Alexander Flood releases dance track titled ‘Life Is A Rhythm’

For the first single taken from forthcoming album ‘Artifactual Rhythm’ by Alexander Flood (out April 2025 on Atjazz Record Company), Cazeaux O.S.L.O brings his lyrical genius to a hard-hitting collaboration with the Australian drummer in a dance track entitled ‘Life Is A Rhythm‘.

‘Life Is A Rhythm’ also features flowing rhythmic layers from Brazilian percussionist Aduni on congas and Cuban percussionist Alexander Scull Castillo on bata, recorded in Berlin’s infamous Red Bull Studios.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Listen to ‘Life is a Rhythm’ here

 

Press Release courtesy of Only Good Stuff

Jullian Gomes, Kuniyuki Takahashi and Sio have released new remixes of ‘Let Me Go’

‘Let Me Go’ by Jullian Gomes, Kuniyuki Takahashi, and Sio is elevated with fresh interpretations from Deep House stalwarts Atjazz and Osunlade.

Originally from the recent album ‘Bruno & The Birds‘, a thought-provoking exploration of self-doubt, fear, and personal growth, ‘Let Me Go’ is reimagined in a way that deepens its emotional impact through the vision of these two iconic remixers.

Born and raised in South Africa, Jullian Gomes discovered House Music at the age of eight. Since then, he’s climbed the ranks in the music industry, releasing on influential labels and gracing stages worldwide. His debut solo single “Love Song 28” marked a significant milestone in his career, and he’s continued to grow as a producer and remixer, working with industry legends.

In 2013, he collaborated with Atjazz on the album “The Gift The Curse“. His success has taken him to renowned festivals and venues around the globe. In 2016, he released “Late Dreamer,” a critically acclaimed album that topped charts and garnered awards.

“Slow Poison” followed in 2019, showcasing Gomes’ versatility and once again claiming the No.1 spot on iTunes South Africa. His unexpected remix album “Poisoned” emerged in 2020, further demonstrating his ability to transform and innovate.

Jullian Gomes is not just a DJ and producer; he’s a passionate music enthusiast on a perpetual quest to expand his musical horizons.

 

Listen to ‘Let Me Go’ here

 

Press Release courtesy of Only Good Stuff

Design For Betterment: How Design Week South Africa is Activating Cities

Do we really need more newness? The short answer is no. When you think of advancements in technology, overconsumption and consumerism in excess, my guttural response is to shut down. However, if newness is born with a human-centric and strategically sustainable lens, the answer to my question is yes – we need this type of newness. When Margot Molyneux founded Design Week South Africa powered by Yoco, she perhaps unknowingly initiated a wave of creativity which unlocked individual and collective capacity for expansion, for good, which lasted long after the festivities.

We take a tour of some of the highlights from both Johannesburg and Cape Town Design Weeks, which were part of the inaugural fair which ran this October. 

Roland Postma, Zanele Kumalo and Margot Molyneux at Design Week JHB, Photography by Thabo Mthombeni

Parklet Cape Town Station, Photography courtesy of the Young Urbanists

Connect Everything Collective Panel Discussion: “Mapping South African Archives For The Future

On 26 October, CEC hosted a panel discussion as part of Design Week South Africa. With an incredible venue sponsored by Belmond Mount Nelson, it was more than just a conversation on the Mapping of South African Fashion Archives for the Future, but about design and archiving as a means of progress and equity. As we shared in our monthly mailer (subscribe here) and will continue to reiterate: this is our non-negotiable perspective on storytelling – heroing insights from local advocates including Wanda Lephoto, Andile Dlamini, Yamkela Mahlelehlele and Alexa Schempers, in conversation with Holly Beaton and facilitated by the CEC team and Editor in Chief, Candice Erasmus

In light of this discussion, Wanda Lephoto shared: South Africa has a very complex history, how our relationship with each other is very nuanced and we have to take accountability for the shared histories of this place in a way that is very conscious of the kinds of futures we would like to create for ourselves. 

One of the things I believe in is us being brave to confront the uncomfortable conversations about where we are as an industry and where we still need to go and often times we can hide in the shadows of seeming being brave but actually being complicit in the further development of the kinds of new histories we are creating that further contribute the complexity of our situation in this country.

For people, brands and corporates that have huge amounts of resources or access that have created platforms that want to show South African art and design in its best light, sending out invites isn’t enough anymore. An invite without the right kind of access, tools and resources to support the people you have invited isn’t brave, it’s cowardly. We have to start recognizing that in an industry like ours, with the shared histories like ours, not all of us can participate at the same capacity and it’s collectively up to us all to support each other and make efforts to support everyone where their needs need it the most. 

This is very complex and it will take some time to figure out but it has to start and in many ways it already has because we are having the conversation.”

