Rising star Hanna releases 5-track EP “Guilt Free”

May 24, 2024 | New Release, Music

Zimbabwean-Ethiopian lyricist, Hanna, is a force in South Africa’s rap revolution who has rapidly been making a name for herself in the SA music scene. This 5 track EP “Guilt Free” follows a journey of pride, affirmation, and self-love through a series of genre defying powerful records.

About the EP Hanna shares: “The Guilt Free EP began as a nod to my graduation and the freedom to wholeheartedly pursue my dreams thereafter, but later evolved into an exploration of self-love and the guilt of self-preservation. It’s a diverse collection of sounds with influences ranging from pop to R&B to trap and even gospel, maintaining strong hip hop roots with powerfully relatable lyrics. It’s a feel-good project which will leave you feeling refreshed, triumphant, validated, and rooting for yourself more than you were before.”

She adds: “The writing on this EP spans years, and came to life through one intense week of studio, in which myself, Michael Zietsman and Luc Veermeer worked around the clock to bring all the songs to their full potential. This EP is a testament to the power of community, and the beauty of allowing oneself to create music free from the pressure of genre. I couldn’t be prouder of what we created and everyone who contributed.”

Listen to the EP “Guilt Free” Here 

Connect with Hanna
Facebook: @therealnigist
X (Formerly Twitter): @therealnigist
Instagram: @therealnigist
TikTok: @therealnigist
YouTube: @therealnigist

Press release courtesy of Sheila Afari

Singer Songwriter and Activist Dope Saint Jude releases new single “Happy Day”

May 24, 2024 | New Release, Music

Cape Town based electro-hip hop artist, Dope Saint Jude, returns with new single “Happy Day” out now via Platoon.

“Happy Day” is a song about nurturing and protecting one’s inner world. Written in 2022, Dope Saint Jude has been waiting for an opportune moment to release it and she feels now is the right time. “There is a sense of hopelessness in the world at the moment, and this track is a plea to protect and maintain hope that better days are ahead,” shares Dope Saint Jude.

She adds: “The world can be a wonderful place, but it can also be a challenge to our inner peace. This track is written as a radical affirmation to protect one’s inner world despite the chaos that exists externally.” Known for her activism and using her music as a mouthpiece for marginalised communities and to raise awareness about societal issues, Dope Saint Jude’s “Happy Day” has her signature all over it. The high energy track will keep you both motivated and on the dance floor.

Dope Saint Jude continues to raise the bar with her music. From touring in Europe and the US to having her music featured in commercials, on Netflix, an Oscar-nominated film (Nimona), and in MAC and Apple ads; there’s a lot more the world can expect from Dope Saint Jude.

Stream “Happy Day” Here
 

Connect with Dope Saint Jude

Instagram: @dopesaintjude
Facebook: Dope Saint Jude
TikTok: @dopesaintjude
YouTube: Dope Saint Jude

 

ABOUT DOPE SAINT JUDE

Dope Saint Jude, a Cape Town-based electro-hip hop artist, transitioned from drag king performances to her own music. Her EPs “Reimagine” (2016) and “Resilient” (2018) gained traction, with the lead single “Grrrl Like” featured in “Kipo and the Age of Wonderbeasts” and commercials. Her 2022 EP “Higher Self ” garnered attention, with tracks featured on Netflix and in a MAC ad. She’s toured Europe and the US, performing at festivals like Terre Du Son and Dour Festival. Her music recently featured in Apple ads and the Oscar-nominated film “Nimona.” As an advocate for the queer community, she speaks globally about her experiences. She’s been involved in campaigns for H&M, Ballantines, and serves as an advisory member for Bridges For Music, a Cape Town-based NGO.

Press Release courtesy of Sheila Afari

The Joyous Discoveries in the Depths of Clay: Discussing ‘Art Formes’ with Olivia Barrell

May 22, 2024 | Interviews, Art

When chatting to Oliva Barrell, an art historian and founder of the new-format gallery, Art Formes, it becomes strikingly clear that her interest in clay goes far beyond the substance, and transcends the borders of art models as we understand them. Since Art Formes’ inception in 2021, Olivia has fostered a community of contemporary clayworkers practising in South Africa, amplifying their diverse and moving stories from their studios to the world.

