Niwin, hailing from Oslo, Norway, brings a refreshing and refined touch to the European deep-house scene. His music captures the essence of this genre with its smooth and polished sound, combining intricate percussion, rhythmic drums, and captivating chords. The result is a sophisticated and elegant musical experience.
Listen to “Shorty” here
Press release courtesy of Atjazz Record Company.
Following the success of Fred Everything’s album release ‘Love, Care, Kindness & Hope’, they bring us new versions from the singles, starting with ‘Never feat. Robert Owens’, remixed by heavyweights from the House scene, Osunlade and Waajeed.
The ever prolific Osunlade brings his unique Yoruba Soul touch to the song, keeping things simple and steady deeply rooted in his groove. The Yoruba Soul Instrumental is exactly what you would expect with an added square bass line. Next, we have the great Waajeed from Detroit stepping up to the table with a totally re- imagined version of the song. Very percussive with lots of dreamy synths. Comes with its obligatory instrumental. Also included is the Original Extended as well as the previously unreleased Original Instrumental and a Reprise version.
And, as if this wasn’t enough, a brand new set of remixes that Fred recently completed, which will come out on a different release in August. This time taking a less jazzy road and opting for a more warehouse meets dream house vibe.
Listen to ‘Never’ here
Press Release courtesy of Only Good Stuff
Fashion has become a signature for Formula One legend Lewis Hamilton – with his bold personal style raising him to the status of creative and cultural tastemaker. In 2021, Lewis Hamilton hosted a table at the Met Gala for emerging Black designers, showcasing his approach to fashion as indistinguishable from his role as an activist, focused on inclusivity and representation from the racing track to the seats of sartorial power. Whether in the front row at fashion week or on the red carpet, Hamilton is one of those few celebrities who truly understands the innate power of fashion; supporting emerging designers, and using clothing as means to express his solidarity. Now, long-time friend and creative director of Dior, Kim Jones, has appointed Hamilton as a brand ambassador for the house’s Menswear division – with a twist.
Guest-designing a full lifestyle capsule collection for Dior, Hamilton has drawn on his personal passions like skiing and his African heritage, to formulate pieces that reflect his own personal style in synthesis with the codes of Jones’ Dior; the latter being a contemporary vision of luxury menswear. Hamilton noted that the collection “focuses on conscious choices and pushing boundaries with each piece, while merging inspiration from my roots in Africa—drawing from their fabrics and belief in natural materials, as well as vibrant colours and powerful energy—has been so inspiring. I hope people everywhere feel good in these garments we designed so carefully.”
The collection is composed of pieces suited for the colder seasons in the northern hemisphere; set to release in October, and is punctuated by technicolour, shearling jerseys, puffy ski jackets, slouchy pants – alongside Hamilton’s own suite of custom sneakers for the brand. Shared by Dior Men’s Lead Footwear Designer Thibo Denis, “the “Snow Sneaker” is designed with a chunky, monochrome look inspired by skiwear, while the “B44 Blade LH” features Hamilton’s initials and his famous number 44.”
Lewis Hamilton’s guest designed capsule collection for Dior, image via @highsnobiety
Lewis Hamilton’s guest designed capsule collection for Dior, image via @highsnobiety
Lewis Hamilton’s involvement in this ambassadorship role at a design-level, marks a new era of collaboration between style icons and brands; showcasing a shift from traditional endorsement roles to a more immersive involvement, where celebrities bring their unique perspectives and creative input to shape the flow of their relationship with their affiliation. Lewis Hamilton is an unequivocal style icon – and we’re here for it.
Lewis Hamilton’s Dior lifestyle capsule arrives in-store and online on October 17 2024.
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za
August is swiftly approaching, bringing with it Decorex Cape Town’s counterpart, Decorex Joburg. Taking place at the Sandton Convention Centre from 1 to 4 August 2024, this event has become one of the most anticipated highlights of the decor and design calendar, largely for allowing a large audience access to this world, under one roof. Running simultaneously alongside 100% Design Africa, it’s one of the definitive showcases of contemporary design on the African continent. 100% Design Africa is a curated product showcase including a café created by Wolkberg Casting Studios; a new set of Future Talks in the Future of Design area; a dedicated display by Designer of the Year, Tristan du Plessis; 100% Hospitality by Belgotex X Hesse Kleinloog; and a host of new product launches by local designers such as Joe Paine.
