Lewis Daniel ft. Jay Phelps and Nathaniel Cross release ‘Find your Tribe’

Jan 17, 2025 | New Release, Music

“Find Your Tribe” and “Ships Do Sail” are the first singles to be taken from South London-based saxophonist and composer Lewis Daniel’s forthcoming conceptual jazz album, “Defective Disk,” due for release in May 2025.

“Find Your Tribe” underscores the vital role of community and kinship, blending rich afrobeat rhythms with futuristic, video game-inspired sounds. This single evokes a meeting point between the vibrant, cultural pulse of Wakanda and the revolutionary spirit of Fela Kuti, taking listeners on a captivating sonic journey with a distinct South London vibe. The track is more than just music; it’s a warm embrace—a celebration of the support and strength found in those who feel like family. Produced by acclaimed DJ Harrsn (whose remix of “God Is Trying” by House Gospel Choir was crowned Hottest Record on Annie Mac’s show), “Find Your Tribe” showcases Lewis’s experimental production, leading up to a lush string section and a powerful voice note from renowned gospel choir director Daniel Thomas. Thomas delivers an uplifting and sometimes humorous message, urging us to “align with souls on your path” and to “never allow anyone in your life who doesn’t add to it.” Reflecting on the theme, Lewis Daniel shares: “Finding your tribe was pivotal for me in my 20s. I needed people who saw me for who I really am and pushed me to grow. It took a lot of trial and error, but I’m grateful for all the tribes that helped me reach where I am today.”

Second single “Ships Do Sail” is a powerful blend of drum and bass, electronic, and experimental jazz that marks a pivotal point in his upcoming album. This drum-and-bass-driven track, layered with glitchy electronic textures, industrial sounds, takes listeners on an emotional voyage through turbulent waters. Drawing on powerful water metaphors, “Ships Do Sail” symbolises the process of drifting apart and learning to release relationships that no longer serve us. “Ships Do Sail” dives deep into the emotional process of learning to let go—whether it’s a friendship, a job, or a relationship breakdown. With pulsating rhythms and innovative production inspired by Radiohead and Hudson Mohawke, this track captures the confusion and pain that comes with navigating loss. It speaks to the harsh reality of how two close friends can suddenly feel like strangers in an instant. Produced by acclaimed DJ Harrsn (whose remix of “God Is Trying” by House Gospel Choir was crowned Hottest Record on Annie Mac’s show), the track marries haunting strings, ambient vocals, robotic synth textures, and voice notes that offer poignant reflections on endings. A key moment comes from Rachel Kerry, who says: “Things coming to a natural end because people drift apart is totally fine… it doesn’t necessarily have to be dramatic”—though it often is. Reflecting on the track, Lewis Daniel shares: “This was the first song I wrote for the album, and it was the seed for everything that followed. I was going through a friendship break-up that really tore me apart, and writing this song became a form of therapy. We don’t often talk about friendship break-ups, so it’s hard to know how to deal with them. This track helped me process those feelings and build the cyberpunk world that the album now lives in, blending my love for video games with music that carries deeply personal messages.”

 

Listen to ‘Find Your Tribe’ here

 

Press Release courtesy of Only Good Stuff

Munich-based trio, Prepared, release their debut album ‘Module’

Jan 17, 2025 | New Release, Music

Unique and sonically interesting, ‘Module’ is the new album by free-spirited Munich-based acoustic trio Prepared, released on Compost Records. The project features prepared piano, bass clarinet and drums in a chamber music line-up that is highly energetic.

These three Munich jazz musicians are united in their contrasts. Where one plays Argentinian tango with Quadro Nuevo, the other plays “folklore-free folk music” with Dreiviertelblut and the third plays German hip-hop with Moop Mama. In their new project Prepared merge cyclical motifs and cleverly layered patterns in minimalist yet highly virtuoso compositions creating mesmerizing ‘Gesamtkunstwerk’ (a work of art that makes use of all or many art forms or strives to do so). It’s as if Steve Reich, Jonny Greenwood, Nik Bärtsch, and Dawn of Midi had been combined for this project.

 

Listen to ‘Module’ here

 

Press release courtesy of Only Good Stuff

SARS Introduces Customs Taxes on Low-Value E-Commerce Purchases

Jan 16, 2025 | News, Community

Few institutions are as robust in South Africa as SARS – the South African Revenue Service, responsible for managing the country’s tax collection, enforcing customs duties and ensuring each of our compliance with national tax laws. 

As our world continues to shift, and the growth of e-commerce advances at an exponential rate, SARS have had to reassess tax obligations for e-commerce transactions, particularly for low-value imports from global retail giants like Shein and Temu. As we all know, the emergence of Temu on the retail scene has left any and all online search for any product with their offerings front and centre— and at wildly low prices. For an economic base such as South Africa, faced with low income rates and high unemployment, platforms like Shein and Temu serve as the perfect storm to satisfy the collective demand for both basic material needs and excessive consumption. These international e-commerce giants offer affordable goods that are often significantly cheaper than locally available products, making them attractive to cash-strapped consumers.

