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Kopskoot! The Heaviest Afrikaans Album, Ever!

Source: Paul Blom (Muse)

Kopskoot!

Kopskoot!

While seeming inconsequential, Afrikaans speaking musicians have played a huge role in this country’s Alternative music scene.

Worldwide bands naturally opt for English lyrics often with the veiled hope that success will reach beyond their borders. Slowly but surely that perception has shifted here, as more bands are using their highly expressive mother tongue.

Afrikaans music has been stigmatized as cheap, sappy and tacky drivel, yet behind the commercial curtain, industrious bands with a sense of purpose and an aversion to dumbed-down mainstream non-sensibilities create music the wider public would not necessarily get to hear – unless they’re adventurous enough to go find these gems.

Those drawn to this ground-breaking phenomenon known as Kopskoot! (translation: Headshot!) will be in for more than a treat. This historic compilation album of heavy Afrikaans music includes living legends, new blood, SAMA winners & nominees across the Alternative spectrum of Hard Rock, Metal, & Hardcore, to Industrial, Grindcore, Electronic adventures & more.

This explosive 16 ton package includes everything from the first truly extreme Afrikaans song recorded by S.A. Metal godfathers Voice Of Destruction (V.O.D) in the mid-’90s, to the organic-digital fusion of new extremists André Van Der Walt. Another band which sent Afrikaans music into a whole new direction is K.O.B.U.S., with its core V.O.D & Springbok Nude Girls members. Expect the Fokofpolisiekar side-project Van Coke Kartel, Metal from Mind Assault, Insek’s Grindcore, NuL’s electronic revolution music, and F8’s Electro-Grind.
Not to forget Industrial stalwarts Battery 9 with their trademark flavour. This collection is also an inadvertent reunion of sorts for the original members of this legendary act – head cahuna Paul’s Breinskade rips it up while At’s Somerfaan
offers up an exclusive remix. Huyser and Arnaud’s Helsinki project also makes its global debut here on CD.
Other rarities include American Hardcore-Thrashers CFD, with a track especially recorded in Afrikaans, and a song in Flemish by Lion’s Pride from Belgium.
Amid the testosterone, the female-fronted Terminatryx adds some beauty with an extreme edge.

This is not where it ends though, as Kopskoot! will become a regular fixture bringing you alternative classics and the new breed of extreme Afrikaans music. But on top of that, each release will be followed by a DVD with loads of killer videos, live footage and extras (the first making its appearance early 2009).

Prepare to get your head blown off!

[For more info on this December release, and an Afrikaans version of this piece, go to: http://www.flamedrop.com/kopskoot ]


Ramfest ‘08 DVD launch ‘n sukses

Source: Johan Swarts (Johan Swarts se bl0g, 2008.10.27)

Ramfest 2008 se DVD launch by die Klein Libertas-teater [op Vrydag 24 Oktober - red.] was ‘n rasende sukses (met die klem op raas). Battery 9 het op dieselfde aand hul nuutste album, Galbraak, bekendgestel met ‘n goeie dosis industriële rock en aKing het die gehoor betower met nommers van hul eerste album, Dutch Courage. Beide groepe is op die DVD te siene. ‘n Sterk wind het nie gekeer dat talle aanhangers vir die geleentheid opdaag nie – en raas is daar geraas.

Wat Battery 9 aanbetref – ‘n vertoning met fut. Te min Suid-Afrikaners ken Paul Riekert se industriële spitsvondighede. Hulle behoort myns insiens tot dieselfde klas as Kobus!: al hoor ‘n mens dit nie altyd nie, is hul lirieke van die skerpstes op die Afrikaanse musiektoneel. Riekert is nie bang om ‘n ding op die naam te noem nie, maar hy het terselftertyd genoeg liriese vernuf om op alles behalwe ‘n hoop vloekwoorde staat te maak vir trefkrag. Luister gerus na “Die vraglied” (’n parodie van “Die vlaglied van Suid-Afrika”) op die nuwe album.

aKing was self nie sleg nie. Laudo Liebenberg (voorman en kitaarspeler) en kie het liedjies van hul eerste album, Dutch Courage, gespeel. Liebenberg en Hunter Kennedy is ‘n gedugte skrywerspaar en Liebenberg weet hoe om ‘n solo uit te karring. Aanhangers was in hul noppies toe aKing hul tweede musiekvideo aangekondig het.