Wanda Lephoto and Yamkela Mahlelehlele at CEC Design Week Panel photographed by Briony Blevin

Design Week Joburg Open Street Activation, Imagery courtesy of Design Week South Africa, polaroids by et al studio 

Young Urbanist Discussion: South Africa’s Future Townships, Dunoon, Khayelitsha & Langa

On Friday 25 October, visitors were able to take a tour and observe the community work that was carried out in Dunoon by the Young Urbanists team. Their initiative and focus is to improve housing, reduce waste and tackle the struggles of mobility planning in the city. Dunoon is one of Cape Town’s most rapidly evolving urban areas and the  excursion provided a firsthand look at how public transport connects the city’s centre to lesser developed, fast-growing areas. It was a unique opportunity to engage with the challenges and opportunities of urban development in a space that showcases a mix of formal and informal structures. ​Roland Postma of Young Urbanists shared that the visit, hosted from the international award winning Dunoon Library, was “designed to inspire and inform urban planners, architects, policymakers, and anyone interested in the challenges of sustainable urban growth and development. It’s an opportunity to explore Dunoon’s current landscape while gaining insights into potential future improvements in integrating infrastructure, community spaces, and resource management.” 

Further to the community and social development work Young Urbanist is doing, on Friday 25 October, the event directed towards exploring “South Africa’s Future Public Transportation Interchange: Cape Town Train Station”, was part of Design Week South Africa and Transportation Month. It focused on the R1.5 billion redevelopment of the Cape Town Station Forecourt, exploring the future of transit-oriented development (TOD) and public-private partnerships (PPP). The event looked at the importance of making public transport hubs safe, efficient, and accessible, with Cape Town Train Station serving as a blueprint for future transport interchanges across South Africa.

Roland Postma, founder of Young Urbanist and integral team member of Design Week shared with us about the event, “Design Week South Africa showed the power of design being diverse and versatile, with many overlaps between furniture makers and architects, using design to make South Africa a better place. The other big drawing factor for exhibitors, change-makers, and designers was that instead of being confined to a single building or space, Design Week South Africa took place across Johannesburg and Cape Town, where the public was invited to real spaces by real people solving real issues through design. 

This experience meant better conversations were had, more synergies, and a truly inclusive platform that covered a wide array of design sectors. In Johannesburg, we got to see the future South African neighbourhood with no walls and streets for people, not private cars that boasted big economic returns in Rosebank by Intraprop. 

Whereas in Cape Town, we saw the City of Cape Town’s modular, state-of-the-art library in the heart of the Dunoon Township, talks about how Urban-Think Tank Empower is upgrading Khayelitsha Site C with new housing and public spaces, new third spaces like the modular parklet at the Cape Town Precinct by Flatrock Studio, and experienced a car-free Bree Street on the last day of Design Week.”

Dunoon Site Visit – Housing, Waste, and Mobility Planning. Dunoon Library, Photography Courtesy of the Young Urbanists

Soweto Caracas Community Centre, Render Courtesy of Urban Think Tank

“Museum of the Brave” by Yoco

Over the past ten years, Yoco has celebrated the courage of business owners – the people who’ve taken bold steps to follow their dreams, transforming their ideas into thriving businesses. To mark this ten-year journey, Yoco, in collaboration with Design Week, created “The Museum of the Brave”, an installation at OnePark, which ran from 24-26 October. The immersive exhibition that brings to life the stories of courage and determination that define the journey of business owners. Seeing the face of an entrepreneur, picking up the telephone and hearing their story is an inspiring way to acknowledge what is possible when supporting small businesses.

‘The Travelling Eye’ Exhibit at The Manor 

The first night of the Joburg leg of Design Week South Africa (Thursday 10 October) kicked off with a store activation and a Beijing Opera dinner celebration at 44 Stanley’s The Manor. Including an in-store and window activation that featured local brands and curated artworks, the event was put together, and hosted, by the teams at The Manor and Lookbook’s House and Leisure

Photography courtesy of Design Week South Africa

‘The Traveling Eye’ at The Manor, Photography by Thabo Mthombeni

Further highlights and exhibitions show how an entire design community was able to plugin to the platform created by Design Week. To mention a few: (but this is by no means an exhaustive list), the ‘African Chair’ exhibition, a collaboration between House and Leisure and interior architect Marlon James; Demo Projects in collaboration with The MAAK showcased “Clay, Library, Land Studies” which was a cross-disciplinary exhibition told through the lens of a new library being built in District 6; ‘BROKEN PEOPLE FIXED POSITIONS,’ by Kooooooos and Ex.Hotel; and an in-store summer refresh at 43 Bree by Klûk CGDT. Wunders exhibited the products and artworks of their ‘Waste Workshop’, where local artists and creatives upcycled waste in collaboration with breakroom. Et al. studio curated Some Things’ Exhibition with a range of local designers and artists at Gorgeous George Hotel. Brands and designers, such as Hoi P’loy, Cape Cobra and N I S H, each launched brand new products and collections over the weekend. 