Though the medium of clay might seem unassuming, Olivia has taken great effort in exploring it to the nth degree. We could speak to the element of earth – stable, grounding, tactile, object, a forme (the namesake of the platform which is adopted from the French word forme, although unfamiliar to the English language, encourages new meaning to previously unrecognised shapes or bodies of art.)

Olivia expanded her hybrid set of skills in the years leading up to the inception of Art Formes. With 8 years of art historical study at the Sorbonne University, experience working for some of Paris’ top museums, such as the Guimet Asian Arts Museum, as well as several years spent in both the South African primary and secondary markets, Art Formes was born from a wealth of experience. Olivia shares with us: “I wanted to create a space where sculpture could get more of a spotlight, to draw attention to some of South Africa’s other disciplines aside from painting, which has often taken prevalence.” As a result of this sentiment, Art Formes was conceptualised as a new-format ‘gallery’, one that broke the mould of what Olivia referes to as “what felt like a increasingly stagnant art model”. Art Formes can only be described as something unique – part-gallery, part-publishing house, which is tied to the ethos she believes in: artworks cannot be understood fully without a literary explanation or accompaniment.

Hennie Meyer, 400g Series, 2024. Photography by Barry White for Art Formes.

“I have always been interested in objects and the stories that they hold. When I moved back to South Africa after 10 years in France, I was taken aback by how rich ceramic art culture was, not just historically but also contemporary artists working with the medium. So I started to look around for literature surrounding the material and was surprised how little there was on the topic.”

Conducting over 80 interviews since 2021 for the compilation of the now-published ‘Clay Formes’ book, Olivia has curated a selection of largely undiscovered artists, who were dispersed around the country. This meant that a considerable amount of time was spent adventuring and taking original photographs of largely undocumented artists in their studios. When asked about how she found these artists, Olivia says, “South Africa has an incredible system of mentorship, that is applicable to the realm of painting, but is fundamentally tied to ceramics because there is technical knowledge that is passed on through the generations. So as you enter this web of mentorship, you can find all the artists that are interconnected, which is quite a beautiful process.”

On Clay Formes: “I had to be intentional about how I wanted to put the publication forward. It wouldn’t have been possible to include all contemporary South African artists working with ceramics or clay, so I had to limit it to 30 artists. I wanted to expand pre-conceived notions of the medium, illustrating its various forms such as porcelain, terracotta, stoneware and earthenware – alongside the more experimental uses of the material such as air-dried and wild clay. Artist Jo Roets, for example, creates her own medium which is closer to paper than it is to earth. Whereas sculptor, Ledelle Moe moves the material towards the monumental through her integration of earth and concrete to prolific proportions. And the medium is radically transformed through Belinda Blignaut who is a global pioneer of unprocessed, wild clay.”

Siyabonga Fani, Smoke-fired terracotta, 2024. Photography by Barry White for Art Formes.

CLAY FORMES book, edited by Olivia Barrell, an Art Formes publication.

Olivia expresses that it was also important to include artists who were not only different stylistically but hailed from multiple regions of the country and were born across time frames spanning from 1998 (when Ben Orkin was born) to 1941 (Hylton Nel’s birth year). “I deliberately chose the largest possible range of contemporary artists working with clay, to indicate the diversity of artistic expression within this medium. Such a range highlights the array of cultures, traditions and backgrounds that make up our South African ceramic landscape. It is medium that can take almost a lifetime to master.”

Off the back of the publication of CLAY FORMES, Art Formes launched as a gallery at Investec Cape Town Art Fair in February 2024, with six of its featured artists represented in the space, all of whom work in various forms of clay. The publication was reimagined in what was the first exhibition of purely clay and ceramic works at Investec Cape Town Art Fair – a celebration of clay in a new format. Now the retrospective is taking a tour to RMB Latitudes (24 – 26 May 2024) showcasing artists 𝖲𝗂𝗒𝖺𝖻𝗈𝗇𝗀𝖺 𝖥𝖺𝗇𝗂, 𝖩𝖺𝖻𝗎𝗅𝗂𝗅𝖾 𝖭𝖺𝗅𝖺 𝖺𝗇𝖽 𝖧𝖾𝗇𝗇𝗂𝖾 𝖬𝖾𝗒𝖾𝗋. Like Art Formes as a platform, Latitudes as a fair acts as a similarly positive exploration of South African contemporary art, with artist-focused curation and a way to engage with art in a meaningful way.