The Future Talks stage will feature a diverse array of local creatives tackling some of the most relevant topics in the design world today, such as sustainability, access to market, retaining creative energy and making an artistic venture commercially viable. This line-up aims to inspire and provoke thought. Bathandwa Ngwendu, the storyteller, director, and host of the Maak ‘n Plan podcast, will MC the talks.
“Future Talks is a platform for forward-thinking ideas and collaboration among industry leaders. It’s crucial to inspire and educate our community, pushing the boundaries of design and sustainability.” – Bielle Bellingham, Executive Creative Director of Decorex.
The event as a whole brings together a diverse group of creatives and speakers, including interior designers, architects, sustainable designers, branding experts, and educators. This diversity ensures that a wide range of perspectives are represented, providing attendees with a holistic view of the design landscape and its future direction.
For more information and to see the full list of speakers or to register for the event, download the Decorex app or visit their website.
Get your Decorex JHB tickets here.
Press release courtesy of Scout PR
Caramel Palace is… irreverent, intuitive, a subculture, a cult, a movement. Anyone who enters the Caramel Palace-sphere is automatically initiated and invited to be these things too. Although this art and design studio is hard to define, arguably mysterious, jubilantly intangible and irrevocably evolving, it is also concrete in its playful articulation and creative expression. This collective comprises of you (yes you, the reader), as much as the individuals behind the name: illustrator and graphic designer Tiffany Schouw, interdisciplinary artist Alexander Pankiv-Greene and business strategy director and marketing operator Jojo Keiper. These creatives have redefined what it means to hone a visual language, paired with unmatched merch quality in a South African context, through their blended palette, sharp observation, hard grind and indisputable style.
When asked about the Caramel Palace origin story, Alex, Tiffany and Jojo shared, “when we were in university, we lived in a digs called the ‘Caramel Palace’. We spent a lot of time together and thought we should start something named after the sanctuary we lived in. It became a vehicle for all the things we want to put out in the world eventually. Just coming up with the name out of nowhere is an ode to how Alex’s mind works. Not to mention we were all skinheads at the time, which was very culty.”
A subculture, being a variant of a broader socio-cultural group which develops a niche language and identity of its own, is exactly what Caramel Palace is; we ask how they express this unique language – is it artwork, music, clothing, objects, creative concepts?
“It’s constantly evolving. It’s a creative concept at its core and manifests in a lot of ways. Clothing may be one articulation, ceramics another, or branding with artists like Stiff Pap. It’s quite intentional. The palate is punk-ish. When we’re looking at something that could be a collaborative opportunity we think ‘what would my 16-year-old-punk-little-shit self do with this?’ We did a collaboration with Shelflife where we made a porcelain sneaker – then we smashed it against the wall and said ‘it’s finished!’.
MALL GOTH photographed by Johno Mellish
Imagery courtesy of Caramel Palace
That kind of rebellious magic is something we find so refreshing. The nature of Caramel Palace is not disrespectful, quite the opposite, they are simultaneously creating with consciousness yet not taking themselves or the work too seriously. By doing exactly what they want, they’ve garnered respect from those that follow the brand. It’s the extreme attention to detail, like hand painting each artwork in the collaboration with Jade Paton, that makes the contrast to commercialised ‘copy-paste’ designs so stark. It’s this specificity that makes one’s head turn when it can often feel like we’re drowning in content oversaturation.
We ask them to elaborate on their ability to be attune with subcultures and they shared:
“In this internet age where trends fluctuate quickly because everyone’s in the same algorithm, we’re actually trying to figure out what a subculture is and how to tune into it. Whether that’s going to the library, finding older references in strange places, then taking those subcultures and creating something new – that still feels familiar – reminding you of memory, place, feeling.”
Visually, Caramel Palace is layered with intertextual references: nostalgia, archive, repetition of motifs, illustrations, woven together with nuance. Similar to a piece of music with instrumental layers working in harmony, crescendoing to the climax. One of the ways to interpret Caramel Palace is recognising the late 90s, early 2000s references – suddenly, almost automatically, something like ‘The Prodigy’ starts playing in your head.
We ask the team what role music plays for them creatively?
As a musician himself, Alex shares, “Music is really the key to this. It’s been a while since we’ve lived in a digs together, we’re doing things in our own capacity, but there’s a world created just listening to music – which suits a kind of carefree lifestyle. You can listen to a song and create a world in your own mind. You can look at a Caramel Palace logo Tee and sure, it’s just a white t-shirt with a logo on it but how do you actually build a world around that? How do we make the iPhone of T-shirts? It takes time to get the material and shape of the T-shirt right before you even think of what’s going on it. That’s a side that people don’t see of Caramel Palace but that’s the key.