aKing op ‘n afstand

aKing op ‘n afstand

Voor die geraas is ‘n voorskou van die DVD vertoon. Boernoir produksies het hulself oortref met ‘n professionele produk. Die produksiewaarde van die twee DVD’s, wat onder andere walkaround footage (kan jy “fpersing” sê?) en die gekose liedjies van elke groep bevat, spreek van bevoegde filmvervaardigers wat weet hoe om te selekteer en te kombineer. ‘n Mens besef die omvang van wat hulle gedoen het eers wanneer jy ontdek dat deur hulle rofweg 15 960 minute se beeldmateriaal moes sif (dis omtrent 725 episodes van jou gunsteling televisiereeks) en die oorblywendes tot ‘n koherente produk van 4 uur moes smee.

Veral heuglik is Lark se heel laaste vertoning ooit, die Suid-Afrikaanse Air Guitar kampioenskappe (wat gewen is deur Heine “Lord Volmer” van der Walt) en Kobus! se opvoering van “Hoenderman”. Elke band se instrumente is apart opgeneem via ‘n multitrack recorder en na die tyd gemaster om so goed as moontlik te klink saam met vyftien kameras se beeldmateriaal. Die resultaat is iets waarmee weinig ander plaaslike musiekfeeste kan spog.

Die uwe was bevoorreg genoeg om self agter die kamera in te klim:

Raai wie byt sy onderlip wanneer hy konsentreer?

Raai wie byt sy onderlip wanneer hy konsentreer?

As vanjaar se fees enigsins ‘n aanduiding is van Ramfest 2009, behoort daar volgende jaar dalk selfs ‘n beter produk te verskyn. Indien Boernoir weer gekontrakteer word om dit te verflim (ek sou hulle huur) kry hulle hopelik ‘n paar dollies en cranes vir Ramfest ‘09. Dan gaan die pixels eers spat.

Koop die DVD. Jy gaan enersyds ‘n opkomende, talentvolle produksiehuis ondersteun en andersyds ‘n bydrae maak tot iets moois wat besig is om te groei in die Suid-Afrikaanse musiektoneel. Blameer dit op die hoenderman.

Lees gerus Danie Marais se resensie oor Galbraak.


Industrial in Studentville

Source: Jess Henson (Levi’s Original Music Magazine, 2008.10.27)

To my mind, Ramfest is the alternative to alternative music fests in SA. And now they have their own DVD of Ramfest 2008 to prove it. Friday night’s combination of live acts and diverse fans at Klein Libertas Teater would agree with me.

Battery 9 are stalwarts. Their spirited, strings, snare, cylinders-and-spark-plugs sound has lasted years in a topsy-turvey industry, and their artistic growth has garnered the respect of music loving veterans and virgins alike. This night hosted the kick-off their album launch tour, “Galbraak” — a term people who’ve drunk too much free Chattabox understand…

aKING are unsung heroes. They’re teaching music lovers to chant poetry, seducing scenesters across the country with a smile and filling hearts with an altogether almost alien state of conscious celebration. Theirs is holy work in a land of hopes and tears.

Put the two together in Stellies, and you’ve got trouble…

Klein Libertas was a clutch of subcultures that clicked in the spring winds. The fascinating collection of crazies included long, tall, dark-haired dudes with stickyout silver things on their faces that made me think of Horrorfest; warm ones with big hair and fat smiles that made me think of Avontoer 2008, incey-wincey bokkies in their party best, all cleavage and stiletto and spikey smiles that made me think of Miss SA, and the T shirt-and-trousers brigade making up the majority that made me think, sjoe, but some bands really are ambassadors of sound in SA. This majority, by the way, also buy CDs and DVDs and beers and tickets to festivals, and the music industry respects them. So much, in fact, that the aching boys are hosting an exclusive designer t-shirt exhibition on Tuesday.

Battery 9 don’t fork around. They knife through sound like it’s Saturday night at the Shack and uNathi is chef — chop, chop, sizzle, slice, sigh. Clean, powerful, industrial mixes seasoned with compulsive vocals, and a side order of live art. Enough to renew your liver. Or your spirit. Hard, hopeful, and nothing short of gourmet.