The question, then, has become the broader impact on South Africa’s local economy. With many South African retailers unable to compete on price, the flood of inexpensive imports threatens to undermine local businesses and in particular industries such as fashion, where product pricing is sensitive to production costs. Our ability to manufacture fashion locally has significantly diminished in recent decades — a topic we looked at more closely on South Africa’s manufacturing legacy for Interlude Chapter 26, last year.

Landfill by Twiggy Jia, via Pexels

Image by Natalia Voitkevich, via Pexels

As of September 2024, SARS took steps to ensure an even playing field could be levelled between local retail and the allure of international accessibility. With the introduction of a 45% Value-Added Tax (VAT) on all imported goods, including those valued below R500 — a price point previously exempt from import tax — shoppers of giants like Shein and Temu can now experience significant additions to their total order amount than simply the check-out amount and shipping fees. 

Along with VAT, the South African government has also restructured customs duties. Low-value consignments, previously exempt or taxed lightly, now fall under stricter duty categories, with this restructuring aligning with global standards set by the World Customs Organization, ultimately ensuring fair competition is experienced by  local manufacturers and retailers. Now, a consumer purchasing from Shein might find that their R1,000 order incurs an additional customs fee, making their total purchase much more expensive than anticipated.

Local retailers have largely welcomed the new tax measures, with the understanding that they are necessary to protect South Africa’s retail sector and to address the imbalance caused by cheaper international imports. In an interview with Fibre2Fashion, Michael Lawrence of the National Clothing Retail Federation  emphasised that these tax changes are essential for ensuring fair competition and supporting local jobs, saying that “by enforcing the 45 per cent VAT on packages under R500, we anticipate a more level playing field, which will simplify the competitive landscape for all market players. This measure is expected to support the local manufacturing sector by reducing the unfair advantage previously enjoyed by some offshore retailers, thereby fostering a more equitable and sustainable market environment.” In addition, Michael noted that this is part of an ongoing effort to protect our consumer legislation, and that such “measures will ensure that South African consumers are protected by the country’s robust consumer protection legislation. There is a concern about offshore operators without a local presence, as they do not provide the same level of consumer protection and recourse that local South African-based operators, whether locally or internationally owned, are required to offer. This move aims to enhance consumer safety and ensure fair competition within the market.”

While these tax changes aim to create a more level playing field for local businesses, they come at a cost for consumers who now face higher prices on low-value imports. From a privileged perspective, one would argue that challenging any material excess coming in at the cost of our own local, economic future is a non-negotiable— however, this stance doesn’t fully reconcile with the economic nuances within South Africa, in which issues like pervasive inequality are at play. 

As the saying goes— nothing in life comes for free; not even the deliriously low cost products on Temu and Shein. 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Trevor Stuurman and His Influential Role In Africa’s Creative Renaissance

Jan 14, 2025 | Interviews, Art

It is well felt and known on the continent that Africa is undergoing a renaissance — one in which the expression, and multiplicity, of African identities regionally, locally and in relation to the rest of the world, is flourishing. The idea of an African Renaissance and its importance was first coined in the 1950s by Cheikh Anta Diop, a Senegalese historian, anthropologist, and physicist, who wrote extensively about this idea, which was central to his vision for the future of the continent. He believed that Africa could experience a cultural, scientific, and political revival by reconnecting with its precolonial heritage, embracing its rich history, and harnessing its intellectual and creative potential. We’re happy to report, as CEC, that we witness this harnessing each and every day as a platform.

Imagery courtesy of Trevor Stuurman

When I think of the visual narrative surrounding this renaissance, photographer and multimedia artist Trevor Stuurman stands out as an emblematic arbiter of contemporary African creativity; a wayshower, effortlessly so, on the brilliance of Blackness and its titanic place in the 21st century. It was always the reference, as we know. As Trevor so succinctly points out in our conversation, “my point of view only stems from where I come from, and that’s the basis of everything I create. Had I been born elsewhere, my context and outlet would be different. I always reference what Nina Simone once said, that ‘it’s the artist’s duty to reflect the times’ and all I do is reflect the times that we are currently living in. My work is my attempt at writing history in real time,” and that Trevor’s afro-centric creative philosophy, “is really simple in that way, I don’t have to think of anything else outside of being African. It simplified my mission and my work because it’s solely based on my point of view as an African.”

Trevor Stuurman is somewhat of a veteran, having entered the creative space very soon into adulthood. In the last decade, he has cultivated a stylistic focus that has become definitional in much of the way contemporary African culture and fashion is visually represented on a global scale. He has been recognised by Forbes ‘30 under 30’ list and listed by TIME Magazine as a ‘Next Generation Leader’. Whether it was his collaboration with Gucci to infuse Zulu sartorial expression with the Italian fashion giant’s ‘house codes’, and offer a vision of African luxury, or being hand-picked by Beyoncé for various projects in her ongoing celebration of African heritage and Black history through a contemporary lens — Trevor is a trailblazer in bridging African identity with global creative narratives. Trevor notes that, “I believe that art chose me – I didn’t have to really find myself, it was always a part of my journey.”