“The interest in the medium seems to have grown in parallel to the development of Art Formes over the past few years. In 2021, I believed that there would be a growing movement towards sculpture within contemporary South African art, especially in mediums such as clay.” When asked why objects, specifically clay objects are in the current zeitgeist, Olivia said “I believe it is connected to the constant digitisation and two-dimensionality of today’s world. It is my perception that people are gravitating towards three-dimensional art works and the interaction they offer.”

CLAY FORMES book, photograph by Alix Rose Cowie

CLAY FORMES book, edited by Olivia Barrell, an Art Formes publication.

Olivia shares apprehension towards “The White Cube” format, therefore ensuring that Art Formes challenges these stagnant notions within the commercial art world. “Art Formes prioritises a more considered and curated approach to exhibiting artworks, with a rich literary emphasis in contrast to today’s stark White Cube.” Her passion to explore and celebrate contemporary ceramic art in all its open-ended, rebellious, ancient, symbolic, sacred, innovative, spiritual, therapeutic and diverse ways is an ode to each artist finding meaning in clay for themselves. When speaking about the future, she notes that the aim is to take the platform beyond South Africa, to celebrate these stories internationally. And although one can never predict what the next generation of ceramic artists and clayworkers will produce, she has no doubt that we will be surprised with what artists can achieve within the medium.

She shares “At Art Formes, we pay careful attention to each artist’s practice and their particular bodies of work – unpacking that is something I am particularly passionate about. I love a work if it holds a story that surprises me and evokes thought and appreciation – that is what makes an artwork interesting. And so, every single artwork in the book has a distinct story.”

Visit Art Formes at Booth A9 Latitudes Art Fair, Shepstone Gardens, JHB, to see the exhibition

Tickets for RMB Latitudes available Here

Purchase Clay Formes Here

Written by: Grace Crooks

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

Building The Magical World of Sister Party with Yaone Refentse and Love Olerato

May 21, 2024 | Interviews, Fashion

There are few things as comparably powerful as sisterhood. It’s a kind of transcendence over any regular friendship or connection – and in a society that tends to pit women against each other, sisterhood is an antidotal requirement for building the kind of effervescent world that we deserve to live in. Enter Sister Party – a magically curated world, conceptualised and created by two real life sisters, Yaone Refentse and Love Olerato, whose bond together fuses the joy of girly things – from fashion and style, to make-up and set design – with education, in the form of a Youtube channel of growing impact and representation. As seen on Channel O’s SuperCulture, Sister Party is a literal to its name; wherever Yaone and Love go, magic happens – in all shades of style, quirkiness and always with a dose of humour. As their Youtube ‘about’ reads, “from sewing DIYs & editorial makeup to vlogs & interviews, come with us as we work our way towards being a part of Rihanna’s creative team (Inshallah)”. As digital platforms increasingly shape global discourse, there’s a crucial demand for South African voices to take up the mantle of expression – this is entirely Sister Party’s manifesto, except in an incredibly cute and cool way. J’adore. 

On the origin of Sister Party, Yaone explains that the channel is a pandemic-baby, “I studied fashion and my sister studied psychology and social development at UCT. The pandemic hit and Love was finishing her final year, and I was working in PR at a corporate company. I felt I wasn’t being creative enough,” and Love shared that, “I’d started doing make-up during the pandemic and Yaone had more time to sew clothes, and we started to think about ways that we could use these creative muscles to grow.”