We encourage you to explore what each brand and creative began over this week and show continued support for their development. This week of activities, activations and showcases lives on and proves what can be done, that design is not limited or exclusive, that more can indeed be more – towards betterment.

A huge congratulations to each collective, the individuals who participated and facilitated – wrapped up in the generosity of funders and sponsors. Time to start that project for Design Week 2025. 

Written by: Grace Crooks

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

Lagos Space Programme at Confections X Collections – a Celebration Of Yoruban Minimalism and Ingenuity

“Genderless in its design. 

Intentional in its practice.

Lagos Space Programme honours the past to create future culture.”

This is the manifesto underpinning Adeju Thompson’s sartorial practice. As the founder and designer of Lagos Space Programme, Adeju syphons and syncretises all manner of Yoruba lore, non-binary expressive praxis, defies conventional norms, charts the future and simply – creates excellent, excellent garments. I’ve often referred to ‘sartorial consciousness’ and it is my way of ascribing the kind of ‘fashion’ or expression of dress as something beyond its material function. Sartorial consciousness, as the phrase indicates, is fashion that invites us to expand beyond our prescribed understanding of clothing, and toward something intangible; doused deeply in meaning and awareness. At the annual (and infinitely growing) Confections X Collections, a freshly formatted fashion showcase experience founded by Twyg and in partnership with The Belmond Mount Nelson Hotel, Adeju showcased a collection that had me on the edge of my seat — slow breath, eyes affixed, on the deliberate detail infused in each look. It was an awakening of sartorial consciousness, set against the backdrop of the Nellie’s iconic baby pink suffused tea room.

Shown in two parts, the first half set the tone for a slow – steady – meandering of the models, cast and directed by Ky Bxshxff and Tandekile Mkize and their incredible backstage team. The colour palette offered up included Lagos Space Programme’s signature indigo offset against crisp whites, oatmeal linens and candescent prints — and the kind of hardware statement pieces that sent me into a frenzy, as a girl whose love for raw minerals reaches far and wide. Intrinsic to Adeju’s approach is tailoring; with the influence of masculine silhouettes transformed across feminine silhouettes, masculine-centric cuts; and through this, Adeju continues to achieve their manifesto of a genderless sensibility, in which there are no rules to construction. All at once, Adeju is a serious designer with an effortless, playful approach. This is masterful.

Photography by Candice Boddington

Photography by Paige Fiddes

The show notes described the collection as “inspired by the Ojude Oba festival, each piece is rendered in rich natural indigo and adorned with our signature hand-painted post-adire motifs—reflecting a journey of cultural exploration, decolonization and self-discovery”. The Indigo dyeing is a key part of Yoruba adire cloth-making, a form of textile art that uses resist-dyeing techniques to create intricate patterns, which Adeju has woven into the label’s DNA as both a technique and hue — connecting us, as we witness these pieces, to the space between the physical and ethereal, of which these clothes represent. As Adeju has referenced many times, their approach to honouring their Yoruba heritage through a contemporary lens is paramount to the vision of Lagos Space Programme.

Let’s talk about the hardware. Hammered brass accentuated the pieces, with Adeju’s futuristic twist on accessories a divine finishing touch to the collection. One model wore a flat ring of brass around his shoulder — a shoulder bracelet? While others were adorned with circular pendants, and a model wearing a cream, high-neck dress dangled hardware from her back. I was reeling and uncontained at the vision of this; a masterful stroke, and an indication that LSP has its sights set on how we might dress for a multi-dimensional future. 

Founded by Jackie May of Twyg, CxC as it is affectionately known has become an end of year tradition in Cape Town. I think it has injected an immensely elevated way of experiencing the talent in South Africa and the continent at large — and a shoutout has to be offered to The Mount Nelson, who have endeavoured to make the hotel a site for fashion, design, art and creative expression. I was totally blown away — least not because editor and stylist extraordinaire Gabriella Karefa-Johnson was at the same table as me. I know, insane. Don’t worry guys, I played it cool and Gabriella’s presence along with the expansive South African fashion family across multiple days, makes CxC my version of fashion week and I suspect it will only grow. 

Photography by Nicole Landman

Photography by Paige Fiddes

The intimacy of Confections X Collections cannot be overstated – it is a small gathering, as a departure from the front row interpretation of the traditional fashion show format. In between the two acts, the designer is invited to converse with CxC’s host, Seth Shezi— an incredibly personal touch, as we get to hear directly from Adeju on their approach. As they said, when asked about the vision for the collection and its decidedly minimal rendering of Yoruban reference; “I think there’s a misconception about Nigerian fashion and aesthetics. If you dig deep and research, there is an attraction to minimalism in Yoruba culture, especially in our pre-colonial history. There are so many ways to approach interpreting it, and I draw a lot on the things I like and my interests, and what my vision of Africa and Nigeria is.”