When we embark on the creative path, this energy requires us to make clear choices in what we want to create and what we will ultimately do with our work. I ask Trevor whether he feels the term ‘fine-art’ photography is a way he’d describe his work, as it has soared far above and beyond the prescriptions of simply fashion photography, to which he explains that the only terms that matter are those that are self-defining, “as creatives it’s up to us to decide how far we can take our craft or gift. You are the one who decides to call yourself whatever – it’s not up to galleries or the industry to define you or what you do. When we make the decision to be what we want to be, and live a creative life that feels aligned, we get closer to whatever it is that we’ve dreamed of. It’s like a method acting in a way; living in your purpose.”

Imagery courtesy of Trevor Stuurman

On the subject of this moment in Africa and his place as a leader of this wave, Trevor shares that “It feels like a reawakening on the continent,” and “I think it’s about the historic nature of Africa’s perception by the rest of the world. We have never been able to tell our story – even as we have been so fluent and articulate in telling ourselves to ourselves. If we think of the oral traditions that have been relayed from one generation to the next, without them being manipulated or changed. Africans have always been great storytellers, but our stories have always been told on behalf of us by the world. We’re living in a golden era in which we are able to tell our stories, in our voices, on our own time.”

Trevor’s notable works are exhaustive and ever-growing, and while difficult to whittle it down, Trevor notes that some of biggest ‘pinch me’ moments was, “being able to work with Beyonce on different projects. Every opportunity or call was a pinch me moment! I look up to her so much based on her commitment to her craft and her commitment to building different universes. For Beyonce, every chapter of her life is reflected in a certain world — and the world she creates meets her where she is. I’ve always admired that,” and that, “when I got to shoot former US president Barack Obama, it was quite a special moment for my mother. It was the first time I photographed someone that she idolised.”

This year, Trevor launched The Manor; a storytelling platform, creative universe and cultural archive, that sees Trevor stepping into a curatorial role and extending his vision to shape broader narratives beyond his own voice. In its first year of launch, The Manor was awarded a place in National Geographic’s Best Cultural Spots in their ‘Best of The World’ series. As Trevor explains, it’s been a deep process and that, “starting The Manor has given me a new burst of energy in terms of being able to exercise my creative muscle in a different way. I’m not necessarily pressured to create work myself, but I’m able to create space for others to share their work. At the same time, I get to figure myself out right now. It’s almost like a productive way to take a hiatus! I’m off the radar but still present, so to speak.”

Imagery courtesy of Trevor Stuurman

“I think building this has been the most challenging thing that I’ve done,” Trevor muses, “not necessarily professionally, rather that it was a true experiment. Often, we refer to our work as experimenting; but we’re doing things we have done before, just expressed in a different way.” For someone with as broad a repertoire, a foundational archive is a natural culmination in Trevor’s path, and as he puts it, “The Manor has been about institutionalising a lot of my efforts that might go unnoticed. Now, they’re able to be packaged in a way that is archival and recognisable. I’ve always been in practice in service of The Manor.” 

Curiously, I ask Trevor about the name itself, “the name comes from the fact that my friends have always called my different homes, ‘a manor’. My friends have always been first collaborators, and many of them are in the creative space, and it stemmed from the idea of an actual home. It’s always been about taking up space and creating space. As a business structure, it’s a home with many different rooms in which we do many different things. The Manor means we can exist in many different dimensions but still be one, without dividing oneself in the process.” This anecdote, of Trevor’s homes being reflective of a manor, denote the impeccability and meticulousness that encompasses all aspects of his inner and outer life, “it makes life really special when you are really specific and intentional. Even just the way you can romanticise your daily routines — from having a signature scent, or look — having things placed and curated, it makes life more interesting for me.”

Is The Manor an effort in building a legacy, I ask? “Yes, The Manor is a legacy project. The work is more valued when it no longer exists, and it’s so special to see how each story can touch a different life and have an impact that is yet to be realised. I remember growing up in Kimberley and magazines being so important to me; those were my first passports into the world. They allowed me to escape and see other ways of living,” and that “archiving is such an important labour of love. It goes into building generations and futures.”

For Trevor, his point of view has always been innate and instinctive, though constantly evolving as he has grown, explored, and deepened his practice. He emphasises the importance of expressing authentically, noting that “building your own point of view is just an extension of living your best life. If you happen to document it, in whatever way that is, you’ll find what that is.” Reflecting on his work, Trevor sees the continuity, acknowledging that “it’s only seasonal updates, or when I travel and learn new ways to package things and style things, these are just new layers that I add to my existing framework.”