Sister Party photographed by Thapelo Kekana

Sister Party photographed by Taff Meda

Sister Party photographed by Henry Hansen

Both Yaone and Love wanted the show to chart their entry in the creative industry – and for Sister Party to serve as a portal for any aspiring creatives, too, with Yaone saying that “we brainstormed for a while and we came up with the idea of doing a show – where I could do make-up and Love could do make-up, and we needed a place where all of our creativity could live. Love wanted to do set design, too and we just had this need to explore as much as we could. Youtube made the most sense as a place where the show could live. Our first episode went up on the 2nd April, 2021. We just kept going from there – the ideas snowballed, and we started adding our friends to show.” Yaone had graduated from fashion school, but her understanding of the vastness of the industry and what jobs it could offer, were not taught. I have often written about the fact that fashion education is generally only equipped for careers in design or buying; Yaone muses, “even if you’re an accountant, you can get a job in fashion! There’s space so many kinds of skills and talents”

As Love shares, Sister Party’s inclusive vision is their core philosophy, “I think when a lot of our parents think ‘creative industry’, they think ‘big-bad Joburg or New York’ and that you’re never going to get paid properly or find success. We thought, here are – girlies that want to do this – and surely we can’t be the only ones, let’s create our own community? The basis of the show is about amplifying the voices of queer, POC and Black femme women in the industry. We wanted to see girlies like us being brought together,”  and Yaone, notes that,“our channel is everything that we are passionate about in one place. We just made it our own world, where we can amplify everything that is close to us. Create the content you want to see in the world! We just didn’t see quirky, Black, maximalist girls.” Love adds that “we want to be silly and educational.”

Sister Party is testament to just doing the damn thing – that brave space in between an idea and actually creating, with Love sharing that they started with an iPhone XR and dream – “we didn’t even have a ring light at the beginning! We focused a lot of our early content creation deals into investments for equipment like a soft-box and props. We still shoot mostly with an iPhone 13 and we edit everything on it.” The Sister Party world is often set in Love and Yaone’s apartment, with every corner of their space having been a set or scene on the channel, in one way or another. Yaone explains that, “from the beginning, we knew we would want to create multiple ideas. So having three different series, short-films – it’s all part of a dream to eventually have a television network. We’ve been very focused on not being afraid to start something just because it might not be perfect. It doesn’t have to be HBO or Netflix ready, you just have to have something that can show people who you are.”

Specialising in content creation, Sister Party collaborating with brands and hosting three web series: the main show which is released in seasons, their runway or award commentary and recently, the launch of ‘She vs. Me’ in partnership with The Fix, with Yaone sharing that the secret is actually being precisely themselves, “we’re doing what we can with what we have. In the South African context, we’ve seen that a lot of the work that we’ve done has helped us get into a lot of spaces. I think we’re creating a niche that has a lot of impact and we see that with our community. We started working with Channel O as part of a show that airs on Saturdays – 9am, channel 320 on DSTV – and it’s called ‘Super Culture’. We are one of the ‘super heroes’ and basically just asked to ‘Sister Party’ there.” and Love noting that “the show didn’t want us to be anything but ourselves.”

Yaone and Love have always shared a synchronised taste from Cartoon Network to fashion and pop culture, “although, it’s always through our own individuality, it’s always been aligned,” Yaone reflects. Love adds, “We always have one brain. She’s the left side, I’m the right side, and we just balance each other out and learn how to communicate with each other. Our relationship has grown so much and I feel so fulfilled doing this job, and there’s no one else I’d want to do it with. It’s a family business!”

Sister Party photographed by Henry Hansen

Sister Party photographed by Zwelihle Bukhwele

Their shared references and complementary personalities shape Sister Party’s aesthetic; a world that is dripping in colour, beauty and at the cutting edge of trend and relevance – it’s the kind of girl world that early manifestations of MySpace and Youtube could only ever dream of offering. Looking ahead, Sister Party’s aspirations include launching merchandise that reflects their streetwear aesthetic, an idea that was seeded from their collaboration with Levi’s Haus to create Sister Party branded T-shirts. It’s also critical – as Yaone’s and Love’s personal style is incredibly on point, at all times. Love emphasises their confidence in their niche, “we see our niche, and we have the whole lane and we are twirling in it.” 

Yet, their ultimate dream transcends commercial success; Sister Party, whether on Youtube or as a TV network of its own, is about giving back and building a supportive community, “the dream for us is to give back. We want to do more workshops and to incorporate women-centred initiatives, and learn together with our community as we go. We know the impact of opening up the queer, Black and POC community and we need more voices like ours, doing what they want to do and not feeling limited.” As sisters, their bond elevates their partnership to a level of authenticity and dynamism that is infectious – Sister Party is truly one of the most exciting spaces in South Africa media. 

