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Rock-ligpunte in resessie-blues

December 30, 2009 – 10:23 am

Source: Danie Marais (Beeld)

Die vurige rooikop-sirene Neko Case. Foto: Jason Creps

Oor 2009 voel ek soos ’n ou wat deur ’n onderwyser gedwing is om ’n sokkie te organiseer en toe doen ek dit langtand en toe kom daar net ’n paar mense en hulle kla oor die ballonne, kos en musiek.

So, vat hierdie gunstelinglysies van wie dit kom – ’n musiekslaaf in sy laat dertigs met ’n babadogter en ’n groot verband; ’n man wat vanjaar bowenal musikale troos gesoek het vir ’n troebel gemoed.

Miskien kon ek juis daarom ook nie vat kry aan ’n paar van die oorsese kritici se albums van die jaar nie.

Hoewel ek kon hoor hoekom musiekskrywers Animal Collective se Merriweather Post Pavillion en die Dirty Projectors se Bitte Orca as hoogs innoverend beskryf, sou ek ’n ander man op ’n ander uitbundiger partytjie op ander gelukkiger dwelms moes wees om daaroor opgewonde te raak.

Musikale pleisters

Gelukkig het die jaar hope uitstekende musikale pleisters vir rou geskaafde nerwe gebied en plaaslik was daar behoorlik ’n ontploffing van goeie musiek: van NuL se oorverdowende industriële rock-protes tot die Radio Kalahari Orkes se heerlike aweregse boeremusiek en Andries Bezuidenhout se seminale, poëties-elegiese Bleek berus wat onder leiding van Drikus Barnard se musiekregie akoestiese folk treffend met elektroniese klanke vervreem het.

Mavis Vermaak (Riana Wiechers) het gewys dat The Buckfever Underground, wat ’n opwindende konsertalbum, Limbs Gone Batty, uitgereik het, nou kompetisie het wat betref die praatsang van poësie met begeleiding van onvoorspelbare, stemmingsryke musiek.

Zinkplaat het hul eiesoortige funky pop-rock-klank verfyn en beïndruk met ’n nuwe album wat met sy treffende afkrap-omslag ook ’n prys vir beste grafiese ontwerp verdien.

En wat besete blues-rock in die tradisie van The White Stripes en The Black Keys betref, het The Pretty Blue Guns die moordende pas aangegee met die manne van Taxi Violence kort op hul hakke.

Bittersoet plesier

’n Ander bittersoet plesier wat herinner het aan vroeë REM met ’n skeutjie country twang, was die Black Hotels se aansteeklike Films for the 21st Century. Dear Reader (voorheen Harris Tweed) en Laurie Levine het gesorg vir lieflike intieme folk-rock met gesofistikeerde bewerkings en subtiele begeleiding, waarvan die res van die wêreld gerus kan kennis neem.

En dan is ek eintlik bang my ma of enige ordentlike mens wat ek ken, hoor ek hou van Die Antwoord, want dié Kapenaars se smerige rap sal vir Eminem laat bloos.

Vir meer vernietigende satire en snaakser vuil grappe op die maat van dodelike hiphop sal jy egter ver soek.

Die lirieke van D**sdronk het ek immers ook al in die uitskelgesprekke tussen bergies op straat gehoor – net sonder die giftige ritmes en refrein.

En met die talentvolle, lelik snaakse Jack Parow se debuut op pad, lyk dit of Afrikaanse rymkletsers (rappers) die subversiewe kultusfenomeen van die nabye toekoms gaan wees.

Unieke klankmonster

Maar wat grensverskuiwend betref, was die BLK JKS (“Black Jacks” uitgespreek) los voor. Dié Johannesburgers het ongetemde prog-rock en 21ste-eeuse Afrika met tradisionele dreunsang en aardse misterie gekruis, en met dié unieke klankmonster het hulle ook indie-rockgeesdriftiges in Amerika en Brittanje laat regop sit.

Nes Neill Blomkamp met sy skitterende District 9 het die BLK JKS die wêreld gewys hoe eiesoortig en fassinerend Suid-Afrika is wanneer dit nie deur die lense van vooropgestelde Westerse of Afro-nasionalistiese idees bekyk word nie.