To Trevor, the creative process is deeply personal. As he puts it, “self always sells. It doesn’t have to be a complicated process, but it does take time. Most importantly, you need to value yourself. You’ll be able to pour more into whatever you’re doing if you see yourself. The pressure is never from external forces. It’s always me, pushing myself. All the standards are set by ourselves; we have to adhere and uphold our own standards.”

Where to, next, for one of Africa’s most prolific creative forces? “Right now, I’m catching my breath. It’s been a crazy year — and in order to have sustainable business, it’s important to find time to take it slow. We’ve managed to build the identity of The Manor and take up space within the storytelling space in South Africa, and I think now it’s about ensuring it becomes a long-lasting, sustainable effort.” It is always within rest and reflection, that creative energy is remedied, redirected and renewed for the chapter — as Trevor, whose life demands boundless energy and focus, “my intention for the rest of the year is to arrive at a more peaceful and calmer place. I want to find a home in that feeling.” May Trevor’s rest within The Manor, his creative haven and cultural sanctuary, and all the other moments that lie ahead — encourage others to explore their authentic selves and contribute meaningfully to the world in which they wish to live in. Sublime. 

 

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

The Aesthetic Dualities and Cultural Undercurrents Defining 2025’s Trend Cycle

Jan 13, 2025 | Lifestyle, Fashion

Since CEC’s inception, we have taken care to understand trends rather than simply regurgitating them. We love a microtrend moment, but what we love even more is knowing precisely why our fave microtrends have occurred. It’s our firm view that trends are powerful ways to test the cultural temperature—serving as frameworks for understanding the deeper tensions shaping how we dress, shop, and express ourselves. This year is no different, with this current trend cycle underpinned by three distinct dimensions worth looking at; namely, aesthetic dualities, consumer behaviors, and cultural undercurrents, as a means to understand the why and how of this moment in time. 

It’s a big year. 2025 marks the halfway point of a decade, one that began with a thrusting jolt to each of our realities. We are firmly in the 21st century (no matter how much nostalgia continues to reign supreme in our collective consciousness) and amid a post-pandemic landscape and the intensifying role of technology in our lives, the trend cycle reflects the many complexities that this decade has brought. This year’s fashion landscape feels akin to a mirror, reflecting both the chaos and clarity of our times. The tension between excess and restraint is palpable, as we oscillate between stripping back to essentials and leaning into audacious self-expression. Neither maximalism nor minimalism will define this year; instead, the swirling tension of both showcases the many ways in which we, as consumers, are responding to the cultural climate around us, and how we are choosing to signal our participation within it. Consumer behavour’s seem to underscores this dichotomy right now, and an example of this is the rise of capsule wardrobes and sustainable practices existing alongside the relentless churn of microtrends. Meanwhile, cultural undercurrents—ranging from climate anxiety to a yearning for joy and escapism— are fueling the many aesthetic contradictions that we’re seeing. At the heart of it all, 2025 stands as a moment to rethink how we define identity and intention through fashion. As TikTok’s favourite fashion analyst, Mandy Lee, so aptly noted in her 2025 trend prediction analysis, “if you’re not considering the impacts of politics, the economy, society and culture impacts fashion, you’re missing a key variable that dictates the way fashion moves forward.”

@eartheater photographed in their Sea Witch embodiment, photographed by @hannahkhymych, via Instagram
The Face of A Solar Punk future, @not_another_hanna self-portrait, via Instagram
Aesthetic dualities in 2025 define the push and pull between nostalgia and innovation, opulence and simplicity, all set against a backdrop of hyper-personalisation. Pinterest, everybody’s favorite curation tool, have released their annual and highly anticipated ‘Pinterest Predicts 2025’ as a forecasting analysis, with their findings modelled into ‘sub-categories’. This information is gathered from the immense metrics that users generate through pinned images, searches, and interactions. For 2025, the site’s forecasting prowess is showcased across a variety of ‘archetypes’ and ‘cores’. Here are a few to take note of;

Cherry Coded ‘Tasting notes: Dark, sweet and such a vibe. Gen Z and Millennials will infuse cherries into their makeup, menus and mood boards this year. One thing’s for sure—tart will have your heart in 2025.’ 

Aura Beauty ‘2025 will be the year of the makeup mood ring. Gen Z and Boomers are driving this high hue look that’s all about honing in on a color aesthetic and flaunting it from chin to cheek. Find your aura, wear it with confidence and consider yourself dipped in vibes all day long.’ 

Rococo Revival ‘All frills, no chill. This year, weddings, parties and aesthetics will draw inspiration from the Rococo era—a Late Baroque period that was both opulent and ultra-feminine. Gen Z and Boomers are driving this trend toward classic corset gowns, luxe accessories and ornate tablescapes.’

Sea Witchery ‘You’re in your sea witch era. And it’s so much more than seashells and starfish. In 2025, Gen Z and Millennials will dive head first into sultry siren makeup, wet wavy hair and moody mermaid manicures from sun up ’til moonlight.’ 