Subscribe to Sister Party HERE

Catch Sister Party every Saturday at 9am on Channel O, via DSTV

Written by: Holly Beaton

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

Cape Town’s iconic ‘Death of Glitter’ party is back

May 20, 2024 | Music, Community

After several years of iconic club nights, The Death Of Glitter (D.O.G) is evolving their dancefloor into something bigger and juicier than before. Since 2017, the Cape Town collective has been creating queer utopias that push the boundaries of South African nightlife. Called everything from “infamously fabulous,” by Texx In The City to “a disgrace,” by The Cape Town Catholic Society, D.O.G has become a fundamental part of Cape Town’s LGBTQIA+ culture and community. Each event seeks to imagine the potentiality of queer utopia through creative collaboration. It’s a meeting place for local creatives and an oasis for the city’s weirdos. 

D.O.G returns from its year-long hiatus on May 31st at The Factory, Paarden Eiland, taking the leap from club night to large-scale music happening. Founder and creative director Tazmé Pillay said, “This marks our first step toward the ultimate goal of D.O.G as a syndicate of urban-based queer arts happenings.” To bring D.O.G into its next phase, the collective is excited to welcome avant-pop artist Desire Marea, who will perform a special live set at the event alongside DJ and producer, sunsunsun. Philippus Johan, music director, said, “Desire felt like the right choice for this event. They embody D.O.G’s pillars, not only through their artistry, but spiritually. They’ve gone out of their way to make this work – we couldn’t be more appreciative.” Also on the lineup is Cape Town’s rising underground superstar Tactix, and D.O.G residents Phijos and DRAGMOTHER.

Photograph of Desire Marea courtesy of Desire Marea

D.O.G photographed by Mich Mellow

PHIJOS and DRAGMOTHER photographed by Zander Opperman

While conceptualising this rebirth, Pillay honed in on the collective’s core principals: PARTY / ART / SEX. The cathedral-like space of The Factory will be transmuted into a temple for the club kids, an industrial playground as brutal as it is beautiful. This altar is built around ‘The Megalith.’ Visible from every vantage point of The Factory’s cathedral-like space, the six meter monolithic structure features video mapped visuals, and an LED lighting rig that plays with concealing and revealing the DJ – turning the energy of the dance floor away from a fixed point on the outside, and back toward the inside.

D.O.G’s impact goes beyond the dance floor, fostering meaningful social connections and sparking national conversations on acceptance and inclusion. They acknowledge that some in the community need more affordable tickets to access D.O.G. they have made 50 Community Tickets available for those who cannot afford the price of a full ticket. Those who wish to purchase a discounted Community Ticket must sign up and answer a few short questions. Though all are welcome at D.O.G, we champion the visibility of historically marginalised identities. POC, queer, trans, non-binary and femme bodies call D.O.G home, and will be given preference.

D.O.G are committed to contributing to skills development and entrepreneurship within the creative sector. Through their events and collaborations, they provide emerging artists and creatives with opportunities for professional growth, networking, and business development. Those who want to participate can sign up for their volunteer programme. You can help them build this epic production, play with some lights, look after FASHION at coat check, or help keep the guests safe and happy. No prior experience needed. Volunteers will receive entry to D.O.G, as well as meals for their days of work. Positions considered on a rolling basis.

Cape Town based photographer Zander Opperman was tapped to photograph a campaign for the relaunch. Featuring twelve beloved club kids, the campaign honours the diversity, queerness, and fearlessness of D.O.G’s people, celebrating bold individuality and liberated creative expression. Featured family includes Anna, Bee, Brooklyn, Eli, Ina Propriette, Jes, Lwazi, Max, Max Hodge, Nate, Rae, Rahul, and residents DRAGMOTHER and Phijos.

D.O.G is proud to be an officially selected international collective for WHOLE United Queer Festival. DRAGMOTHER & Phijos will be representing D.O.G, and performing at the festival in Ferropolis, Germany on August 4th.