For dessert we had Hunter and Hennie and Laudo and Jaco. These lovely boys have finally put the cherry on the top and now we can have our cake and stick it in our eyes as well as our ears. It’s taken them some time, and I’ve waited patiently and said nothing about a certain lack of s-s-ssomething on stage. And I won’t ever either, because they’ve passed that stage, and if you want a hard-happy sing-along that looks as good as it feels, get your dose of aching live. They are the crème de la crème of commercial rock. Amen.

We finish with an afterthought. If you drop your drawers whilst standing on a chair inside Klein Libertas, and pull the big boy out for other drunkards to admire, spare a thought for the odd innocent journalist walking by less than two meters from your manhood. Or thank your lucky stars she didn’t have a camera at the ready…


Battery9 se ‘Galbraak’ soos ruimtereis na son

Danie Marais (Die Burger, 2008.10.23)

Paul Riekert is die donker man van Battery 9 wat geraas met groter geraas bestry. Danie Marais het ‘n paar vrae aan hom gestel.

Verlede jaar was Battery 9 se “Die hamster is dood” een van die songs wat my uit die bed uit gekry het. Vanjaar is dit “Geen genade” op die nuwe album. Wat kry jou uit die vere?

“Check one” van Leftfield, of as ek vinnig moet maak, iets hard en vinnig van Ministry. Die idee van vars gemaalde, goeie koffie kry my ook uit die bed uit.

In terme van kommersiële sukses sal Battery 9 waarskynlik ‘n marginale verskynsel bly, maar Galbraak is julle sewende album. Wat motiveer jou om aan te hou beweeg en geraas te maak?

Dis op ‘n manier nie eens ‘n keuse nie, meer soos ‘n kompulsiewe drang. As ek weer kyk, dan het ek nog ‘n album gemaak.

Was jou werkswyse op dié album dieselfde as in die verlede?

Min of meer – waar dit verskil van Straks is dat ek meer klanke en instrumente buite die ateljee opgeneem het, in hul “natuurlike habitat”.

The Clash het in “London calling” gesing: “London is drowning but I have no fear, ’cause London is drowning and I live by the river.” Het jy ‘n soortgelyke instelling oor Jozi en SA?

Ja, die gevoel word nogal raak beskryf, behalwe dat dit by my ‘n effe skisofreniese gevoel ook is; dis steeds waar ek verkies om te bly. Vir nou.

Galbraak is, soos elke Battery 9-album, vol woede, frustrasie en galgehumor. Wat maak jou gelukkig?

Ek is gelukkig as ek kan skep – in watter medium ook al. Nuwe musiek ontdek. Afsondering. Die “goeie lewe” – goeie spys en drank, gemak, ‘n mooi uitsig.

As jy een reël uit ‘n Battery 9-liriek kan kies vir jou grafsteen, wat sal dit wees?

Liewer nie, dis moeilik om Battery9-lirieke te vind wat nié onvleiend is nie. As ek moet, dalk “Maak ‘n nuwe begin…” uit “Nuwe begin”.


Recharge the Battery with a sonic assault.

Source: Cape Argus

Hearken to the sonic assault rumbling from the north – Battery9, the SA godfathers of a genre best dubbed as “industrial” music.

The new album from Paul Riekert with cohorts Chesare Cassarino on guitar and visual artist and rapper Huyser Burger. “Galbraak”, the group’s seventh album, is “a bit of a misanthropic one” according to Riekert, whose cross-hairs are trained on “stupid people” who keep bothering him in the day-to-day world.

Especially thieves. Song-titles like Skiet Jouself In Die Voet and Enough Rope give you a hint at what you’re in for, but what makes the band so good is that they’re more than just an attitude with some distortion pedals: …


Geraas maak is ‘n kompulsiewe gedrag

Source: Danie Marais (Beeld, 2008.10.21)

Paul Riekert is die donker man van Battery 9 wat geraas met groter geraas bestry. Danie Marais het ‘n paar vrae aan hom gestel.

Verlede jaar was Battery 9 se “Die hamster is dood” een van die songs wat my uit die bed uit gekry het. Vanjaar is dit “Geen genade” op die nuwe album. Wat kry jou uit die vere?

“Check one” van Leftfield, of as ek vinnig moet maak, iets hard en vinnig van Ministry. Die idee van vars gemaalde, goeie koffie kry my ook uit die bed uit.