Castlecore ‘Medieval is having a major moment. In 2025, Gen Z and Millennials will take home decor inspiration from ancient castles, while fashion and accessories will be gothic inspired. It’s a comeback of the highest order.’

Moto Boho ‘So long, hippie aesthetic. Moto Boho has entered the chat. In 2025, Gen Z and Boomers will take to the streets with chunky leather handbags, flowy skirts, moto boots and just enough fringe. It’s not just a look—it’s a lifestyle.’ 

Player One ‘Your avatar aesthetic. This year, Gen Z and Gen X will customize their digital personas, designing their avatar’s hair, outfits and even accessories. Head to your keyboards—it’s time to level up.’ 

Terra Futura ‘Meet the rebels with a cause. In 2025, Boomers and Gen X will revolutionize sustainable living with recyclable fashion, self-sufficient gardens and community spaces. The best part? This eco-living aesthetic will bring some seriously cool sci-fi vibes.’

 

Consumer Behaviour in 2025 is set to be particularly interesting, as we continue to navigate the tension between indulgence and restraint, with ever-more limitless (Temu-encouraged) choices and a growing environmental urgency as we head towards the ‘2030’ mark. It’s the “Use What I Have Era” 

 

Ann Demeulemeester Fall 2024 is Moto Boho! Photographed by Filippo Fior, via Gorunway.com
Ann Demeulemeester Fall 2024 is Moto Boho! Photographed by Filippo Fior, via Gorunway.com
The phrase, as coined by Olivia Sara, reflects a burgeoning mindset shift towards underconsumption, with people reimagining their existing wardrobes rather than succumbing to the allure of fast fashion. This dovetails with the rise of deinfluencing, which made waves across social media in 2024 as a form of resistance against influencer culture and the relentless placements of ads. In 2025, despite the aesthetic emphasis on maximalism, it appears minimalist values will become more prevalent in counteracting hyper-consumption culture, as each of us finds ourself encouraged to be more thoughtful and need-based in our purchasing habits over fleeting trends. Basically, we’re buying wilder and more bold pieces but with a more careful eye and mindset. 

The craving for individuality is fueling one of the year’s most predicted trends for consumer behaviour, with ‘Chaotic Customisation’ as discussed and defined by Vogue, demonstrating that consumers will seek one-of-a-kind pieces and DIY aesthetics to stand out in both physical and digital spaces. Additionally, the popularity of rental services, resale platforms, and upcycling workshops suggests that even indulgent behaviours are being reshaped by sustainability. This juxtaposition of consumption styles signals a deeper cultural reckoning: as consumers, we are finding ourselves caught between the desire for self-expression and the responsibility of mindful living. Personally, I’m excited to see what is made from aesthetics guided by the centering of ethics. 

Last but certainly not least, the cultural undercurrents shaping 2025’s fashion trends is the foundation of how we can understand the birthing of trends. There are many (especially in the political context) and last year, we discussed how fashion’s playful revival could be traced to the experience of a global recession — and how the experience of hardship often leads to a desire for celebration and connection that fuels maximalist aesthetics, as people embrace opulence and fantasy after years of uncertainty. Simultaneously, our pressing climate anxiety underpins the underconsumption movements that are emerging, as we realise that the more we have access to, might not necessarily equate to a better experience of life. Material excess might not fill that proverbial hole within; especially contrasted against the intense political and ecological issues facing our planet. Then, nostalgia remains a powerful force, as it offers us comfort and familiarity through aesthetics that reimagine past eras, providing both escapism and grounding in an increasingly unpredictable world.

Amid these shifts, individuality is suggested to reign supreme. There is a growing desire for self-expression, with DIY aesthetics thriving as more people reject mass consumerism. These cultural forces highlight the complexities of 2025: this is a year caught between collective challenges and personal agency. If I could sum up what 2025 is defined as; it would be the pursuit of personal responsibility and self-expression, across the three dimensions of aesthetics, behaviours and cultural undercurrents. In fashion, these tensions will manifest in stores, across runways and online. It’s going to be a wild ride. What are you hoping to see? 

Written by: Holly Beaton
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Boogie Vice, N-You-Up feat MX Blouse give us a modern rendition of Jungle Brothers’ ‘I’ll House You’

Jan 10, 2025 | New Release, Music

Boogie Vice, N-You-Up featuring Mx Blouse drop a cover version of an iconic Jungle Brothers tune. ‘I’ll House You’ is an enduring anthem that gets a modern update with three different mixes.

The Jungle Brothers dropped their legendary hip-house hit single ‘I’ll House You’ in 1988, and it became an instant classic, with their music paving the way for artists such as A Tribe Called Quest and De La Soul. Now, it has been reworked by South African musician and performing artist Mx Blouse, Parisian Boogie Vice and French electronic music producer N-You-Up for contemporary dance floors.