Purchase tickets & get more info here.

Press release courtesy of Death of Glitter

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

Thandiswa Mazwai releases her fourth album ‘Sankofa’

May 17, 2024 | New Release, Music

Since the beginning of her career in 1996, the legendary artist Thandiswa Mazwai has been one of the most influential singers in post-apartheid South Africa. Known for her electrifying performances, she has toured the world and will celebrate her new offering with shows in Johannesburg, Durban and Cape Town. Now, she’s released her fourth album, “Sankofa”.

Sankofa is a Ghanaian Twi word that means ‘to go back and fetch what has been left behind’. The making of this work, her first album of original songs since 2009’s Ibokwe, has embodied this idea. Recorded in Johannesburg, Dakar, and New York, the album combines archival Xhosa samples, jazz and west African music. It includes songs produced by Meshell Ndegeocello, Chris Bruce, Nduduzo Makhathini, Tendai Shoko and Thandiswa. It features collaborations with Thandi Ntuli and Nduduzo Makhathini.

Thandiswa says, “The making of Sankofa was a sonic odyssey that took me from the ancient villages of the Eastern Cape to Dakar and New York, weaving a thread that culminated in something truly special. Within those ancient rhythms and polyrhythms, a common lexicon revealed itself to me and I am excited to share this music with those who have been growing and evolving with me. Listen out for uhadi, umrhubhe, ngoni, kora and drums in the music. It is about a celebration of the pan-African spirit, healing old wounds, and returning to what honours us.”

About the recording of Sankofa, her fourth release since 2016’s Belede, 2009’s Ibokwe and her solo debut 20 years ago Zabalaza, Thandiswa says “In 2010, I went to visit the International Library of African Music at Rhodes University where I got access to an archive of field and research of Xhosa music; I had these recordings for a very long time. During the COVID lockdown, I went back to these recordings and realised I could use them as a bedrock for creating new songs, and these field recordings became the building blocks of the album. After I did all the pre-production on songs with my friend Tendai Shoko, we would put down to bass, notes, and guitar chords to create demos, which we then took to my producers Nduduzo Makhathini and Meshell Ndegeocello.”

Mazwai continues, “What I noticed was they were really responding to the archives, and this became the looming spirit that carried us through the album: all of us experimenting, discovering, investigating, questioning, collecting our lineages, rooting ourselves and responding to the archival experience and infusing it with something from the now. In West Africa, they responded to the archive by marrying expressions from umrhubhe with the kora; bringing their colour into it, making this an album that speaks not only to the pan-African spirit but also to the diaspora.”

The themes in the album are: “Healing, reclamation and political dissatisfaction. It is also an album that re-enforces my pan-African identity.”

Listen to “Sankofa” here

Thandiswa will also bring Sankofa to the Durban Playhouse on May 31. Purchase your ticket here.

Thandiswa will perform at Artscape in Cape Town on July 20. Purchase your ticket here.

 

ABOUT THANDISWA

Thandiswa has been one of the most influential post-partheid singers in South Africa. She began her career in 1996 with music groups Jack Knife and Bongo Maffin, one of the pioneering bands of the dance music genre Kwaito. After 6 award-winning albums with Bongo Maffin, she ventured on to a solo career. Her first solo project Zabalaza (2004), reached double platinum status and won numerous awards, including a Kora award for Best African Female and four South African Music Awards. Her critically acclaimed sophomoric release Ibokwe (2009) and third album, a jazz reinterpretation of South African classics, Belede (2016) reached gold status within a few weeks of release. Her compositions include traditional Xhosa music, mbaqanga, funk, jazz, and reggae.

Known for her electrifying performances, Thandiswa has performed all over the world at venues including the NPR Tiny Desk Concert, Apollo Theatre, The Lincoln Centre, The Cannes Film Festival, Africa Express, BBC World Music Awards, TED, Afropunk, Carnegie Hall Citywide Festival, among others. She has collaborated with artists such as Hugh Masekela, Meshell Ndegeocello (including on her 2024 Grammy Winning album), Fatoumata Diawara, Somi, and DJ Black Coffee.