Sometimes you’ll hear a piece of music and it’ll make you laugh, not because it’s funny but because you’re enjoying it so much. There’s something that makes you giggle, not because it’s humorous. We want to evoke a similar feeling with Caramel Palace, in that you laugh because you recognise it in a new context.”
MALLGOTH photographed by Johno Mellish
Caramel Palace collaboration with Jade Paton at OnePark
Their latest collection, photographed by Johno Mellish, offers a visually pleasurable euphoric nostalgia of our youth years. We ask Caramel Palace to tell us a bit about this launch (which is now available on their newly revamped Caramel Palace website) after their two-year clothing hiatus:
“Our current collection, Mall Goth, is an ode to everyone’s teenage Blue Route Mall or Cavendish era. We shot the whole thing at Canal Walk on pay day for extra Mall Goth vibes. We also wanted to use unusual looking models, people who you wouldn’t ordinarily see or who aren’t models by profession. We’re creating a space for people who are interested in slightly strange things. And then we ended up becoming good friends with the people we shot with.”
They’ve developed such a distinct Caramel Palace style and brand personality. We ask where their style comes from, both as individuals and as a collective? To which each of them respond:
“Everything we learnt from fashion we learnt from music first and that’s how we all connected initially. Alex is an incredible musician. We’d chill and make music all day which is how we connected creatively. That then leads into artworks, design, concepts – we flex that creative muscle in different ways.
I’m obsessed with ideas. I used to DJ a lot but I’m interested in the arts and the intersection of arts and brand building. A lot of what we do at Caramel Palace is world-building. It’s a thought-experiment: asking ourselves, does doing the opposite of what’s expected create a better and more desired effect? How punk-ish and weird can we make it, how far can we push it? Besides that I do a lot of the production and nitty-gritty stuff.” – Jojo
“Spending a lot of time together in the garden in the sun sharing ideas, bringing our individual expertise and meshing them together in a crazy, weird, beautiful “I don’t know what this is but it’s nice and it feels good’ way. I’m an illustrator and designer. I work for an agency actually, and no one really knows that. No one knows I’m part of Caramel Palace either and I kind of enjoy it being that way.” – Tiffany
In response to Alex’s comment that Tiffany is a true world-builder, she shares, “I am. It’s kind of strange, I used to work for this terrible company when I first started out and spent a lot of time in my own head, imagining another reality. That’s how I found my illustration style and figured out what I needed to be doing in the world: creating outside of that job. Even though it was a hard time in my life, it needed to happen. Then I became really passionate about building worlds. We’re all kind of weird and strange and to build that world and invite other strange people into that – even casting models and becoming friends with them, they become part of Caramel Palace and always will be.”
Imagery courtesy of Caramel Palace
Caramel Palace exclusive playlist
There’s often an element of escapism in world-building, disassociating from your current context to picture an alternative way of life, even if it’s just visually on paper. In a way it’s an act of rebellion, but also a survival tactic as a creative – you have to imagine the world you want to live in and do your best to create that with the resources you have. On that thought, we’re prompted to ask whether there’s something missing in South Africa’s cultural or creative landscape that Caramel Palace wants to fill?
Alex responds to this question with more questions: “How do you do something seriously high quality without such a sense of seriousness? How do you create something fun and silly, that your 16-year-old self can be proud of but that can still compete with high quality garments?”
Jojo adds, “For us it was about capturing early 2000 hip-hop parties and rave culture, all combined to create something quite punk but quite goofy. It’s self-aware and it’s ironic. I don’t think something necessarily exists in the post-modern sense of that: self-reflective, funny, weird. Lots of clothing brands are extremely beautiful, like Wanda Lephoto. But creating something ironic and weird while simultaneously trying to output on a similar echelon of quality can be a difficult balance. But again, we want to push a concept. It’s not just clothing. I’m interested in taking really weird categories that Caramel Palace shouldn’t enter, enter them and reinvent them.”
Tiffany chimes in, “Like ‘Caramel Palace Panel Beaters’”.