This innovative rework keeps the original Jungle Brothers vocals, which are full of house-funk attitude, but layers in a wonky melody line which slows the beats down and builds them into a low-slung groove. By listening, one can certainly hear how it seemingly fits into a nu-disco fusion genre. Raw percussive synths all help make this a notable rework that, with the standout vocals, may become an anthem in its own right. The tracklist includes a drumapella (acAPELLA with DRUM accents) version as well as a Dub Mix until finally, the Hope Street At Night mix is stripped right back to a shuffling and minimal groove.

Listen to ‘I’ll House You’ via Get Physical Music here

 

Tracklist

01 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You

02 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Drumapella)

03 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Dub Mix)

04 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Hope Street At Night Mix)

 

About Mx Blouse 

No stranger to the CEC family, Mx Blouse is a genre-defying South African recording and performing artist. This is an artist who explores her creativity through music, spoken word, written word, and art direction. Read more about Mx Blouse here.

 

About Boogie Vice

Boogie Vice hails from Paris, and since debuting a decade ago, he has lit up Beatport charts, combining fresh nu-disco and house styles in unique ways and has released on the likes of Busy P’s Ed Banger Records, Amine Edge & DANCE’s Cuff and Miguel Campbell’s Outcross Records. He has previously released on this label alongside

Sensual Sounds head honcho Deep Aztec but now works with South of Fracas star N-You-Up. He has been DJing since 1996, first as hip-house artist The Beatangers, but with this alias returns to his roots and blends jazz, funk and disco on labels like Nervous Records as well as Get Physical Music.

 

About N-You-Up

Southern France native, Nick aka N-YOU-UP is an electronic music producer. Nick’s love story with the dance floor served as the catalyst to jumpstart his DJ Career in 1996. His curated sets always aim to build a strong synergy with the crowd, while delivering his passion for music.

 

Follow Mx Blouse here

Follow Boogie Vice here

Follow N-You-Up here

 

Press release courtesy of Get Physical Music

Sibu Manzini feat. Velemseni deliver Afro House track, ‘Indlela’

Jan 10, 2025 | New Release, Music

Sibu Manzini and Velemseni reunite to deliver “Indlela,” an Afro House masterpiece capturing the soulful essence of finding one’s path. “Indlela,” meaning “the way,” is a rhythmic fusion of Afro House and electronic elements, where Velemseni’s powerful vocals channel a heartfelt prayer for the divine Creator’s guidance.

Her lyrics convey a deep hope for dreams fulfilled and a future illuminated. This inspiring and uplifting track, filled with spirit and energy, is set to be a summer anthem that resonates with everyone pursuing their destiny.

 

Listen to ‘Indlela’ here

 

Press release courtesy of Antidote Music

Moonchild Sanelly releases her latest album ‘Full Moon’

Jan 10, 2025 | New Release, Music

With a discography that embraces South African homegrown genres from Amapiano and Gqom to her own pioneering style dubbed “future ghetto funk”, musician and creative visionary Moonchild Sanelly has from the outset blazed her own unique trail. The Port Elizabeth-born maverick is known for her vibrant, inimitable style, affirming lyricism and storytelling, as well as inspirational honesty, across a career which deftly encompasses constant experimentation and innovation, while always remaining accessible and singularly recognizable as Moonchild Sanelly

Thematically her latest album Full Moon sees Sanelly embrace the art of letting go and forgiveness, both of herself and others, as she revisits scenarios across her extraordinary life in a series of musical snapshots. The song-writing process for Full Moon saw her focus on the self and her journey towards self-love, the studio a place which allowed her the creative and personal space required to share these stories.

“My music is about the body and liberation. No one can make it OK for you to feel like you don’t love yourself,” she explains. This new album is the body of work of which she is most proud, as we are seeing the many sides of Moonchild Sanelly. “That’s why it’s called Full Moon”, she says, adding, “A lot of South African music is about dance and forgetting your problems. My vulnerability is about me finding words to describe situations that I used to say f*** you to, when I didn’t have previously to express them because of how dark they were to get into this journey.”

Full Moon is a collection of 12 songs which displays Sanelly’s unique sonic finger print, joyous attitude, distinctive vocals and genre-bending hits, not forgetting a glorious aesthetic crowned by her signature teal-coloured Moon Mop.

 

The tracklisting for Full Moon is:

  1. Scrambled Eggs
  2. Big Booty
  3. In My Kitchen
  4. To Kill a Single Girl (Tequila)
  5. Do My Dance
  6. Falling
  7. Gwara Gwara
  8. Boom
  9. Sweet & Savage
  10. I Love People
  11. Mntanami
  12. I Was the Biggest Curse

 

Listen to Full Moon here

View details for Moonchild Sanelly’s tour here

 

Press release courtesy of iM4 Agency

Küf Knotz and Christine Elise release ‘Somewhere’ and ‘Patience’

Jan 10, 2025 | New Release, Music

Rapper Küf Knotz and harpist Christine Elise unveil ‘Somewhere’ and ‘Patience’, the second double single taken from their forthcoming, self-released, 4th album ‘Grow’, which is due for release in March 2025.