This is Lagos, Nigeria – Africa – Planet Earth, and the Universe, yesterday, today – tomorrow and in a thousand years – all in one sweep of a fashion showcase. 

Written by: Holly Beaton

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

Is The Social Media Skincare Obsession Ruining Our Self-Esteem?

When I was 11 years old at a small girls’ school in Cape Town, we had a ‘lifestyle day’ for the grade 5, 6, and 7 students. For this event, various teachers offered mini classes on self-care and hygiene habits. In retrospect, I think it was a thoughtful way to impart valuable tools to us, especially for students who, perhaps due to their home circumstances, might not have been aware of such. I was chosen as the class volunteer to demonstrate a simple skincare routine: cleanse, tone, and moisturise, and it’s suffice to say — I’ve never looked back and maintaining some kind of routine has felt as critical for my existence as drinking water or eating food.

It’s interesting to look back on this moment, in the context of researching this piece and understanding just how instinctively young girls are socialised to prioritise skincare and beauty — even in the most noble, helpful pursuits by a group of well-meaning, female teachers. The expectation is embedded so deeply that it feels non-negotiable; we grow up understanding these routines as ‘self-care,’ essential acts tied to our sense of worth and identity. 

Caring for oneself is framed as fundamental to our being, making these routines feel less like choices and more like intrinsic responsibilities. This idea connects self-care to our very core, subtly reinforcing that, with these actions, we’re both caring for our skin *and* validating our place in the world. The girlies know (even my husband knows, too, thanks to my encouragement of his own simple routine) just how invigorating and livening it feels to purchase, arrange and apply skincare products. But like everything in this deeply consumerist culture founded on excess, skincare and the pressures of the pursuit of perfect skin, largely implored by the internet and beauty influencers, can become a dangerous obsession. We’re witnessing this occur in leaps and bounds.

‘CUT AND PASTE’ photographed by Fanette Guilloud, via Death to Stock

‘Injectables’ photographed by Cottonbro, via Pexels

The beauty industry’s relentless marketing machine whose legions of influencers, all touting the perfect skin with each new product in an effort to gather us all in the pursuit of perfect skin, features, and body, has given rise to a troubling new term: dermorexia. Hesitantly coined by beauty journalist Jessica DeFino in her Substack newsletter The Review of Beauty, Jessica writes that, I previously used the term ‘dermorexia to describe a number of obsessive behaviours enabled and encouraged by the skincare industry today: teens devising multi-step anti-aging routines for fear of future wrinkles; adults going into debt to needle and laser their faces; a frantic, cross-generational preoccupation with retinoids and acids and glazing. I hesitated to suggest such an illness-coded word at first, but as Clein said in an interview for Mental Hellth, “it’s useful to have diagnostic categories so that people can get medical care.” And in the case of disordered skincare use, medical care is sometimes necessary; many of the above behaviours negatively affect skin health and mental health, especially for younger users.” 

It’s important to note that ‘dermorexia’ is a cultural term at this stage and in using it as a term, sensitivity must be practised in terms of its association to very complex bio-psychosocial disorders such as anorexia. 

The rise of such a term captures a growing obsession with skincare that is transforming once-healthy routines into compulsive, sometimes harmful rituals. While these routines may initially yield visible results, they often become insatiable, fueling an endless cycle of insecurity masked as self-care. This cycle can lead to damaged skin barriers, near-fatal allergic reactions, and psychological impacts that leave us feeling isolated and never fully content in our own skin – with every fix and trick meant to become the very thing that will reveal the most idealised, perfect version of ourselves. Our self-esteem is always under scrutiny and that’s not to mention the financial impact of buying things we can’t afford (racking up debt for costly procedures, too).

I can relate, given how often I’ve asked an aesthetician if I’m a candidate yet for treatments like PRP Vampire Facials or Sculptra—or the fact that I once went on an active-ingredient spending spree with niacinamide, glycolic acid, and salicylic acid that nearly destroyed my skin barrier. PRP (Platelet-Rich Plasma) Vampire Facials involve using your own blood’s plasma to promote collagen production and skin rejuvenation, promising smoother, more youthful-looking skin. Sculptra, on the other hand, is an injectable that stimulates collagen growth gradually, aiming to restore volume and reduce wrinkles over time. Both treatments, known for their natural-looking results, highlight our push toward increasingly complex—and costly—solutions in the pursuit of so-called ‘perfect’ skin.

Imagery courtesy of Pexels

‘Skin Deep’ photographed by Daniel Farò, via Death to Stock

There’s a fine line between diligent skincare and dependency, one that the beauty industry often blurs with clever marketing. By constantly introducing new products, driven by science, and encouraging multi-step routines the industry drives an insatiable need for ‘more’. There’s what you should be doing at home – 6 to 12 steps and no less – to the constant rotation of appointments at aestheticians, facialists and so on.  Exclusive ‘must-haves,’ and intricate product layering fuel the promise of perfection, and somehow leave many of us constantly feeling as though our current routine is always incomplete. Rather than promoting balance, these practices reinforce a cycle of dependency, in which skincare can become less about care and more about keeping up with an ever-evolving standard. 