There is something to be said about the intangibility of nostalgia, a memory – arguably the best part of this feeling is that you don’t have to live through it again, you’re just reminded of a past life that rears its head into reality for a fleeting moment. The pop-up experience at Ghost was an iconic example of Caramel Palace’s personal fetish to do a lot of work on one project, only for it to exist in the world for 24 hours. It’s a nod to fleeting moments in time but also speaks to the adrenaline of impermanence. On their obsession with impermanence, Jojo shares, “We’ve all seen each other at our lowest, getting the final project done. I think it’s a trend of ours, wanting to go above and beyond and then there’s a spiritual cleanse right after. Same with the Jade Paton pop-up. It didn’t last for long and then it’s gone.”
When asked how these experiential pop-ups come about, what collaborative elements make them happen, they collectively reply:
“Chaos. Having ideas at a million miles and hour, then we get there and have 1000 more ideas. At this point it’s super late and we’re running out of time but we’re painting by hand on the walls at midnight. We’re always on ladders for some reason. ‘Let’s paint the ceiling as well!’ Tiffany’s on a ladder and is like “OMG do you remember when you’re 13 and you’d get those text messages in a weird shape and they’re telling you to send the message on to 100 other people otherwise you’ll get cursed– we’ve got to keep that in mind and make some anti-curse mechanisms.’”
Now that they’ve launched their new website and latest capsule, it feels like they could do anything, which is why we ask what they want to be doing? Perhaps they’ve just done it? [At this point, Alex, who’s sitting outside a church in the Netherlands gets shouted at for being there, ironically the background of his video call displays a virtual yellow church. Again, very Caramel Palace.]
To end off, we pivot and ask, if Caramel Palace had a theme song, what would it be?
Alex: “Confusion Pump Panel Reconstruction Mix by New Order, the Blade opening song theme tune”.
Jojo: “What we are listening to at the moment is Lapdance by NERD because that’s what’s playing in my mind 90% of the time”.
In an almost too-perfect conclusion, leaving us wanting more while paying respect to music, they suggested they’d make us a playlist (the way they have in the past with OtherRadio Mixes on MixCloud). And that’s exactly what they did.
Listen to Caramel Palace’s curated playlist here.
Visit the Caramel Palace website and shop their new collection here.
Follow Caramel Palace here.
Written by: Grace Crooks
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za
The internet has this intrinsic way of warping reality. By the time we have grandchildren, X (formerly Twitter) will evolve into another social media app, and my future grandkids will ask, “Mkhulu, what’s X?” I will gladly reply “The app where Mkhulu first discovered ZuluMecca!” When they ask who ZuluMecca is, I will narrate the story of how in 2020, I discovered Durban-born, Johannesburg-based Mandisa Nduna, who introduced the globe to her musical conduit, ZuluMecca at a delicate time where we could not legally escape to our vices and were compelled to look inward for stillness and healing amidst the chaotic struggle of a pandemic.
The multifaceted creative, who is an award-winning actor, performer, songwriter, South African Hip-Hop Award-nominated musician, began taking the nation by storm in her teens; when rappers such as Eminem, Tupac, Missy Elliot, and Busta Rhymes fueled her affinity for fables, creating characters and storytelling. Mecca started off her creative endeavours as a slam poet and took to different competitions around Durban. It was at one of these competitions that she met a rapper named Emphasis, who after seeing her perform, suggested she try rapping herself. Under his tutelage, Mecca learned what a bar is, how to count bars, how to craft a verse and the essence of the art of rap.
Under the impression that the only subject matter she was allowed to sink into as a rapper was the facade of materialism and women, she spent the latter part of her late teens and early 20s finding her feet, honing her craft and delivering at the time, the fantastical tales and character plays in her quest for recognition. Once undergoing a spiritual journey and accepting a calling from her ancestors, she could no longer write from the fabled perspective of her past fantastical tales and was faced with owning her truth. This is where ZuluMecca was born, and she placed her first digital footprint on the internet, drawing an inferno of social media presence for her intricate verses rooted in philosophy and her ongoing spiritual transformation.
When first coming across Mecca, I like everyone else during lockdown, was doom scrolling and trying to make sense of a “new normal”. It was around this time that she had her moment of breaking the internet with her enthralling #FreestyleFriday submission for the lockdown freestyle series heralded by Hip-Hop legend Stogie T. This track later became an original song (“Of Hue”) on her debut EP “Of Angels and Ancestors.” Mecca swept us off her feet with her thought-provoking pen, always nudging her audience to seek within.
Once she started bubbling under the radar of Hip-Hop purists, she released “Of Angels and Ancestors” followed by an enthralling number of singles, namely “Holy Water (Mama’s Prayer),” “Food and Liquor (feat Stogie T),” and “Good God’s Freestyle” before being announced as the latest signee to avant-garde artist-centric record label STAYLOW.