‘Somewhere’ captures the essence of a love story intertwined with the thrill of exploration. The upbeat melody and catchy hook create an exhilarating atmosphere that mirrors the excitement of setting off on a journey towards the unknown. The lyrics evoke a deep desire to escape the ordinary, to find that special someone who understands the call of the wild and the magic of the moment. From its opening notes, “Somewhere” draws you in with its driving bass, taking you on a sonic adventure that feels both nostalgic and fresh. The playful cowbell, a hallmark of 80s pop, inviting listeners to dance and celebrate the spirit of wanderlust and connection.

‘Patience’ invites the listener to pause and encourages stillness within the labyrinth of life. Blending introspective themes with the rhythmic influences of Philadelphia’s 90’s house music scene, this track creates a house vibe while maintaining a strong hip hop presence. Küf Knotz lays down a soft lush soundscape with heavy drums to cushion Christine Elise’s emotive vocals. Its instrumentation encourages a deep dive into both personal and collective consciousness, serving as a reminder to embrace serenity and appreciate the beauty of existence.

 

Listen to ‘Somewhere’ and ‘Patience’ here

 

Press Release courtesy of Only Good Stuff

ART THEMES | THEME THREE: 2025 – The Year of The Snake

Jan 8, 2025 | Creatives, Art

Serpents are slithering into the limelight in 2025, as the new year marks The Year of the Snake. The Snake is the sixth of the twelve-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. In Chinese culture, the Snake is the most enigmatic of the 12 and although serpents have always been linked to a sinister rhetoric,  we could take a leaf out of this Chinese mindset, whereby people born in the year of the Snake are allegedly very intuitive – making 2025 a special year for encouraging all of us to tap into our inner voice.

In this iteration of ART THEMES, we look at a variety of symbols associated with snakes: luck, regeneration, good fortune, intuition, caution, heritage, femininity and superstition, as we make unusual and intriguing connections between artworks and their meanings. Here we go!

“Inkanyamba ii”, Mixed media on Museum Etching, (415 x 335 mm). Original artwork is framed in one-off vintage frame with bronze plaque. Source image provided by Iziko Museums (William Fehr Collection) Artist: Henry Clifford de Meillon, “The Military Barracks on the Parade”, 1825 – 1830.

Anja Venter


“Inkanyamba ii” artwork by Nana Venter was part of her 2020 pop surrealism exhibition “Monsters at the Cape of Good Hope”. According to Road Travel Africa, the Inkanyamba is an indigenous, giant serpent-like creature with a finned mane, huge fore-flippers, a horse head and a fierce temper. The creature is also widely associated with storms.

About the artwork Nana Venter shares with us: “The monsters at the Cape of Good Hope collection is a show I put together in 2020 using colonial era artworks from the William Fehr collection and defacing them with African kaiju (giant monsters). The collection is really about the monstrosity of colonialism, and the erasure of indigenous cultures. Across Nguni cultures, when big storms are brewing, children are told it is the Inkanyamba taking flight: in distress and angry, seeking its own lost child. I enjoyed superimposing the Inkanyamba into this scene of the military barracks in Cape Town – a couple dwarfed in the foreground. There’s a tension and a sense of impending disaster.”

Katharien de Villiers, ‘Grabbing for Dusty Dreams 2’, Collaged fabric and enamel on fabric, 77 × 90cm

Katharien de Villiers

“Grabbing for Dusty Dreams 2” is a playfully styled ‘snakes and ladders’ collaged on fabric with enamel. Through tactile manipulations involving the juxtaposition and de-contextualisation of material, she makes paintings; sculptures and site-specific installations that consider spatial dynamics and the relationship between the work and the viewer. Katherien shares about this artwork, which is available via Art Gazette, “so much is prone to change, and yet so much stays the same. We slither and crawl through the upidi-ups and downs of time, ever made up of the past and the dream-state present. All in all a wonderful trip through the blue.”

Lady Skollie, ‘SOMETHING SWEET, SOMETHING SOUR’, GROOT GAT. 2024. Photography by Amber Alcock. Courtesy of Norval Foundation

Lady Skollie 

‘GROOT GAT’, an exhibition by Lady Skollie, was on show at Norval Foundation in September 2024. This exhibition, in honour of Lady Skollie’s 2022 Standard Bank Young Artist award win, explores her heritage and imagines a realm free from colonial influence.

Groot Gat, also known as “Bushman’s Hole,” is the inspiration behind Lady Skollie’s latest body of work. Situated in the Northern Cape of South Africa, this once-pristine freshwater cave held historical significance as a well and fishing spot for the local Bushman community before colonial expropriation. Today, it beckons risk-taking free divers who aim to set new records in its depths. In Skollie’s art, this abyss takes on profound symbolism: it becomes a metaphor for the intricate layers of her own identity and the broader narrative of Brown identity in South Africa.