As evidenced by the ‘Sephora Tween’ phenomena, the age at which this is occurring is becoming younger and younger; with Parija Kavilanz writing for CNN that, “tweens are obsessed with skincare. Their curiosity for all kinds of creams, gels, face masks and facial peels has even earned them a viral moniker: “Sephora Kids,’ and skincare experts are applauding the fact that kids as young as eight years old appear to be invested in taking care of their skin. The evidence is all over social media. At the same time, they’re concerned these young consumers are going about it in a risky way – from what they are buying to where they are buying it – and causing unnecessary damage such as rashes, allergic reactions and even skin burns.” 

Can’t a girl just have a childhood, free of the onslaught of self-perception? 

A few months ago, I sought out my darling friend and founder of skincare studio Edra, Liana Colvin, to help me with the weight of choice and lack of direction I felt with my skin. I had been told by a few specialists that I had what appeared to be mild rosacea – a chronic skin condition that primarily affects the face, characterised by redness, visible blood vessels – which I’d always put down to being a redhead with a natural ‘red’ undertone. Liana has been on her own journey to heal years-long, debilitating acne and found herself, too, overwhelmed and lacking actual help available. She has developed Edra as a resource and service that cuts through the noise and strips away the pretens around skincare and while not intended as medical advice, Liana’s help with a few adjustments to my products and routine, has been some of the most help I’ve had in years with my skin. “In my opinion, skincare solutions don’t begin with getting the most expensive or newest products,” Liana says, “in fact, I usually suggest people cut down on products. If your skin is inflamed or breaking out, adding too many products will likely aggravate it more. Sometimes, it’s just a few ingredients your skin doesn’t like, but often there’s a deeper issue. If your skin is a ‘problem,’ it’s giving you information about what’s happening in your body. It’s asking you to take a look at your mental, physical, and emotional wellbeing.”

In a culture of excess, even wellness is not immune, as the wellness industry has spawned its own medicalized term: ‘orthorexia’, which describes an obsession with health and wellness that can lead to disorder. I asked Liana about how she has approached finding healthy boundaries in her journey to transform her skin and her relationship with it, to which Liana says, “for me, the journey to healthier skin began with looking inward. I had an unhealthy relationship with myself, food, and exercise—I was so out of touch with what my body was asking for, jumping from one fad to the next, like kale and running (which I actually hate). I’ve learned to trust my gut; my body intuitively knows what it needs, and since I started listening, a lot has improved. You don’t need the trendiest products—just a few essentials, like an antioxidant, sunscreen, and retinoid. You don’t need the most expensive oil or cleanser, just ones with balanced pH that avoid harsh fillers and sulphates.”

Recent films like The Substance, featuring Demi Moore and Margaret Qualley, portray deeply problematic issues surrounding ageing and beauty standards in Hollywood—standards that, as we’ve seen with the ‘Kardashian era,’ quickly permeate the wider culture. The story follows Elisabeth Sparkle, who, on her 50th birthday, is abruptly dismissed from her long-running aerobics show due to her age. Following a car accident, she encounters a black market serum called ‘The Substance,’ which allows her to transfer her consciousness into a younger version of herself, leading to relentless and horrifying consequences. 

As Bee Beardsworth discussed in her piece for Dazed titled ‘We Are Entering the Undetectable Era of Beauty,’ the recent comeback of Christina Aguilera, with seemingly 20 years shave off her physical age, demonstrates a shift that we are entering even more unchartered territory with beauty. As it turns out, many of these supposed procedures are skincare related — with Bee writing that, “Responsible for this move towards work becoming “undetectable”, Dr Trapathi explains, is a shift of focus towards skincare, with cutting-edge procedures like growth factors revolutionising the technology. “Growth factors used to be something we would get from our patient’s blood, but now we’re able to source them from things like bone marrow, umbilical cords, and are even bioengineering them in the lab. These treatments can dramatically improve the ageing process of the skin. It’s taking the aesthetic skin world to an entirely new level.” Dr Trapathi says that his assumption is that, rather than going under the knife, everyone in Hollywood is getting continuous skin treatments. “These skin boosters, skin treatments, growth factors, all of that stuff, they’re just readily available at their fingertips with little downtime.”

It will be harder and harder to find balance as we quantum-leap in advancements; and who’s to say this is even a bad thing? We are at the precipice of great change as a species, with some people even proposing that we will start to live much longer as a result of our scientific and technological revolution. The point is that we’re aware of the relationship of our actions and behaviours in relation to ourselves; does our skin care routine amplify our everyday experience and are we making safe choices? Do our skin appointments truly help us? Only we can determine that for each of ourselves — and if you ever get irritated with the ceaseless pull of the skincare industry, just know that you’re not alone. As Liana points out, “I truly believe this hyper-focus on our appearance creates a void designed to never be filled. Don’t try to fill it. Focus instead on connecting to your lifeforce—your body, your mind, and your connections with others. There are far more important things in life than what we look like. Healthy skin is necessary, and it can tell us a lot about our health, sometimes even indicating underlying chronic issues. But the industry has taken something valuable and turned it into a new unhealthy obsession.”