In terme van kommersiële sukses sal Battery 9 waarskynlik ‘n marginale verskynsel bly, maar Galbraak is julle sewende album. Wat motiveer jou om aan te hou beweeg en geraas te maak?

Dis op ‘n manier nie eens ‘n keuse nie, meer soos ‘n kompulsiewe drang. As ek weer kyk, dan het ek nog ‘n album gemaak.

Was jou werkswyse op dié album dieselfde as in die verlede?

Min of meer – waar dit verskil van Straks is dat ek meer klanke en instrumente buite die ateljee opgeneem het, in hul “natuurlike habitat”.

The Clash het in “London calling” gesing: “London is drowning but I have no fear, ’cause London is drowning and I live by the river.” Het jy ‘n soortgelyke instelling oor Jozi en SA?

Ja, die gevoel word nogal raak beskryf, behalwe dat dit by my ‘n effe skisofreniese gevoel ook is; dis steeds waar ek verkies om te bly. Vir nou.

Galbraak is, soos elke Battery 9-album, vol woede, frustrasie en galgehumor. Wat maak jou gelukkig?

Ek is gelukkig as ek kan skep – in watter medium ook al. Nuwe musiek ontdek. Afsondering. Die “goeie lewe” – goeie spys en drank, gemak, ‘n mooi uitsig.

As jy een reël uit ‘n Battery 9-liriek kan kies vir jou grafsteen, wat sal dit wees?

Liewer nie, dis moeilik om Battery9-lirieke te vind wat nié onvleiend is nie. As ek moet, dalk “Maak ‘n nuwe begin…” uit “Nuwe begin”.


Battery 9 Galbraak JHB cd Launch Review with an added extra

Source: Caz (Underground Press, 2008.10.23)

As if you didn’t know

Battery 9 is the brainchild of Paul Riekert, who writes the lyrics and the music, and sings, plays, records and produces most of what appears on the cd’s in his own studio – the audio arm of ONE F Music. His music own Production Company. On stage he is joined by Hyser Burger – Dj, Live action painter and MC, also known as DJ Fokolnonsens, and Cesare Cassarino – the guitar player, best known for his work as a bassist in the South African jazz and session scene.

The Launch Review

Friday, 17th October, Rock Bar; OMG acronym!!! I sincerely doubt there will be a better launch this year. We got to the Rock Bar Melville just as the band was going on. I was so excited I literally had to remind myself to breathe. My photographer, not so much, as he had never seen battery 9 live before. I had to remove the camera from him and take photographs myself as he was too over-whelmed by the bands awesomeness. A feeling shared by most of the fans. In fact, whilst taking pictures I was aggressively told to “stop taking photos!” by a mad sweaty creature in the audience because “it’s Battery 9!!! You have to dance!!” I have yet to see an international act rile up a crowd that much. I must admit, there quite a few incidents where even I could only stop and stare. Why this band is not charting internationally is beyond me. It’s almost like we hog the best for ourselves!

After the show I was told to wait backstage for the guys to come offstage. I was dripping sweat and hoarse from screaming. Hyser Burger, the live artist/industrialist/Dj of battery 9 was the first to come backstage. He flopped into a bean bag and looked at me quizzically. I stammered out “uh…interview….uh…press”. He smiled and said “maybe a bit later, we just have to catch our breath”. What a nice guy. I came back later to find Paul Riekert there alone. No interviews. I was heartbroken. These men were a defining block of my youth and now I had missed the chance to interview them. He must have my disappointment and said “how about you give us a call and we arrange an interview”

The added extra

Monday, 20th October, my office; Spent all day trying to muster the courage to call. When I eventually did, I stuttered and stammered and must have sounded like a giddy little girl but got the job done! Now if my heart rate can go back to normal……

Caroline: Hi, this Caroline from UNDERGROUND press, I got your number Saturday night.

Paul: yes Caroline, how are you?

Caroline: (stutter) um, very good, um how are you.

Paul: Good thanks, how can I help you?

Caroline: I would just like to know if I could arrange an interview with Battery 9 ?

Paul: Sure, when’s good for you?

Caroline: uh … um… whenever you’re free.

Paul: you can interview me over the phone if you like?

Caroline: Yeah that would be wicked. Thank you, are you free now?