Verskeidenheid

Aan die internasionale musiekfront het Valiant se “vure vol verskeidenheid” hoog gebrand en was daar stilisties én inhoudelik te kus en te keur. (Sien gerus www.metacritic. com/music/bests/2009.shtml vir toonaangewende oorsese publikasies se toptien-lyste.)

Leonard Cohen het sy terugkeer tot internasionale verhoë in 2008 gevier met die groot konsertalbum Live in London en gewys waarom hy die status van lewende legende geniet.

’n Ander lewende legende uit die 1960’s, Bob Dylan, het ’n lekker spontane blues-album uitgereik en hoewel Together Through Life net die ding was vir die langpad of laatnagmymeringe, het dit nie dieselfde gravitas as sy laaste drie groot uitreikings nie – Modern Times (2006), Love and Theft (2001) en Time Out of Mind (1997).

Springlewendig

’n Paar van 2009 se ander hoogtepunte het opnuut bevestig dat die musikale erfenis van Bob Dylan en The Band springlewendig is – die fakkel is deur ’n opwindende jonger generasie Americana-kunstenaars soos The Low Anthem, Andrew Bird, Monsters of Folk (die supergroep wat bestaan uit Conor Oberst en Mike Mogis van Bright Eyes, Jim James van My Morning Jacket en M. Ward), The Felice Brothers, Richmond Fontaine, Elvis Perkins in Dearland, die Dave Rawlings Machine en M. Ward verder gedra.

Ou staatmakers wat hul reeds monumentale loopbane indrukwekkend verder uitgebou het, is Bruce Springsteen met die besonder eklektiese Working on a Dream en Jack White, wat vir The Dead Weather sy wilde kitaar laat lê het en agter die ketels ingeskuif het.

En hel, The Dead Weather se Gotiese moeras-blues aangevuur deur die sang van die rock-amasone Alison Mosshart was ’n onrusbarende, sexy gedoente.

Windgat-punk-rock

Maar daar was bowenal verskeidenheid: Dié jaar se resessie-blues is aansienlik verlig deur The Cribs se windgat-punk-rock, Florence and the Machine se ondeunde pop-punk, The Flaming Lips se neonkleurige anderwêreldse klankskommels, die Arctic Monkeys se verrassende en broeiende rocker, Humbug, The xx se sielvolle, maar minimalistiese elektroniese ballades, Wilco se ontspanne alt-rock-vertroosting, die Yeah Yeah Yeahs se opruiende, elektroniese disco-rock, DM Stith se lieflike spookmusiek en nagklank-landskappe, Grizzly Bear se psigedeliese indie-rock gelaai met hemelse harmonieë en kaleidoskopiese klanke, Bill Callahan (voorheen bekend as Smog) se teer digterlike versugting en windverwaaide wysies, en Wild Beasts se hipnotiese tweede album – stel jou voor Antony Hegarty (van Antony & The Johnsons) sing vir The Smiths.

En dan was daar die Eels met garage-rock en bitter ballades vol droë humor, wat enige desperate ou weerwolf vir die maan laat tjank het: “I’m more alone than I’ve ever been / Help me out of the shape I’m in / After the fires, before the flood / My sweet baby, I need fresh blood / Whoo! Howl” (Fresh Blood)

Gemoedsmassering

Maar as daar een album is waarna ek keer op keer vir ’n gemoedsmassering teruggekeer het, was dit Neko Case se wonderlike Middle Cyclone.

Dié vurige rooikop-sirene het reeds ’n rits uitstekende folk-rock-albums agter haar naam, onder meer 2006 se mylpaal Fox Confessor Brings the Flood, maar op haar jongste het alles met die hulp van top-musikante soos Jon Rauhouse (akoestiese kitaar en pedal steel), Joey Burns van Calexico (tjello en baskitaar), Howe Gelb van Giant Sand (klavier en kitaar) en M. Ward (kitaar) eenvoudig moeiteloos, perfek in plek geval.

