50 guide clearly shows a commitment to supporting South African artists and the filmakers and directors that allow our local artists to create some truly spectacular music videos, but the Jameson INDIE Channel are not content to just be a platform through which the music videos are shared. They desire tobe a platform that assists directors and filmmakers in creating their masterpiecees. This is why they have launched the The Jameson INDIE Channel Music Video Grant.The Music Vidoe Grant is a contest that offers one director access to R100 000 to create the next best South African music video.

The proccess to enter is relatively simple as the Jameson INDIE Channel blog explains:

“If you’re interested in submitting a treatment, you’ll first need to find a musical collaborator and secure a track to use. The track must be South African, with no existing video, and have been recorded in the last six months. There is no restriction on musical genre. Your video idea needn’t feature the artist (of course it can if you’d like), but it’s crucial to ensure you have consent from the artist before submitting a proposal. By entering a treatment for consideration, it will be assumed that you have obtained permission in this regard.

Similarly, the director submitting a proposal will be responsible for finding a team to work with, including a producer to manage the production and its finances (nothing prevents the director from assuming a producer role). The total production budget will be paid over in full, as opposed to paying individual invoices. All equipment, locations, crew etc will need to be sourced, managed, and paid for by the production team. The INDIE Channel team will oversee things without getting involved, simply to ensure delivery on schedule. The team has some worthwhile experience in terms of directing and project management, so they will gladly assist at any point in the process. The point is that [the Jameson INDIE Channel is] here to help, not meddle in the creative process.

We’ll be accepting proposals from all South African directors over the age of 18 between 10 December 2015 and 31 January 2016. Directing experience isn’t a prerequisite, but will more than likely stand in your favour. The guidelines for submitting a proposal are quite straightforward. Your entry is limited to two A4 pages – one page for a written proposal, and one page for a visual mood board. These must be submitted via email as a PDF, along with a digital audio file/link to the track you’ll be using.”

The cool thing about this contest is that the direcotr shall retain all rights to music video but only on the condition that music video shall be priemered by the Jameson INDIE Channel and subseqeuntly promoted. This pretty much means that the video belongs to the director and gets the most amazing boost with its initial release. So, what are you waiting for filmmakers? Go send a proposal to submit@indiechannel.co.za.

Full details of the contest can be found here along with the relevant terms and conditions.

Francois van Coke en Die Heuwels Fantasties – Neonlig

It has been a massive year for Francois van Coke with the release of his debut solo album dominating local sales charts – both digitally and physically as it climbed to the top of the South African iTunes charts and found its way into the top ten on Musica’s album charts. Furthermore, his work in Fokofpolisiekar and Van Coke Kartel has also kept him busy as he has lept from launching several beers, performing at Rocking The Daisies and accompanying Scott Strapp on his tour of South Africa.

It on this wave of success that Van Coke has now released the latest single off of his solo album: “Neonlig” featuring Die Huewels Fantasties. It is a slow-burning ballad that bursts into the melodic frenzy that used to accompany Die Huewels Fantasties’s earlier work and it is coupled with a restrained version of the aggression that usually accompany’s a Fokofpolisiekar song.

Listen to the single below.

INTERVIEW: Jack Parow

Photography courtesy of Vetman Design and Photography 

Some artists silently rise to success in South Africa, but Jack Parow decided to smash into the limelight with his rough and abrasive brand of alternative Afrikaans rap music. We recently caught up with him at Rocking The Daisies and spoke about having to deal with being labelled as the Antichrist of Afrikaans music, the state of the South African music industry and the brilliance of Rocking The Daisies and music festivals.

So throughout your rap career youve been labelled as a bit of a devil child in the Afrikaans community. Would you say the recent publication of your memoir was an attempt to give your side to that story and sort of, to the way youve been labelled is almost the anti-Christ of the Afrikaans community?

That wasn’t my intention in writing it. It just happened without me realizing it because that is obviously what happens when you’re telling a story. It is still dirty as fuck and rough as fuck so if I was trying to make them like me more then I was not doing a very good job with it but it did help a lot, I think, just for people to know who I am and that I stand for something, I don’t just do this shit for fucking like no reason, like I do stand for Afrikaans and stand for alternative side of Afrikaans.

 Actually on that note, what was your reaction to the way people used to widely criticise your music in that fashion?

I knew if everyone likes you then you’re doing something fucking wrong.  Like I knew people weren’t going to like it, so my skin had to get hard quite quickly at the beginning. It does get to you when people talk but there are so many lovers that the haters kinda fucking fade away. I like it when people give me hate on my [Facebook] wall, because people will never give you hate in real life, they always fucking like social and shit, they won’t do it in front of your face and my fans are so fucking rough so it’s actually hilarious for me when people do give me hate and then my fans just fucking rip them apart, so it’s fun.