Following great success with the label and a series of releases, Mecca resists the notion of being boxed into the boom-bap aesthetic we have come to know and love her for and continues to establish a narrative that solidifies her as a musician and coveted songwriter. We find ourselves at the helm of her new EP, “SEAMS,” which takes us away from the lyrical philosopher and invites us into the complex humanity of the Mandisa clothed in Mecca’s skin. Coloured by surprising melodic cadences, uptempo frequencies and soulful cuts, the entirety of this EP has brought us closer into knowing Mecca as a person while striking the perfect chord of being commercially viable without compromising on artistic integrity. With an unyielding curiosity, I took the time to compare and contrast her catalogue and converse with Mecca about her origin story, artistic evolution, discourse towards craftsmanship, finding a balance between art and commerce and more.
Photography by Children of Midas
It is often said that it can take 10 years to become an overnight success, and I’d like to start our conversation by defining that. Take me through your upbringing, your clutch collective days and all the events that led up to your calling both in acting and the birth of ZuluMecca?
ZuluMecca: “What a journey it’s been! I’ve always loved words, writing, and storytelling. To be honest, as a child, I used to lie a lot and make up fantastical stories. This was particularly true about my absent father – I let my imagination run wild, inventing various personas for him. Looking back, I realise this was the beginning of my storytelling journey.
As I became a teenager, I discovered Hip-Hop and other storytellers. I was captivated and thought, ‘I want to do that!’ I began with slam poetry, participating in and winning competitions around Durban and at UKZN. At one of these events, a rapper named Emphasis approached me and suggested I try rapping. He taught me the technical aspects and kick started my journey to mastering the art of rap.
My first studio experience came at 19 and went through the motions of discovering my artistic voice. This continued for about eight or nine years until 2019-2020. During this period, I embarked on a personal spiritual journey that made it difficult for me to lie in my personal life. Consequently, I couldn’t lie in my music anymore – I had to use it to tell the truth – my truth.
In 2020, I created an EP, “Of Angels and Ancestors”, in my bedroom studio, mixing and mastering it myself. Though the sound quality wasn’t great, people focused on the words and were moved by what I was saying. This surprised me – I didn’t think anyone would be interested in these introspective thoughts. That’s when I met Vaughn and Shooter, and as they say, the rest is history.”
The SEAMS EP represents your songwriting evolution, where your artistic development took you out of being “boxed” as a lyricist only. Do you pride yourself on being an unrestricted songwriter now?
ZuluMecca: “There are different layers to consider. One is the pursuit of profit, This means creating more performable music that can be shared with diverse audiences. If I made only the music I personally wanted to make, I might struggle to earn, tour, perform, and get booked. It’s a balance between staying true to myself as an artist and writer while creating music that a wider audience can embrace and enjoy. I want people to be moved by my music, not just impressed.
Another layer is the variety of music within me. I’m not limited to one style – I have an “End of The World” vibe that’s neither singing nor rapping but a kind of melodic storytelling. I also have a playful side, which you hear in songs like ‘Right Back,’ where I can get a little goofy. I enjoy that kind of music, too, and want to express myself in various ways.
Initially, I had reservations about some of these diverse songs. When Vaughn suggested putting ‘Right Back’ on the EP, I questioned whether it sounded like ZuluMecca. But that’s exactly the point – we have the power to define who ZuluMecca is. It’s not too late. The conversations with my team were about breaking out of that mindset quickly before others box me in, too. It’s harder to break out of a box the more music you have out there. I feel I’m at a good point now. I’ve established that I can really rap, but now I can start introducing other parts of my artistry and heart.”
Watch “Seams” Visualizer Here
Ever since you released “FABLE”, you’ve been on a quest to balance art and commerce, and you strike that chord perfectly with SEAMS. How challenging was it to create out of your niche pocket? Was it intentional for you to gain new fans?
ZuluMecca: “It’s definitely intentional. I create music for as many people as possible to enjoy, recognising that there are different types of listeners out there. My goal is to serve a wide audience without compromising who I am as a writer.
I was getting comments like, ‘When I listen to ZuluMecca, I need a thesaurus and a dictionary.’ That made me reflect – I don’t want my music to be difficult for people to access. The year I took off really put things into perspective. I realised I could either make another ‘Of Angels and Ancestors,’ ‘Wept,’ or ‘Fable,’ or I could give more people a chance to enjoy who I am as an artist.