Case se stem is van oewerlose, sensuele verlange gemaak, maar “iets donkers gryp-gryp [altyd] onderaan” en haar beste nuwe liedjies – This Tornado Loves You, People Got a Lotta Nerve (sien die sjarmante video hier: /www.nekocase.com/downloads) en Middle Cyclone – klink of hulle nog altyd daar was.

Dit is egter haar magiese Magpie to the Morning met sy kleutervers-eggo’s wat my herhaaldelik uit my apatie gelok het:

“Magpie comes a calling
Drops a marble from the sky
Tin roof sounds alarming
‘Wake up child’
‘Let this be a warning’
Says the magpie to the morning
Don’t let this fading summer pass you by”.

En daarom het ek my musiekverslawing nog nooit berou nie: ’n Smeulende sangeres op ’n ander kontinent blaas ’n verwikkelde soen op ’n gefluisterde melodie; dit land op jou wang en maak jou oë oop vir die somer wat jy besig is om onge-siens verby te laat glip. Dis tog toordery.

By admin | Posted in Media Archive, Releases, Reviews | Also tagged Andries Bezuidenhout, Drikus Barnard, NuL | Comments (0)

It takes a lot to laugh, it takes Bleek Berus to cry; Andries Bezuidenhout interview

December 1, 2009 – 11:22 am

Source: Fred De Vries (Fred De Vries – 01 Dec 2009)

Modest is the best word to describe Andries Bezuidenhout. Throughout our two hour interview he constantly tries to downplay the importance of his work as a singer/songwriter, as someone who carried the Voëlvry spirit into the 21^st century. But for me Andries is one of the most exciting and versatile characters in the alternative Afrikaans scene. Many will know him as the singer of the now defunct Brixton Moord en Roof Orkes. But he’s also a sociologist at Wits University and a columnist for Rapport, while last year he published his first volume of poetry, Retoer.

It took him five years to come with a follow up to his first solo album Insomniak Se Droomalmanak. But the recently launched Bleek Berus was well worth the wait. Largely produced by Andries ex-band mate Drikus Barnard it has a bleak, almost tinny sound and songs that tell tales of leaving, murder and ecological disaster. Discomforting tunes for an uncertain age, but always with a touch of humour.

We meet at a Thai restaurant in Cyrildene, Johannesburg, not far from Observatory where Andries lives. He says he’s not very hungry and orders rice and tom yam. I choose green curry with fish. We finish a bottle of Chardonnay. And let it be known: Andries laughs a lot – and loud.

The songs on Bleek Berus seem to fit together quite nicely.

“The theme is dry places, the Kalahari, the highveld as a desert. It’s about where I feel at home, places without people.”

How did the theme come about?

“I really love the Namib desert and I love the Karoo and the Kalahari. And also, to be a bit pretentious, it’s the only place where Afrikaans is really rooted, in those dry places. That’s where Afrikaans is mostly spoken. Parts of the Karoo, parts of Namibia. If you think of Afrikaans as a South African language, that’s not the case. There were Afrikaners in Angola. The history of the language is not the history of South Africa, it’s a much more regional process. Die dorsland trek, the people who trekked through the Namib into Angola. Also in the Karoo you can’t pretend Afrikaans is a European language, because there it’s rooted in the landscape and the Khoikhoi people.”

Die Laatste Brandwag is your ecological song. It’s based on Bobbejaan Klim die Berg, which over the years has become a bit of a controversial tune. How did that one come about?

“Die Laatste Brandwag was for a tv-programme about traditional Afrikaans music and where those songs come from. They told me I had to use Bobbejaan, a traditional song. So what the fuck do you do? I swapped the meaning around. No one knows what the original is about, but I wanted to get away from the racist connotations. This one says: humans should never have lifted their hands off the surface of the earth.”

It has nothing to do with Ossewa Brandwag?

“Not at all. Baboons have brandwagte when the troops move around. They have one baboon constantly on the lookout for lions. That’s my reference. It’s about baboon telling people that they’re fucking up the place. I had an interesting email from Koos Kombuis about that song. He said he only understood it after the fourth listening. It first sounded like gibberish to him.”