Have you started to find out if people started to calm down as your music has begun to mature and moved onto much more mature topics for the recent album?

Definitely, I think it’s also because society has become so desensitised.  People are always shocked with something at the start but the longer it goes, the less of a shock it becomes. It can be seen in our murder rate and fucking theft and shit. People are always like – “so someone got murdered, well okay, well whatever”- like in another country if someone fucking gets murdered it’s like the biggest fucking thing, like here it’s every minute that someone gets fucking killed. It becomes a case of desensitising of oneself which is not always a good thing but it happens here.

 So youve had a pretty successful year so far, with your latest album going double platinum and touring overseas, but do you ever expect to get to that point, starting out as a boytchie from Bellville?

No fuck, I mean I just made music for the fun of it, so to be able to to make music and just do it as a living, blows my mind, still to this day. I still can’t believe it.

Youre pretty tight with Fokofpolisiekar. I remember you went on stage with them for one of their recent shows at Assembly for the launch of Dag Dronk and performed alongside them. Have you ever considered doing a collaboration with the entire band rather than just with individual members?

 We did one long ago, where me and Die Antwoord and them did a song called “ Doos Dronk”. That was kind of the whole band but the music never really lends itself completely to a fulllive band sound and I think that’s why it never really happened so far, and also because by the time I fucking came out, they were already stopped making music, so that’s the thing. My last single I just did with Rikky Rick, actually Johnny produced, so from that side of things, I still work closely with them and Johnny is the mind obviously behind the music so if you look it that way, I have actually been making music with them.

Youve been in the music industry for quite some time now, what are your honest thoughts on the SA music scene as it stands today?

Well I think, honestly, I think it needs a bit of a kick in the arse again, I think someone needs to come out, that’s not just sounding like everyone else – someone who is pushing the boundaries who is trying to do something fucking new again, and that’s what Fokof did, when they came out, and hopefully I did it in my own way when I came out, it just needs a new revitalisation in that kind of sense of the word. I know we did it for Afrikaans in a way, but we did someone who does it overall, or just someone who just fucks with it and hopefully it will happen soon and we’ll see. People tend to do what is the easiest and that’s always a kak thing. I’m waiting for someone to fucking take the hard road and fuck shit up.

I think what might scare some bands, is actually the hate that Die Antwoord received when they tried to do something different.

Ja well fuck you can also say, like they might have gotten hate in South Africa but they fucking massive in the States and like Germany, countries like, and so fuck it, whichever way you go, if you do something proper, you’re going to get noticed and gonna have fun doing it, like I get a fuck load of hate but still fuck it, I get a fuck load of love as well, so…

The love definitely outweighs the hate

Ja no, fuck definitely

So the sole reason you are here today, and I have asked this question so fucking much today, we are here to celebrate 10 years of RTD, so what has been your favourite Daisies memory from the past 10 years?

Fuck, I must tell you, I think it was my first time playing RTD. It was my first time and I played the Main Stage, and that was just a mindfuck, I had never been here, I didn’t know what to expect, I didn’t know what it was, I’m from Cape Town but I mean I had no idea, I had never been to Daisies. To come here and the first time walk out on a big stage and see all these people fucking out to me, it was a mind fuck and I still have the photo and you couldn’t even see the end of the crowd -it was such a like humbling and crazy experience, so I think that was my most, my most memorable and also two years ago, I played at the Red Bull stage. It was so fucking windy that the crowd made a literal banana because the fucking wind was blowing the sound all around. It was the craziest thing to see, because I was on stage and the whole fucking crowd madethis massive banana – it was funny.

So, you mentioned that the first time you played Daisies you were on the Main Stage was a pretty big deal, what has Daisies done to uplift a lot of South African bands, giving them that chance as a start out band, like we’ve seen The Liminals. Two years ago nobody knew who they were and they played a pretty amazing set on Main Stage, what do you think will help Daisies to manage to uplift a lot of local bands like that?

It’s great man. If you feel that you believe in something and believe in a band or believe in a sound – it’s fucking good to give them a platform and it’s the best thing. It’s great because then a shit load of people get to see them. Oppikoppi gave me my first shot, basically my first show as Jack Parow, my whole entire fucking life was at Oppikoppi and they gave me that shot and if it wasn’t for them I think it would have taken me much longer to get to where I am today. So, fuck it is great. I’m so thankful to Oppikoppi and for Daisies for doing that for bands and for putting them out there, because at the end of the day that’s the coolest thing about music festivals: discovering new music and discovering crazy things. It’s fucking rad man, and I tour overseas a lot, I’m very thankful for that and then I walk around a lot and that’s the greatest thing about festivals is finding new fucking shit that you have never heard and like walking into a fucking tent and there is the craziest shit playing and you have the fucking weirdest shit and it just blows your mind and it’s fucking the best.  Music can be such a strong thing…

Yes I agree so much, I love it for that reason. Thank you so much for your time.