I even addressed this shift in my lyrics. In ‘Do You Get Bitches,’ I said, ‘My original fans just won’t understand / But fuck it, we’ll be on the map.’ That was my way of putting out a disclaimer early on. I wanted to prepare my audience for the different types of music they might start hearing from me.
This approach allows me to reach a broader audience while still maintaining my artistic integrity. It’s about striking a balance between accessibility and staying true to my craft. I’m exploring new territories in my music, and I’ve been upfront about this evolution with my fans. They shouldn’t be surprised when they hear these different styles – I told them it was coming.”
As a sonic bedrock, SEAMS challenges the normal sonic aesthetic you have been associated with. How challenging was the beat selection process for making the music we’re enjoying?
ZuluMecca: “It was crucial for me to express myself on different types of beats. While having a signature sound is fine, I’d rather my signature be the quality of my writing than the type of beats I use. I want to be versatile enough to jump on any beat and still maintain my identity.
The EP format allowed me to experiment with various sounds without the pressure of a full album. For instance, ‘Right Back’ with Hannah Ray came from a studio session where we made two songs. We were trying to meet each other halfway, given our different styles. This process of stepping outside myself and collaborating with artists who aren’t necessarily rappers or lyricists like me was important. The same goes for working with Marcus Harvey – I had to meet him where he is artistically because he has a strong sense of his identity, and I needed to match that certainty.
The title ‘SEAMS’ also reflects this process. It’s about unravelling what I thought was together and seeing what I’m made of, quite literally. It’s an exploration of my artistic components and how they come together in new ways.”
Watch “Right Back” Visualizer Here
Photography by Children of Midas
Between “Head Over Healing” from “FABLE”, not to mention “End of The World” and “Leave” from “SEAMS”, you have a complicated history with love. What seems to be the underlying factor that prevents you from having a smooth-sailing relationship? Do you revel in the musings of heartbreak?
ZuluMecca: “My music reflects my long and complicated history with ex-partners, even though I’m in a different place now. I often write in retrospect, telling stories from my past experiences. To be honest, I don’t really enjoy creating happy love songs. While I enjoy love and being happy in my personal life, when it comes to music, it’s challenging to write about these feelings without sounding corny. That’s why I haven’t written much in this vein, even though I’ve felt those emotions. I’m trying to reach a point where I can write about love without finding it cringeworthy, but it’s a process.
In my quest to write more positive music, I will eventually write that love song. But it needs to be done in such a clever way that I don’t feel weird or uncomfortable about it. I’m not sure if it’ll make it onto the upcoming album, but it would be nice if it did. Either way, I’m determined to find that ‘love song Mecca’ one day. It’s a goal I’m working towards in my artistic development.”
You are also an award-winning actor who has acted in films and series such as Blood Psalms, Miseducation, and Stillborn. How do you differentiate between being on set and being in the studio? What are some of the preparation rituals that get you in character?
ZuluMecca: “My background in acting actually makes it easier for me. I’ve studied and practised acting since I was very young, performing on stage, taking drama in high school, and even earning a degree in drama and performance studies. This formal education has given me a solid foundation in both the theory and practical aspects of acting.
When you study acting, you learn specific rituals to get into and out of character. One of the first things we’re taught is not to take the character home with you. This training helps me navigate the acting process more smoothly.
Rapping, on the other hand, is more challenging for me. In acting, someone else brings me the story and the words, and my job is to bring them to life. But with rap, I’m responsible for the entire creative process. I’m setting the scene, creating the location, developing the characters, and voicing them. The whole story is up to me when it comes to rap.
ZuluMecca is also a character in a way, so it’s like stepping into a different superhero costume. I have to completely step out of my acting role before I can step back into who ZuluMecca is. I can’t wear both costumes at the same time – it’s a process of fully embracing one role before transitioning to the other.”
Thank you for joining us for this interview. Before you go, could you let us know what more we can expect from SEAMS and your creative career as a whole?
ZuluMecca: “There’s a lot happening this year. On the music front, the visualizers for SEAMS are dropping on YouTube soon. I’ve also been working on several collaborations. I started the year with a Priddy Ugly collaboration and just released a cool feature with Originelle. There are more features coming up with some really great artists outside of my usual circle. I’m also featured on some exciting tracks that will be released this year.