Cape Town based musician Fu Dog releases his latest EP ‘Heksie Rhythm’

May 17, 2024 | New Release, Music

Cape Town based musician Reinie Swart aka Fu Dog is blending jazz, house, acid, electronica and techno, bringing us his latest EP “Heksie Rhythm”.

The EP is an ode to the unordinary, bouncing between dreamy distortions, vibey electronica and ambient dance music. First on the EP, AllFearNoLies is a deep dive into the sonic subconscious of its creator, and an emotional, drum-less entry to an EP later boasting more upbeat compositions. Next in line, Heksie Rhythm is a glimpse into a live jam session with friends, sampled into a bass-heavy, colourful electronic anthem. Third on the list, Fuck [2] Perfection features a floating, moody arpeggiation, carried by organic drums and a very playful arrangement. Last up, What You Think is the only dance track on the EP, ending things off with a spacious, driving, subdued thumper.”

Listen to ‘Heksie Rhythm” here

Press release courtesy of City Bowl Wax

Moonchild Sanelly releases new single “Scrambled Eggs”

May 17, 2024 | New Release, Music

South African musician and artist Moonchild Sanelly is back with a brand new track “Scrambled Eggs”. The song is a joyous return for this singular performer and creative visionary whose signature, self-described future-ghetto-funk sound first catapulted her onto the global scene, and has since seen her collaborate with everyone from Beyoncé to Ghetts, Gorillaz to Major Lazer and Wesley Joseph to Wizkid, as well as release two acclaimed solo albums “Rabulapha!” (2015) and “Phases” (2022). Produced by Johan Hugo (Self Esteem, Miguel, M.I.A) “Scrambled Eggs” is the first single to be taken from Moonchild’s forthcoming new studio album, which will be announced later this year. 

“When I started staying in the GOOD hotels, I noticed how the world is obsessed with avo and eggs for breakfast. It became a thing… you get avo & eggs for breakfast at the good places …”  Moonchild added “My writing recently has been me at my most humble, and Scrambled Eggs is me reminding everyone – by the way, I AM that bitch! I’m a multi-passport artist travelling the world in custom designs and doing it all on my terms. And I’m really f**king proud of that.” 

The video for “Scrambled Eggs” was directed by Jabu Nadia Newman and shot last month in Johannesburg, South Africa, It is an action-packed, chaotic and carefree caper – and a celebration of female-led business empires – styled by Chloe Andrea Welgemoed and featuring costumes by South African designers Siyababa and Sihle Masango and inspired by Johannesburg’s cutting-edge style and playfulness.

Moonchild said – “The Scrambled Eggs video marks my arrival at the beginning. It’s the beginning of being in THAT space;- this new world that this crazy, amazing, powerful, beautiful gang of absolute muthafuckers built together. This world contains everything I’ve ever worked for…  These are my people, and this is our superhero moment.” 

Moonchild Sanelly will be on tour this summer, UK festival dates include Glastonbury, WOMAD, Green Man and Jazz Café Festival.

Listen to “Scrambled Eggs” HERE.

 

About Moonchild Sanelly:

South African musician Moonchild Sanelly has always, since the very beginning, determinedly done things her own way. An artistic visionary, her drive to succeed is fuelled by an innate creativity, unique self-expression and extraordinary confidence, all underpinned by personal pain, trauma and a deep conviction and commitment to standing up for what she believes in.

Growing up in Port Elizabeth, Moonchild’s (born Sanelisiwe Twisha) music-filled childhood was one of creative exploration: whether it was self-choreographing dance routines to Spice Girls tracks, teaching herself to play the piano, singing at church with her family or writing poetry, artistic expression was always encouraged.

A move to Durban in 2005 to study fashion saw Sanelly become immersed in the local music scene, and later in Johannesburg, she would write for reggae bands and freestyle against other rappers, often overcoming misogynistic attitudes in the process. “In my writing, I would pay homage to my hard times and the many years that I struggled, because it has shaped me,” she says. She soon established her own signature sound: self-described as ‘future-ghetto-funk’, which would catapult Moonchild Sanelly to fame as South Africa’s most unique performer. With her electrifying live show – and self-designed flamboyant outfits – she became a superstar on her home turf. With an eye on audiences outside of South Africa, a commercialised approach to unapologetically spreading her message – one of female sexual empowerment – “liberation for women, in the bedroom, in the boardroom, knowing your power… I needed to be heard by a lot of people” – soon found a global audience which saw her invited to perform at festivals such as SXSW, Primavera, Glastonbury and Boardmasters.

