Transmission Towers release their first album “Transmission One”

May 24, 2024 | New Release, Music

Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s – astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

Listen to “Transmission One” Here

 

Press Release courtesy of Only Good Stuff

Lucy Kruger & The Lost Boys release Final Single “Dripping Trees” from upcoming album “A Human Home”

May 24, 2024 | New Release, Music

Lucy Kruger & The Lost Boys, the dynamic musical ensemble known for its evocative soundscapes and self-reflective lyricism, has just released “Dripping Trees.” This haunting track is the final installment from their upcoming album, “A Human Home.”

The song explores the struggle of a character facing winter’s retreat. Should they brave the cold in the hope of finding the warmth of connection, or is it safer to hide inside? The calm beginning draws listeners in, leading to a whirlwind of guitar noise and ending in a cathartic resolution. Featuring band members Liú Mottes and Jean-Louise on guitar and viola, with Werner von Waltsleben on drums, “Dripping Trees” highlights Lucy Kruger’s atmospheric music style and emotive storytelling. The song invites listeners on a journey of reflection and release.

The single’s artwork, by Julia Schimautz, with photography by Francis Broek and styling by Lenny-Dee Nielson, sets the mood. Ines Soutschka at Cult Wife created the lyric video, incorporating mesmerizing animation by Julia Schimautz.

“Dripping Trees” wraps up Lucy Kruger & The Lost Boys’ introspection in “A Human Home,” a project born during Berlin’s lockdown. Through lo-fi production and intimate songwriting, the album explores the concept of home.

Lucy Kruger emphasizes the influence of others on her creative process, acknowledging that home extends beyond physical spaces to include cherished relationships. From remote collaborations to impromptu duets, “A Human Home” celebrates human connection amidst isolation.

The full album will be out on the 31st of May.

Buy / Stream Dripping Trees Here

 

Press Release courtesy of Plug Music Agency

Tiwa Savage releases the soundtrack album for her feature film ‘Water & Garri”

May 24, 2024 | New Release, Music

The anointed Queen of Afrobeats TIWA SAVAGE releases the soundtrack album for her feature film, ‘Water & Garri.’. The feature film from Everything Savage and Unbound Studio also has arrived on Amazon Prime Video with the soundtrack released on the same day through EMPIRE.
The immersive and captivating soundtrack album was curated by Savage and includes ten original songs from Tiwa alongside featured artists from the worlds of Afropop, R&B and Hip Hop. Featured artists include Grammy nominated stars Olamide and Ayra Starr, respected Nigerian singer-songwriter ASA, Cameroonian multi-instrumentalist, and singer Richard Bona,  gospel artist Zacardi Cortez as well as newer talent Black Sherif, Young Jonn, Mystro Sugar and The Cavemen all feature on the album.
“The soundtrack makes heavy use of live instrumentation and ambient sound effects to create an immersive experience while Tiwa returns with her signature overtone-singing,” stated Variety magazine. “The project includes an array of sonic elements from Afrobeat and Afropop to amapiano to R&B, gospel, and hints of mainstream trap and pop.”
“People expect a certain sound from me, but in doing a soundtrack, I could experiment,” says Savage. “African culture I either put it in my fashion or put it in my music, always. It’s because it’s beautiful to be African,”
The Water & Garri film marks a pivotal chapter in Tiwa’s artistic journey as she embarks in the world of film taking on her first lead role in a feature movie as well as its Executive Producer. Both the film and soundtrack fold together to reveal poignant cultural shifts and internal thoughts as Savage plays the lead role of Aisha, an ambitious fashion designer who returns to her native home ‘Eastside’ after 10 years away living in the United States. At home, Aisha finds that things have drastically changed, violence has escalated, and tensions are high. As she reconnects with family, old friends, and her past love, she must learn to live with her scars and confront the guilt she left behind.
Musically, Tiwa has collaborated with global superstars Chris Martin of Coldplay, Beyonce on ‘The Gift’ and ‘Black Is King’, Nas, Brandy, Sam Smith, Omarion, Wizkid, and Davido. In 2018 she became the first female to win the MTV European Music Award for Best African Act, sold out two successful North American and European tours and in 2023 performed at the Coronation Concert for British Monarch King Charles II, representing The Commonwealth. In 2025, Savage will play a headline concert at London’s Wembley Arena.

Listen to Water and Garri here

 

Press Release courtesy of Shelia Afari

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