Of course, the big news is my debut album. We’re working hard on that, and it should be really beautiful when it’s finished. As for my acting career, I’m currently shooting a show for Showmax called “Empini”. You’ll be able to catch me in that soon. There are quite a few other interesting projects in the pipeline, but due to NDAs, I can’t disclose all the details just yet. Stay tuned, though – there’s a lot more coming soon!”
It goes without saying that one of the thinnest lines any artist can walk is balancing the dreaded scale of art and commerce. It is somewhat daunting that after decades spent honing the ability to bend words to one’s will, one still has to bend themselves to the standard the creative industry deems mainstream when expression shouldn’t ideally be commodified. The silver lining I find is in the creative challenge of pushing the needle with one’s craft, and ZuluMecca is well on her way to being a mastermind who figures out the Matrix and bends reality to her will. It seems to me that we have an era-defining virtuoso who prides herself on being one of a generation; I am eager to witness her shift the culture with her Pulitzer-worthy pen.
Connect With ZuluMecca:
X : @ZuluMecca
Instagram: @zulumecca
Facebook: @ZuluMecca
Tik Tok: @ZuluMecca
YouTube: @ZuluMecca
Written by: Cedric Dladla
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za
Kenza, a talented up-and-coming producer and DJ has dropped a new single titled “Unozala”, featuring the vocals of renowned South African artists Msaki and Ami Faku, and produced under the guidance of mentor Sun-El Musician.
“Unozala” is a captivating and soulful collaboration, a track that delves deep into themes of emotional introspection, urging a sense of calm and personal healing.
The lyrics beckon listeners to embrace serenity and time’s healing touch, while the chorus’s poignant repetition of “Ndithathekile” evokes a deep, unexplainable bond, vividly portraying love and yearning. Interwoven with a touching conversation with a mother, the narrative showcases the profound impact of new relationships and their transformative power.
With a signature style that shines in blending rich, melodic soundscapes with heartfelt rhythms, further elevated by electronic sophistication, creating a unique musical experience that blends contemporary flair with traditional African roots.
It stands out as a track that delves into the intricate layers of love and emotional depth, poised to resonate deeply with its audience. Regardless of your musical taste, be it soulful ballads or groundbreaking production, this song promises a captivating and immersive journey through its rich soundscapes.
Kenza’s talent caught the attention of South African musician and businessman Sun-EL Musician in 2019, leading to his recognition in the music industry. He began his journey as an emerging artist, debuting alongside Claudio as part of the duo Claudio & Kenza, and expanded his influence through collaborations with artists like Simmy and Mthunzi.
Transitioning into a solo artist, Kenza collaborated with Ami Faku on his debut single, “Sihlobo Sami”, in 2021, followed by his debut EP “Fly Away,” and has since worked with notable artists such as Sun-EL Musician, Black Coffee, Msaki, and Zolani Mahola, earning a SAMA award for his contributions to her project.
Listen to “Unozala” Here
Press release courtesy of Sheila Afari
The rare DJ Linus EP from 2001 with 4 crunchy tech tracks is back for its re-release this July. The old vinyl release of ‘The Underground / U-Bahn’ was strictly limited and was released under the mysterious artist name The Underground, but it was DJ Linus himself, who produced it. Worth the wait for this rarity re-release, which fits perfectly to the currently happening house sound.
DJ Linus released his first records on Compose, the 90s subsidiary house label of Compost. DJ Linus is one of the first House DJs in Munich and in Germany.
He started way back-end of the 80s, early 90s. Linus is said to be a great influence to many famous Tech House DJs today. His solo album “Fantasmagorique“ was the first German House Music long player of its kind.
Listen to DJ Linus re-release Here
Press release courtesy of Good Times Co
Midnight Riot Records presents ‘Balearic Headspace Volume 7’, fully embracing the open-minded musical spirit and showcasing a wide array of sounds.
This compilation features magical contributions from all corners of the Balearic world, including Fuga Ronto’s ‘Greatest Treasure’, FSQ and Tom Moulton’s sunshine reggae jam ‘This Is Caribbean Disco’, and ultra-yacht rock dub from Chas Bronz & Pery Whitelee.
David Dingess offers spaced-out boogie (Toni Rossano edit), whilst rounding off the soiree is Japanese duo Cruisic delivers a chugging remake of Todd Terje’s masterpiece ‘Inspector Norse’.