A rarity as an uncompromising alternative artist who has found success in a commercial space, Moonchild Sanelly is a true fighter and unparalleled force of nature. “I fought everything for me to exist as myself and to win as myself,” she says, putting her ambition down to her mum’s passing when she was a teenager. “I was constantly reminded about my magic and my power… that nothing is impossible.”

Press release courtesy of I Be Music

Feiertag returns to Sonar Kollektiv with new single ‘Colorball’

May 17, 2024 | New Release, Music

Dutch producer Feiertag returns to Sonar Kollektiv with new single ‘Colorball’, a dancefloor weapon that’s been tried and tested at his gigs, now released for us all.

Joris Feiertag has something of a restless musical soul, and as such he’s always searching for new sounds and colours. Hailing from Utrecht in the Netherlands, he makes music that is a finely balanced blend of organic and synthesised elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.

Following on from his recent third album, entitled ‘Roots’, which saw the boundary pushing producer fuse his love of a strong, uplifting vocal hook with obscure samples and darker, sonorous sounds, his new single ‘Colorball’ is something altogether more intricate. Murky synths and pads make way for indecipherable yet irresistible vocals that build together to a very satisfying climax.

Joris explains, “After releasing my third album, I had to re-think my musical direction. It wasn’t easy to follow up on that pretty intense process. I used my intuition and ‘Colorball’ is the result. I felt like I wanted to focus more on my live set and having ‘secret weapons’ that work on stage. My goal was to have a kind of simple sounding hypnotic groove where you can discover subtle elements along the way. I’ve tested it multiple times on stage now and I have to say that I’m happy with the response I got so far! I’m glad to share this one with you.”

Once again, Joris creates new challenges for himself by finding that special place where his music can flourish, this time focussing on how his music will translate in a club setting.

Listen to ‘Colorball’ here

Press release courtesy of Only Good Stuff

Martin Magner releases the first single “Weapon” on his latest Pop Music EP “Magnum Opus”

May 17, 2024 | New Release, Music

Martin Magner has released the first single (and accompanying music video) “Weapon” on his latest pop music EP “Magnum Opus”. Martin shares that “Weapon” is a stripped back ode to self. “It’s about knowing your worth and being unafraid to ask for what you want. Embracing your innermost desires and shedding the fear of expressing them out loud.”

The EP as a whole is an unapologetic, four-part sonic and visual exploration that expands his universe with the sole aim to make people feel something. Magner shares, “It’s aggressively self confident, disarming with the hint of plastic pop that makes me scream.” 

He shot a music video which captures him crash landing in New York City, which corresponds with the single release today.

“I’ve spent years experimenting with different sounds, all of which have reflected the different phases I’ve gone through navigating my ever changing and evolving identity. I feel like I’ve finally found the music that captures who I am. ‘MAGNUM OPUS’ is an aggressive turn away from my previous work, much like the sounds we’re hearing emerge from Charli XCX, Julia Fox, Snow Strippers, 100 Gecs, I’ve evolved into a sound that perfectly captures the sparkle and sadness I carry in my day to day. While I’m based in NYC, I’ve worked with my long standing producer MISSU in Cape Town as well as Moon Bounce and Tony Quattro in LA to craft a sound unique enough to get people to pay attention. On the EP, I’ve got my first feature with LA based rapper Push Push, most well known for her work with Tommy Lee and Pussy Riot. Our track ‘Nightmare’ is set to release as the third single from the EP. I’ve explored an Afrikaans dance music track called ‘KLAP’ (directly translated to HIT) as well as featured my AI friend Nicole on my second single ‘Crawl’. It’s taken me 30 years to get here, but I finally feel like I’m creating from a place of authenticity.” 

Martin aims to pursue live performance in NYC and to get people “crawling across the dance floor.”

Listen to “Weapon” HERE

Watch the video HERE