Featured image: “The Substance” Licenced by Alamy 

Written by: Holly Beaton

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

Yoav and Jabulile Majola release their album, ‘Unyazi’

Yoav and Jabulile Majola, two distinct voices in the music scene, release the first three singles from their deeply personal and transformative collaborative album, ‘Unyazi’. The album breaks conventional boundaries, blending Yoav’s ethereal acoustic style with Jabulile’s poignant storytelling and soulful vocals.

Yoav, renowned for his Indie Folk sound, brings his unique perspective, shaped by a rebellious rejection of his Classical music background to his own electronica-infused style. In contrast, Jabulile, was born into a challenging upbringing, raised in a Children’s Home in Greytown, KwaZulu Natal. The two find solace and expression through their compositions, sharing narratives rooted in personal and joined experiences.

Their musical journey began with a serendipitous meeting through a mutual friend, which sparked an instant creative connection. Initially collaborating on the acclaimed single “Stranger,” their partnership blossomed into the full-length project ‘Unyazi’. The album, named after the fleeting light that follows lightning, invites listeners to experience vulnerability and try to share in the sense of healing they both experienced through the process.

 

Through the recording of the album, both artists faced loss of loved ones. Their journeys navigating personal grief were captured in their writing, transforming their pain into expressions that can resonate universally. “Unyazi” serves as a testament to resilience, offering listeners a glimpse into the cathartic power of music to heal.

“Throughout the process of writing this record, it felt like we were going through a collective grief. Our intention was to create something healing and nourishing, and in the process, we experienced healing ourselves.” – Yoav.

 

Listen to ‘Unyazi’ here

Press release courtesy of Only Good Stuff

Mackwood releases his full album ‘Master Changes’

Presenting the debut album from London-based drummer, producer, songwriter and bandleader Mackwood. ‘Master Changes’ is out now, via 5dB Records. 

Inspired by the UK’s rich electronic and soundsystem culture, Mackwood warps what we usually understand as jazz into new shapes and unpredictable forms, melding modern production with live instrumentation from his 6 piece band at West London’s 5dB Studios. Named after a sci-fi novel about a nuclear apocalypse, Master Changes, is influenced not only by a vast range of music, spanning from Curtis Mayfield to Nubya Garcia and Holst to Four Tet; but also by literature and wider conversations on identity, connection and the human condition.

Having cut his teeth drumming and producing for some of the UK’s most exciting and forward thinking artists, including Col3trane, Nilufer Yanya, Jordan Rakei, Eliza and Blue Lab Beats, as well as creative collectives like Levitation Orchestra and The Silhouettes Project, the release of Master Changes signals a new era.

Speaking on the album, Mackwood explains: “The process of making this album has felt like a lot of experimentation and scrapbooking, but there are core energies joining from one idea to another. I deliberately drew on a wide range of ideas over a period of time, but arranged and played it all with the same set of musicians, so the sound world is always shifting around the same core palette. Excited to see it come to life!”

Listen to “Master Changes” here

Press release courtesy of Only Good Stuff

Inkswel and Andre Espeut release ‘Downtown Love’, the second single from their upcoming album

Featuring a guest appearance from LA rapper Abstract Rude, ‘Downtown Love’ is the second single announcing upcoming album ‘Synchronicities’ by Inkswel & Andre Espeut, to be released on 29th of November.

‘Downtown Love’ is a smooth soulful hip hop-joint featuring lyrics by Abstract Rude from Los Angeles’ Project Blowed.

Joining forces with Espeut is the globally renowned Inkswel, a force in the music scene who has spent over two decades pushing boundaries with his innovative production that has laid the foundation for past collaborations with Talib Kweli, Amp Fiddler, Lee Scratch Perry and countless other luminaries of underground music, Inkswel brings his old-school-meets-future sound to “Synchronicities.”

Listen to ‘Downtown Love’ here

Press release courtesy of Only Good Stuff

The Rise of Concept Stores from Lagos to Cape Town

There’s no dispute that Africa has long been a powerhouse of creativity and culture. Whether through art, fashion, design or music, our continent proudly celebrates its distinctive rhythm and rich cultural tapestry. With a new wave of concept stores redefining the retail experience, these are more than just places to shop; they are creative hubs, community spaces, and platforms for showcasing the continent’s heritage and artistic expression. From streetwear and skate culture to high-end fashion and sustainable design, these stores offer a unique blend of products and experiences. Starting in Lagos and ending in Cape Town, we’re exploring some of the most exciting local and global concept stores shaping the future of retail on the African continent.