The full compilation album features more white island magic from Jaegerossa, Danny Kane feat Jack Tyson Charles, Dominic Dawson, Sweetooth, Thorgan Woolf, Ziggy Phunk, Vapor Caves and more…
Listen to ‘Balearic Headspace Volume 7’ Here
Press Release courtesy of Only Good Stuff
“Going to art galleries these days is equivalent to the endless social media scroll”, Gaelen Pinnock shared with Sune van Tonder in a post-exhibition haze. He was one of the exhibiting artists showing work at ‘Time Goes Bye’, and his sentiments are something to be considered. At any normal gallery event, you walk past rows of art on blank walls, eat a few canapes, greet the regular art show-goers, and seem to forget most of what you saw in the car ride home. ‘Time Goes Bye’ has spared us from yet another night of endless scrolling and thrust us into the business of experience.
Co-curated and ideated by Claire Johnson and Max Melvill, ‘Time Goes Bye’ was a two-part, time-based art exhibition that challenged and excited viewers. Held at The Ramp, a Cape Town art collective praised for its foray into the experimental, the show took place over a warmer-than-usual winter weekend and sought to provide both an engaged and engaging platform for artists and their work. Part 1 of ‘Time Goes Bye’ showcased 24 artworks, theatrically displayed in 10-minute increments. Part 2 included a salon hang of all the works and an in-depth panel discussion led by Claire, artist and founder of creative studio, Hoick. The artist line-up was released prior to the event allowing audiences to choose which artists they wanted to see. Max, co-founder of The Ramp and disruptor of the norm, ideated: “We were wondering what would happen if an art show were structured like a music festival — what would that look like in practice? Would people be more precious about attending in case they missed their favourite artist? Would they be more engaged with the work?”
With these hypotheses in mind, the stage was set. People entered to the electric, hypnotic, neo-indigenous sounds of Kamil Adam Hassim’s 5th generation Sutra. In the silence, muffled between sounds of distortion, a bell rang to beckon the end of the performance. Act 2: Lynchian blue-velvet curtains swung open, revealing the work of artist Leila Abrahams: Strands of Time. 10 minutes later, another bell unveiling Act 3 and so the dance continued. From Maja Marx’s arresting painting ‘Last Page First’ that explores the stickiness of time, to utilitarian furniture as art in Lebo Kekana x NISH’s ‘Protoscape’, the works were all underscored by the fleeting, inescapable, looming concept of time.
Aside from the excitement of a curtain reveal, something effervescent and existential took place in the densely packed room. Viewing the art in 10-minute increments came with a sense of finality, a yearning to consume as much as possible before the works inevitably took their final curtain call. Not only that, but at the end of the day, pockets of people sat recalling the individual works and their stories, finding themselves richer for the experience. No longer plagued by the goldfish memory that most of us have become so used to. People discussed, connected, cajoled — they remembered.
One of the standout moments of the show transpired when painter Michael Beckurts took to the stage. Kneeling on his automated wheelchair, he spoke to the audience for the first time about his experience of disability and how it influences his work. He invited the audience to try life through his lens, if only for a moment, by viewing his piece while kneeling. One by one, viewers dropped to their knees, finding themselves looking up at the art, instead of straight at it. A stillness took over the space as people were challenged, not only to see the art from a different perspective, but to confront their own perspectives.
‘Time Goes Bye’ called not only for commitment, but also flexibility. Part 1 encouraged audiences to engage with the art and Part 2 made viewers think about the curation. The panel discussion featured three of the artists in the previous day’s lineup, aptly exploring the notion of time. With this in mind, the conversation kept returning to the idea of archiving. Academic, and now artist, Carrol Clarkson quoting Jacques Derrida’s ‘Archive Fever: A Freudian Impression’ spoke of “archiving as a way to create a possible future”. Photographer Manyasta Monyamane emphasised the importance of collaboration and community in the process of archiving. Zayaan Khan, an artist exploring the history of District Six through clay, imbibed the audience with the need to understand one’s origins, reminding listeners that “the soil we walk on now is the same soil our ancestors walked on, but it is also the same soil our mothers walked on.” It became clear that, in considering the effect of time in art and space, the need to document and remember is tantamount to creation itself.
‘Time Goes Bye’ offered more than a different way to view art. It offered a new framework to be implemented in future openings and exhibitions. It started a conversation that the art world has been yearning for — a break away from the norm and an attempt to recenter art. The show ended with a room filled long after the end of the event, bubbling with discussions about phenomenology and ephemeral epistemologies, and an audience struggling to say “bye bye”.
Written by Sune van Tonder
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