It references Koos Kombuis and the FAK parody he did on Ver Van Die Ou Kalahari. But the rhythm and melody remind me of De La Rey.

“Well, it also has a rolling tune, I guess. But it was recorded in 2004, way before DeLa Rey. I worked around the tune of the original song, but turned it into a waltz, which is the first change. And then I turned a lot of the major chords into minor, to make it a sad song. We also did a great video. It was very tongue in cheek, with a doom prophet. He kind of mocked it. He had a poster that said ‘Die einde is naby’. And one that said ‘Wanneer kom die einde nou?’ And one: ‘Die einde moet nou naby wees.’ You have to send it up, you have to put the tongue in the check somewhere.”

You often strike me as a romantic, in the best way. A bit like the old Germans like Novalis, with their Sehnsucht and melancholia or the Swiss born Jean-Jacques Roussou with his deep love for nature. A bit heavy too…

“Well, there’s less humour here than on Insomniak. But I hope people see the humour in the arrangements. Like Die Ritme Van Chaos, which is a dicey song about white fears. We send it up completely with the arrangements. I love the arrangements. It’s tacky, computer based, a complete send up. The drums are so Leonard Cohen tacky 80s style. That’s all intentional.”

For a listener it’s not so easy to get all that irony.

“That’s fine.”

I thought: the man is depressed. I mean, look at the cover with its spooky, silver blue picture of an empty shack and a leafless tree.

“I love the cover.”

Me too, but it did give me the wrong impression. I took it too seriously. Most people will.

“Jaaaa. I’m not bleak about life here, I’m bleak about life. Living in South Africa, you feel more alive than you do in other places. Yes, shorter, that’s the ‘berus’ part, haha. But when you make peace with that… Look, the lyrics are kind of serious. And you have to counter the seriousness with a bit of humour. And on this one I had to do that with the arrangements. And Drikus understood it. He did it really well. I love the job he did on it.”

Bleakness is usually not a great selling point.

“I don’t expect to sell thousands of copies. I like a song with a good tune, a good solid structure and interesting lyrics. Folk songs, that’s what I do. Anyone can play my songs. I learned to play the guitar to Koos Kombuis songs. He said he only know five chords, and I figured them out. I know a bit more than five now. But I have no ambition to become a jazz musician.”

Two songs (Dis Net Werk Toe Wat Ek Nog Deur Hillbrow Ry and Die Sprinkhane Se Begrafenis) are about people emigrating. Do you blame those who emigrate?

“No, I don’t. I can perfectly understand. It’s fine, as long as they can live with that decision.”

You sound sad.

“Well, it’s tough when your drummer emigrates to Canada, hahaha. I have a sister inAustralia and a drummer in Canada. But they both didn’t emigrate because of fear, but to live there with their partner. I also have a good friend in London. It impacts on your life, the fact that people make decisions about where they live.”

Which song was the hardest to do?

“Vernichtungsbefehl. It’s 12 minutes long. That was either going to be a roaring disaster or it was going to work. And I think it works. I changed the original poem around on order and I worked a bit more on rhyme. But generally it doesn’t rhyme, and it has a strange metre. It was a huge challenge. Also because the melody is repetitive. I never worked on melodic change. I sometimes do bridges. But that one has to roll, like a dune, it has to keep going. The variation is more in the rhythm. It works because it doesn’t bore me yet. I’m sure it will, but I can still listen to it. For me that’s the criteria.”

It’s based on a poem in your book Retoer. How did that poem come about?

“That’s the army. Ferdinand was with me in the army. He was one of my friends. The poem talks about Namibia and the Herero genocide and the Vernichtungsbefehl (the destruction order). We once drove through the desert and came across skeletons. It’s interesting how you bury a person in a dune and the dunes constantly move, and how the skeleton was arranged in a much longer pose. The feet come out first, and as the dune moves it leaves the skeleton almost strung out. That’s an image that stuck. The song is basically about what the dunes hide and what they reveal. And in the end it’s about die skuld van onskuld. If you go into the army you’re 19, 20 years old. You don’t really know what you do. That goes for the German troops who were there when they massacred the Herero. It’s the same for the South African soldiers who were there (during the Border War). That’s why they want them young. They follow commands and orders. That song has the most of me.”