Rocking The Daisies 2015: A Suspension Of Disbelief

The problem with being a music journalist is that once the dust of a festival has settled you’re often left with the tough job of cramming a multitude of experiences into a neat little article that doesn’t stray too far past the maximum word count. It becomes incredibly difficult because somehow you have to find a way to describe an incredibly personal experience in a fashion that is accessible to those that did not have the tremendous pleasure of attending Rocking the Daisies. It may seem like a simple task from the outside, but have you ever tried to explain to someone exactly how a concert or festival was without descending into deranged mumbles and hysterical laughter as you have flashbacks to memories that would be labelled as “what happens in Vegas stays in Vegas”. Continue reading Rocking The Daisies 2015: A Suspension Of Disbelief

Blood Brothers, Cape Town

10 of South Africa’s biggest music heroes.  1 stage.  3 Hours of non-stop power hits.

Continue reading Blood Brothers, Cape Town

Five Artists That You Have To See At Rocking The Daisies

Photography courtesy of Adriaan Louw.

Rocking The Daisies is just over a month away, and with the hype of Oppikoppi dying down – it is time to get excited for the next highlight of the South African festival calendar. With Rocking The Daisies in mind, we have decided to compile a list of the five acts you simply have to see at Daisies this year.

Haezer

Haezer is a staple of the electronic scene, and practically a national treasure. His hard-hitting electro beats are fused with a snarling aggression reminiscent of a vague hybrid of grunge and industrial music., giving away to a furiously aggressive style of electronic music. He is known for creating complex and unique sets that don’t pander towards mainstream audiences, and rather draw on a variety of underground electronic and rock influences to produce a seething mass of electronic fury.

aKING

aKING have been a dominating force in the South African rock scene for an incredibly long time, and recently blew us away with their fourth album Morning After. The band has grown so much since the melancholic musings of Dutch Courage, and have developed into a fully-fledged pop-rock and alternative rock hybrid that promises to steal the show from the international headliners.

Fokofpolisiekar 

This band needs little introduction. They’ve been fronting the Afrikaans rock and punk scene for the past decade, and like the majority of the bands performing on the main stage of Rocking The Daisies – they’re one of our finest live acts. My last experience with the band left me with a few bruises and the burning desire to rush to the bar for a tall glass of water. Except an abrasively aggressive show as the band delivers some of the finest punk rock this country has to offer. Yes. There will be punk rock at Daisies.

PHFAT

This electro-rap outfit has been dominating the South African music scene for the past couple of years, and I still lack the words to describe their live shows. The best description would be hard-hitting, rude, and in-your-face. They are one of the most authentic live acts in the country, and are well-deserving of your time.

Al Bairre

Just like the aforementioned PHFAT, Al Bairre have been rising stars in the South African music scene. Their infectious brand of indie pop has been bobbing heads and moving bodies for a while now, and after the enormous success they’ve had this year – it shall be an absolute treat to see them performing live armed with two new singles, and the potential to drop their duet with Al Bairre.

More Local Acts Announced For Rocking The Daisies

After procuring a fantastic international line-up, Rocking The Daisies has now turned to securing only the best local acts to perform on the main stage, and the various other stages featured at Rocking The Daisies. For now, Rocking The Daisies are only announcing main stage local acts. These are all the acts that are going to have the fantastic opportunity to act as crowd-warmers for the Milky Chance, The Cat Empire,  The Kooks, and any of the other international acts that Rocking The Daisies may have up their sleeves.

Last month it was announced that Fokofpolisiekar and Bongeziwe Mabandlshall be performing on the main stage. These two brilliant artists are now joined by five locals act that have repeatedly proved their mettle, and shown that they are more than worthy to lay claim to a coveted spot on the Rocking The Daisies main stage. The artists in question are as follows: aKING, Al Bairre, Bed on Bricks, Jack Parow and Majozi. Each act is brilliant in their own regard. The melodic pop rock musings of aKING are bound to have you with your fist in the air. The indie pop sensibilities of Al Bairre will have you dancing while Bed on Bricks will deliver a fresh and funky set. Jack Parow shall provided the need element of hard-hitting rap verses, while Majozi will juxtapose the expletive laden antics of Jack Parow with his gracious indie folk musings.

Rocking The Daisies are going all-out for their tenth birthday, and there is no doubt that the weekend of 1 October to 4 October is quite possibly going to be one of the greatest experiences ever – or at least that I have ever had in my 18 years of being on this plant. Phase 3 tickets for Rocking The Daisies are currently available, and are selling for R950. You can purchase tickets here.