“If you’re Brown in South Africa, you have to grapple with a vast void—a chasm of forgotten culture and heritage within your own history,” explains Lady Skollie. “It’s a void you must fill with your own stories, traditions, and even new customs.”

Through her art, Skollie endeavors to bridge the immense gap left by history, oppression, and colonialism. Her Standard Bank Young Artist Award project envisions a fantasy realm on the other side of Boesmansgat. Here, the San, the Khoi, the Griqua, and all Brown people of Southern Africa flourish without the disruptive influence of colonialism and cultural erasure. Lady Skollie seeks to expand on the concept that this cave (and the creatures that dwell within it) serves as a portal to a parallel, reimagined universe filled with mythical creatures. In this specific artwork, “SOMETHING SWEET, SOMETHING SOUR” the artist references flavour profiles central to Cape Malay cuisine and the pastime of playing dominoes in many coloured communities.

‘The Silent Garden of Ouroboros’, 2024, Oil on canvas, 80 cm diameter

Stefania Tejada 

Stefania tells Alix-Rose Cowie how, since she developed an understanding of what women could be, she’s felt the need to create a transcendent image for others to look up to. Being raised in a small Colombian city and attending a strict Catholic school there, painter Stefania Tejada’s view of womanhood was limited growing up. Now living in Paris and inspired by the pages of Vogue and the approaches of her favorite fashion designers, she’s painting a legion of powerful women with the world at their feet. Surrounded by nature and often staring back at the viewer, her subjects are intended to send a message that women can escape the limitations placed on them if they get to know and understand their true selves.

‘The Silent Garden of Ouroboros’ is not merely a vision—it’s a confrontation, a call. It feels especially resonant now, as the weight of the world presses on the voices of women everywhere. In this artwork stands a woman, her gaze unflinching, her silence brimming with force, not submission. 

The artist shares about the work: “In the midst of upheaval, her presence demands attention, a scarab etched on her brow like an ancient memory, like something that cannot be erased. Six serpents coil at her sides, fierce sentinels, invoking Medusa—the myth rewritten, the misunderstood made powerful. Medusa, who dared to look back at a world that chose to demonize her rather than understand her truth. She is the embodiment of all those who’ve been told to quiet down, yet carry within them a history of truths too potent for the fragile narrative around them.”

“This garden, dense and lush, is not a retreat but a sanctuary of strength, a quiet fury blooming in vibrant color. Every flower is a testament to the resilience rooted in silenced places, the places women have been told to dwell in and endure. Surrounding her, the Ouroboros encircles, a symbol of the endless cycle of silencing and resurgence, a serpent devouring its own tail, a reminder that every suppression begets a rebirth. This is not just about survival; it is about transmutation, about enduring until you rise more powerful, more certain. She stands as both warrior and witness, reminding us that silence is not always absence—it is a potent reserve, a readiness, the sharp inhale before the voice that will shatter, the truth that will be heard, unbreakable. In this moment, The Silent Garden of Ouroboros is a prophecy: the world may turn its gaze away, but the feminine force within it will endure, will return, will reclaim its voice.”

Rich Mnisi, Nyoka II (Snake), 2024 , Bronze, glass beads 48.88 x 66.88 x 18.25 in

Rich Mnisi 

With the snake emblem as his logo, prolific sculptural artist and fashion designer Rich Mnisi embodies philosophies of a snake in his work – specifically in his exhibition titled “Dzuvula (Shedding Skin)”. With an emphasis on sculptural bronze furniture and lighting, his work expands on his themes of memory, lineage, mythology and cosmology from his debut collection Nyoka (2021). His work speaks to the interplay between the everyday and the magical, which echoes a duality within us all – hibernation and action, faithfulness and faithlessness, being bound and free. The artist’s Tsongan roots are no doubt channelled into the visual narrative of his pieces, drawing from mythological stories of the origin of life and natural creation.

About his work ‘Nyoka ii’, Southern Guild shares: “A curved console which also first appeared in Mnisi’s 2021 solo, is punctuated by the winding form of a bronze snake, its storage cavity concealed by richly patterned beading inspired by Mnisi’s 2022 Mafamba Yexe fashion collection. Bursts of gleaming bronze are interwoven with insights from the past and the future.” Further to this, Mnisi himself said that every piece of this exhibition reflects the “growing into oneself – risk and vulnerability, strain and ease – through a vocabulary of forms, patinas, patterns and textures.”

 

Each of these artworks reference the serpent as a symbol for the balance of both chaos and calm, rebellion and introspection, regrowth and destruction. Perhaps the biggest takeaway from these works of art and The Year of The Snake, is that 2025 will no doubt bring a number of unexpected twists and turns, but we can be almost certain that some balance will be restored, even if it is the peace we find within ourselves.

 

Written by: Grace Crooks

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