Paul: ah yeah. Why not, go ahead.

Caroline: So how feel about the launch you had on Friday night?

Paul: Very cool. I haven’t felt like that after a launch in a long time. We got to see a lot of old friends to, there were quite a few young faces in the crowd.

Caroline: This is your seventh CD Launch. How does it make you feel that you can still work up a crowd like that?

Paul: grateful

Caroline: Industrial music has always had huge following in Europe, yet we don’t seem to have any S.A. industrial musicians making it that far. Do you think there is a possibility for bands of your genre to make it internationally?

Paul: It’s difficult. It’s difficult. You need to have proper support from somewhere to make a crack but I think there is a possibility, ya.

Caroline: do you think it may be due to lack of South African industry support in S.A. bands?

Paul: In a way

Caroline: I remember the first time I saw you was in 1995, you are as incredible now as you were then, if not more so.

Paul: (laughs) thank you

Caroline: I have always thought if ever a South African band would make it overseas, it would be battery 9. Is there any chance of battery 9 going global?

Paul: We’re currently trying to set a branch with One F music, my record label, in Europe. You can check it out if you like www.onefmusic.com

Caroline: Do you have any active online fan support groups?

Paul: The biggest one I know of is the facebook group.

Caroline: Besides renegade journalists that hide out backstage to interview you, have you ever been stalked by any crazed fans?

Paul: (laughs) Occasionally. S.A. is not that hectic.

Caroline: Any message you would like to send to your fans?

Paul: I just need to thank them. It’s up to them then it’s up to them whether there’s enough money to launch another album. I’m really grateful for the support we have…it’s really…lekker.

Caroline: I think that’s all I really wanted to ask (star struck journo is almost passing out with joy of speaking to one of her childhood heroes). Thank you so much for your time.

Paul: oh ok Great. Thank you, Caroline.

Caroline: ok, take care then bye.

Paul: cheers,

(Giggling like a teenager because he said my name)


Johnny en die Maaiers

Source: Stuart Thomas (My Digital Life)

Johnny en die Maaiers is the first attempt I’ve seen at a feature length documentary on the South African, and more specifically, Afrikaans music scene.

Produced by Stellenbosch  graduate Cobus Adriaanse, the feature, interspersed with Johnny and his bands search to make it big( Johnny and the band are a self effacing parody of South African bands, going through everything from the charged practises to the break ups to the trip to London in an attempt to find fame and success), the doccie is a look back at Afrikaans music over the past 40 years. An attempt to place Afrikaner music as being moulded by what it was, Johnny en die Maaiers takes the broadest possible outlook on the scene.

It seems to touch on everything, celebrating the likes of David Kramer, Anton Goosen and later the members of The Voelevry movement in their struggle to break free from the restraints of the National Party, while also acknowledging artist such Ge Korsten and Bles Bridges in their creation of a commercial Afrikaans market.

In the post apartheid subject fare it focuses on bands such the Nudies and Boo!, who were bands made up of Afrikaners, singing in English, while groups on the Cape Flats such as Brasse Vannie Kaap and Prophets of da City(POC) were turning Afrikaans into a rap medium. The final element is a look towards the post Zoid and Fokof era, in bands such as Foto na Dans, Zinkplaat and the two Fokof split bands as well as the rise of the music video in South Africa thanks to MK.

The voices used nearly all have something significant to do say and are worth hearing. The ones I thought most insightful were those of Zoid herself, Ramone form POC, Hunter Kennedy from Fokof and surprisingly Steve Hofmeyer, or maybe that was just because he was willing to laugh at his early mullet. Another important voice was that of Paul Riekert, lead man of industrial stalwarts Battery 9 ( pronounced Bat –te-ray Nege for those who don’t know). Francois and Wynand of Fokof and now Van Coke Cartel, were a little silly at times.