 WAFFLESNCREAM (Lagos, Nigeria)

WAFFLESNCREAM, Nigeria’s first skateboarding and apparel brand, also serves as the first-ever concrete skate park and hub for skate culture in the West African region. Born from the flagship store in Lagos, the brand has dedicated itself to supporting, uplifting, and energising the local skate scene over the past eight years. Their unique approach involves incorporating historical elements of Nigeria into their work and the retail offering is characterised by an aesthetic mix of skate headwear, hardware and clothing. More than just a place to skate, WAFFLESNCREAM has created a hub of creativity, friendship, and shared experiences. See te article we shared on their collaboration with photographer Assante Chiweshe here). 

Location: Trocadero Square Unit 5 The Rock Drive, Lekki, Lagos, Nigeria

Image courtesy of WAFFLESNCREAM

The LOTTE (Accra, Ghana)

In the vibrant city of Accra, Ghana, The LOTTE is a luxury curated concept store that brings together a carefully selected collection of high-end fashion and lifestyle products from Africa and its diaspora. Beyond retail, The LOTTE is a destination and center for artistic expression in fashion, art, and sustainable design. Guests are invited not only to browse and shop the curated merchandise but also to immerse themselves in unique and multifaceted experiences. Through pop-ups, installations and unique events, LOTTE acts as a dynamic platform for creativity and engagement in the heart of Accra.

Location: 33 C Josif Broz Tito Avenue, Cantonments, Accra, Ghana

Image courtesy of THE LOTTE

The Manor (Johannesburg, South Africa)

Part-concept store, part-exhibition space in Johannesburg’s 44 Stanley, The Manor is a space for African creatives. Individuality and storytelling are celebrated through various art forms and mediums – from fashion and design to photography and film. This multidisciplinary approach allows creatives and visitors alike to express themselves and their diversity. Through various experiential collaborations and events, The Manor showcases Africa’s rich cultural heritage and gives a platform to amplify the many voices that have shaped it.

Location: 44 Stanley Ave, Braamfontein Werf, Johannesburg, South Africa

Image courtesy of The Manor

Shelflife (Cape Town, South Africa) 

Heralded as South Africa’s leading sneaker and streetwear store, Shelflife first opened its flagship store in Cape Town in 2006 (read more about it in our article featuring founder, Nick Herbert). Undeniably the destination for all sneaker geeks and hype beasts, Shelflife holds the highest tier of sneaker accounts in Africa and has a growing in-house apparel line strengthened by collaborations with various cult brands. Staying true to their graffiti and street art roots, Shelflife also owns the rights to Montana Colours spray paint imported from Barcelona and is the official Montana paint stockist for South Africa. Now, nearly 20 years later, even as the brand has expanded its brick-and-mortar locations, the Cape Town store remains the jewel in the crown. Having moved into premium homeware, the store also boasts a gallery and community gathering space, a sneaker wall comprising collaborative and heritage pieces and the newly launched Shelflife Café. 

Location: Shop 5, The Barracks, 50 Bree St, Cape Town City Centre, Cape Town, 8000

Image courtesy of Shelflife

CHIMI (Cape Town, South Africa)

With locations in Stockholm and Paris, Swedish eyewear brand CHIMI opened their first flagship store in Africa, in Cape Town’s city centre in September 2023 (read more about the launch in our article here). Housed in Cape Town’s creative hub, CHIMI’s goal is to redefine the typical retail experience. CHIMI’s philosophy revolves around capturing the essence of contemporary active lifestyles, and the flagship store in Shortmarket Street echoes this vision, with every item in the store meticulously selected to reflect CHIMI’s distinctive character. As a space where products are part of a narrative, this store transcends the transactional nature of shopping and welcomes a spirit of collaboration and a meeting of creative minds.

Location: 69 Shortmarket Street, Cape Town, South Africa

Image courtesy of CHIMI

Press Release courtesy of Avenue

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

Sober and Social: In Search of Time and Memory

Moments of clarity are rare in current contexts. To think with sharpness is to ask the glass of water to stand still while the table shakes. At the end of every long, hard day, your mind already pulling at the final thread, a foaming lager or a decanted red promises quite the opposite of ‘sharp’. A drink provides a gentle mist, a light haze to deglaze the day’s incomplete tasks, unanswered emails or overthought interactions. Three top buttons undone, shoes kicked back, mouth open for the yap, alcohol is the tincture and tonic helping a hoard of uneasy creatures unwind. But then again, it is also so often our undoing. 

Nights out with friends can quickly go from silly to unsafe. They turn to anxious gaps, blackouts, “What did I say again?”, and insufficient funds. All that time spent slaving over spreadsheets at your day job, only for your salary to get burnt out over payday weekend. Is it really worth it? Or can that difficult decision still not find resolve at the bottom of the glass? And, if you’re being honest, did you really catch up with your friend? At the end of Sober October and the oncoming start of December’s festivities, it seems a good time to reflect on our relationship with alcohol. 