This really is a good documentary though, accessible even to people like me who haven’t spoken any real Afrikaans in nearly two years without falling into the shambolic  Engli-kaans which so permeates throughout the rest of MK’s fare. The show first aired on the 23 of June, check it out on MK if you can, otherwise there are shorter clips on YouTube. The production is great and don’t write it off just because it’s in Afrikaans


Verse is persoonlik, maar spreek tot die leser

Source: Mariana Malan (Die Burger 23/03/2008)
RETOER, deur Andries Bezuidenhout. Protea Boekhuis, Pretoria, 2007. (Sagteband, 100 bladsye, ISBN 9 781 86919 182 5.)
DIE driehoek is nou voltooi.
Wat Andries Bezuidenhout met die albums Spergebied (as deel van die Brixton Moord en Roof Orkes) en sy solo-album Insomniak se Droomalmanak begin het, sluit hy nou af met die digbundel Retoer.
Die temas, woorde en gevoel van dié drie is so ineengestrengel dat hulle amper nie as afsonderlike eenhede beskou kan word nie. Bezuidenhout vul ook die woorde in die bundel met sketse aan wat teruggryp na die tyd toe die gedigte geskryf is. Hulle sê dieselfde, dra dieselfde gevoel oor.
Hierdie bundel kom oor jare. Dit kom ’n mens agter aan die temas wat daarin voorkom.
Die roman Ons Wag op die Kaptein van Elsa Joubert het reeds in Spergebied ’n rol gespeel. Die titel kom woordeliks voor in die lied “Geen Land”. Die roman dateer uit die 1960’s, maar Bezuidenhout het in ’n gesprek hieroor gesê die insig wat Joubert met die diverse aard van haar karakters getoon het, is steeds verstommend.
Net soos die albums, is Retoer deurspek met herinneringe, skuldgevoelens en in die algemeen nagmerries oor jong dienspligtiges se ondervindings in die weermag. Vir Bezuidenhout self is die betrokkenheid van genoemde soldate in die townships steeds na aan die nerf.
’n Enkele vergelyking is die lied “Die Geraamtes in jou Kas” op Spergebied, teenoor “Oog oor Mamelodi, 1988” in die bundel. Dis duidelik dat “die wiele van ’n Caspir en die reuk van brandende rubber” (uit die lied) en die herinnering van hoe die woonbuurt Mamelodi deur die oog van ’n teleskoop gelyk het, hoe die “Township-panorama oor die Magaliesmoot” ontvou het (uit die gedig), in nog ’n sensitiewe jong Suid-Afrikaner se geheue vasgesteek het.
Dié herinneringe word deesdae ál meer in ons letterkunde onthul. Hopelik bring die woorde wat daaroor geskryf word, balsem vir die siel.
Daar word dikwels gepraat oor die gebrek aan goeie lirieke in Afrikaans. Ook of lirieke ook poësie kan wees, soos juis op die onlangse Woordfees op Stellenbosch. As ’n mens Bezuidenhout se lirieke lees, is dit na die uwe se beskeie mening tog poësie. Neem byvoorbeeld “Droomargief” waarmee sy album Insomniak se Droomalmanak afskop:

Al hierdie drome bêre ek in lêers
In ’n grys kabinet vergaar hulle stof
Tot hulle, ontydig, een oggend
As die wekker lui, in my kop ontplof.

In sy bundel is hy glad nie spaarsaam met woorde nie.
Die gedig “Vernichtungsbefehl” beslaan vier bladsye. Dis waarskynlik die sterkste gedig in die bundel en ook die een wat hy gekies het om te toonset. Hy het dit al een keer gesing en self beskryf hy dit as “ ’n uitmergelende ervaring”. Hy het dié gedig gekies juis omdat dit een is wat hy graag wil hê mense moet hoor.
’n Ander gedig, “Bus na Toronto” (met verwysing na Leonard Cohen se lied “Famous Blue Raincoat”), was ’n lied op sy solo-album. Dit is wel effens geskommel en aangepas in digvorm.
Ander temas wat in Bezuidenhout se gedigte en lirieke voorkom, is sy liefde-haat-verhouding met die stad. In die bundel is dit veral Johannesburg en Pretoria, gelyk gestel aan die Bybelse Sodom en Gomorra, wat sterk figureer. Die leser sien deur sy oë die aggressie van die myndorp wat te groot geword het en die valerigheid van die kerkdorp wat uit sy nate gebars het.
Die strop wat die kerk om die nek gesit het, kom ook dikwels voor. Bybelse verwysings word kwistig gebruik. Hieroor het Bezuidenhout gesê: “Suid-Afrikaners kan nie oor skuld praat as die religieuse nie bygebring word nie.” Die treffendste gedig oor die houvas van die kerk is die een wat so effens op sy eie staan, “Notre Dame”.
Bezuidenhout se reis strek van Suid-Afrika na verskeie ander wêreldstede, maar soos die titel aandui, is daar tog ’n terugkeer. Hy is glo nou uitgeskryf oor sekere sake: “Soos strafwerk het ek dit uitgeskryf en nou kan ek aanbeweeg.”
Al is dit ’n eerlike en persoonlike beswering van duiwels, spreek dit tot die leser. Is dit nie in die eerste instansie wat poësie moet doen nie?
. Mariana Malan is lid van Die Burger se kuns redaksie.