During the transition from Winter to Summer, the sway between wholesome and hedonism is evident in our consumption. As crowds gather, bottles pour and there is a sense of ‘letting loose’. The challenge has come to a slow end, and we begin to say yes again. But is sobriety really just a test of tolerance right before a season of excess? Or is it perhaps the answer to recalibrating a culture that is sometimes, worryingly, obsessed with booze, gratification and escape? Alcohol, more than it is associated with fun, is a cause of so many of our society’s worst problems. As Deplort has put it before, GBV, alcoholism, dysphoria and more are associated with overconsumption and can be traced back to the country’s shockingly high intake. 

Image courtesy of Unsplash

‘The Raver’, Rona Falkenbach, Berlin, 2023. Exhibited at Unbinding Histories, curated by Cagla Demirbas, August 2024, Association for Visual Arts (AVA Gallery), Cape Town (35 Church Street).  Images courtesy of AVA Gallery.

On one sober evening at AVA gallery, Ronja Falkenbach’s exhibition ‘The Raver’ at Unbinding Histories sheds a sober Sunday light on the alcohol-soaked exhaustion that we have come to know as normal. The photographer looks carefully through their lens at their subjects, who appear fatigued on the morning after a rave. Piercings in, liner smudged, attention split, they are the sum of a collective call to trade day for night in search of easy pleasure and filthy groove. We all know them, and at one stage or another, embodied them on nights spent bashing bodies in back-alley bars, liberating ourselves of responsibility. Enjoying a bender’s delight and all of the hedonistic defile that comes with it is, in many ways, a rite of passage, especially in cities where nightlife expands beyond the simple strobe light. But Falkenbach’s exhibition says, “I remember it all,” whereas her subject’s eyes seem to say the opposite. It is shot with the same clarity that strikes when waking up on a weekend free of shame, stamps, or nausea.

Drinking culture has become a defining part of our cosmopolitan lives, with most of us embracing the self-defining structures and raves that come with it. Festivals, bar hopping and street parties indulge our need to strut our individual styles, while also solidifying ourselves as members of the clique, the culture, the cool. These nights are, undoubtedly, liberating. But they are also, accumulatively, exhausting. And now with the advent of conscious parties, craft nights, and wholesome alternatives to socialising, more of us are wondering whether this growing swing towards sobriety is more than a challenge, but a mental shift in mindset. Not to mention, whether the raging fun and parasocial bonds can survive without all of the recreational drugs and intoxicating fluids. Increasingly large numbers of sober-curious people are beginning to pay attention to the impact of drinking culture on our friendships, mental health, bank accounts and lifestyles. With reports from the likes of Fortune, Forbes and the Guardian demonstrating how young adults and Gen Z’s in particular prefer sobriety, there is mounting evidence that there is a search underway for deeper connections and a secret third place that can connect us beyond the local bar.

Sometimes it can feel as though the fee to enjoy yourself, the music and the familiar faces is heavy. The price of wine will always supersede the cost of bread. But more than that, it’s the cost of time. How many mornings have we collectively lost to hangovers? How many moments do we wish we recalled better or wallowed less? Such precious time spent trying to gain access to something that we can have for free, if we were only more confident in our capacity to connect beyond liquor and lilac wine. People do not often combine “social” and “sober”. But in reality, the warmth that sustains any occasion long after it’s done is in the sobering afterglow of your memory. It is in the “remember when’s”, the follow-up questions, the designated drives home and the good night’s rest. It is in all those things that come through after the haze, like the friends that stick around when you have no more time, money or self left to spend. 

Imagery courtesy of Pexels

Imagery courtesy of Pexels

In a culture obsessed with speed, frequency and volume, it feels good to say no. In fact, it is recommended. Slow down, drink in the air and the atmosphere (as opposed to the toxic contents of that suspicious glass), and listen carefully. Instead, consider committing to actually arriving for your hiking plans on time, or waking up early enough to see the sunrise at the shore. To finally getting hold of your friend in a different timezone, or saving money for that trip down the coast. Sometimes sobriety can feel like a ‘yes’ to taking that long walk with a new person, regardless of the social anxiety, to feeling relieved not to pressure yourself to perform beyond your own limits. In many ways, sobriety compels you to make better use of the time you have, with the people you really love, to look clearly through the lens and see it all. Of course, certain moments may still call for bubbly, toasts and easy-goings. But even then, a clear head and a still glass of water do not have to mean the end of the fun. Instead, it can be a question and an answer. The question being, “What most would you like to remember about this moment?” And the answer being:

Your friend’s raucous laughter. That long, long hug at the end of the night. The art. The music. The food. The soft descent of your nerves after arrival. The sigh at the familiar comfort of community. The dissolve of the drama. And the decision to do this more often — but, like, really.

Written by: Drew Haller

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