Kopskoot! Release

Source: Flamedrop Productions – KOPSKOOT!

Koopskoot!

D!E SWAARSTE AFR!KAANSE ALBUM OO!T  THE HEAV!EST AFR!KAANS ALBUM EVER

Prepare to get your head blown off!  Finally Flamedrop Productions and ENT Entertainment are  doing what many have been screaming for. The wait is over.  For years Afrikaans speaking musicians have been paving  the way when it comes to Alternative and Extreme music in  South Africa and this 16‐ton strong compilation brings  together a wide range of bands and genres ‐ from legends,  pioneers and SAMA winners, to new blood, innovators and  foreign additions, all expressing themselves in the universal  language of Music (in general), and one of our 11 official languages,  Afrikaans.

The exciting bands on KOPSKOOT! (translated: “Headshot!”)  cover everything from Alternative, Hard Rock, Metal and  Hardcore, to Industrial, Grindcore and a variety of  Electronic adventures.

KOPSKOOT! Album Track List:

  1. VOICE OF DESTRUCTION – JMSP  S.A. Metal Godfathers (formed in 1986) with the legendary  first ever extreme Afrikaans song (written in 1993 & recorded in 1995).   The bad will be doing a reunion tour in March after a decade of silence.
  2. ANDRÉ VAN DER WALT – Pneuma   New blood with a fine blend of Electronic and Hardcore.   1st appearance of the song on CD
  3. VAN COKE KARTEL – Algehele Kontrole   lternative Rock.  Fokofpolisiekar vocalist & bass player project.   VAMT winner / SAMA nominee.
  4. LION’S PRIDE – 11 July 1302 (De Vlaamse Leeuw) From Belgium.  A song in Flemish (which is very close  to the Afrikaans language).  South African release debut.
  5. TERMINATRYX – Siek+Sat  Industrial‐Metal.  A new breed of South African music.   The only female‐fronted band on the collection.
  6. INSEK – Satan Is Liefde  Super‐charged Grindcore, featuring one of the  founder members of the legendary Groinchurn.
  7. MIND ASSAULT – Stadig Verblind  Superb Metal from the Cape Province.
  8. BREINSKADE – Blou Moord   Extreme Hardcore‐Techno from the brain behind Battery 9.
  9. DIE KRUIS ‐ Helmasjien  Industrial flavoured Metal project from K.O.B.U.S. vocalist.
  10. F8 – SexHex   Pronounced: “fate”.  Bass‐driven one‐man project  coining its own genre: Tekno‐Grind.
  11. HELSINKI ‐ DNA  Hard‐edged dance cut from a brand new project which includes  Battery 9 affiliates.  First ever official appearance of Helsinki on CD.
  12. NUL – Elektro‐Berzerk  Electronic Revolution Music.  First time the track is available on CD.
  13. SOMERFAAN – Die Spook (Kom Weer) ‐ remix  Exclusive Kopskoot! remix.  SAMA winner.
  14. BATTERY 9 – Geen Genade  S.A. Industrial legends.  SAMA winners.
  15. CONQUEST FOR DEATH – Positiewe Houding ‐ Negatiewe Wêreld   San Francisco/Tokyo Hardcore‐Thrash band with a  track exclusively recorded in Afrikaans for Kopskoot!
  16. K.O.B.U.S. – Tienerangs  The SAMA winners who sent Afrikaans music in a whole new direction,  formed by V.O.D vocalist Francois and Springbok Nude Girls guitarist Theo.

KOPSKOOT! Created, Produced & Compiled by Paul Blom  Co‐produced by Sonja Ruppersberg  Executive producers: Rui De Sousa & Paul Blom  (NOT FOR SENSITIVE EARS)