Why did you choose that particular poem?

“Again, it’s a strong theme in my life: taking responsibilities for things that you did that you don’t maybe… (voice trails off). Look, also it’s an important balance. It’s the only song that really introduces a political theme, tired old South African politics. But I hope it doesn’t do it in a tired way. I have mixed feelings about the place, because it’s also where I had to face some… Let’s put it this way: I started to develop my own personality for the first time in my life there, in a very late stage. I was 19.”

Who was Ferdinand?

“A friend of mine who was also in the army, a bit older. He was a big influence in my life at that time. He had studied before joining the army. He was at a different place in his life and questioned things, whereas I as a youngster from school just accepted what people told me. So that’s part of the theme. The song also refers to his attempted suicide. He drove around with the hosepipe in the back of his car for the time when he had enough courage to do it. One evening he got enough courage and went to Lovers Hill in Walvis Bay. He parked the car and took out the hosepipe, but it was too short to reach out to back window, hahaha. So he told us about this the next morning at breakfast, and it was interesting to hear the responses. Someone said: but Ferdi you have a hatchback, why don’t you just put the hose into the hatchback? He hadn’t thought of that. Maybe that was the right response, that no-nonsense response. That was the end of the conversation about the attempted suicide. No, I’m no longer in touch with him. I don’t even know if he’s still alive.”

Tell me about the story behind Dis Net Werk Toe Wat Ek Nog Deur Hillbrow Ry.

“That was another commissioned one, for a show we did at the Nelspruit Arts Festival, a Kerkorrel tribute with Stef Bos, Amanda Strydom, Jan Blom, Valiant Swart and I.They all had songs about Kerkorrel, so I wrote that one and decided to do it about the Voëlvry Generation, about where we are now. I reference (Kerkorrel’s) DonkerDonker Land. He was very important, but not more than Koos. James Phillips was the first one really, with Hou My Vas Korporaal. He’s the original and he inspired Koos, who listened to Wie Is Bernoldus Niemand?, and then realised where he had to go. So James started the whole thing. Koos agrees with that.”

How did he react to your Hillbrow song?

“His first response was: heimelik es ik bly ek hoef nie door Hillbrow werk toe te ry. Hahaha.

Does it still evoke those feelings of melancholia and nostalgia when you drive there?

“Hillbrow is interesting these days. A lot of it is picking up and picking up really fast. There’s a lot of renovation going on. In fact the Chelasea Hotel has already been renovated, so the song is already dated. So the song a bit more swartgallig than reality. There’s also a tacky ending to the song, a naïve kwela that all these guys used to do in the 80s.”

How do you relate to the Voëlvry generation?

“Voëlvry was the first movement. A lot of people feel part of it, even though they didn’t play in a band. But they were there. It was a sort of collective ‘fuck you’ to the Botha’s. I was 19 when Voëlvry happened in 1989. I was in the army. I saw Bernoldus Niemand live, playing with Koos Kombuis, but I never met him. Kerkorrel moved into a different circuit when I met Koos and Valiant. [Brixton Moord en Roof Orkes] were the third wave, after Valiant and Joos Tonteldoos. I’m just a blip on the cultural scene.”

You’re so self-deprecating.

“No, honest. It’s not that I made a big impact music wise, people know me more as a newspaper columnist than a musician.”

What do you listen to these days for inspiration?

“I know it’s a cliché but still Leonard Cohen. I listened to New Skin For The Old Ceremony before I came here. I love girly backing vocals, especially with a boring voice like mine. You have to soup it up a bit.”

Leonard Cohen writes lots of love songs. There’s a lack of those on your album.

“My greatest fear is to be corny. I have tried, but I just abandon them. The love song is the most difficult one to write, especially in Afrikaans. That’s the strange thing about Afrikaans. English are more willing to be corny. Afrikaans comes across as soetsappig. It’s a gritty language and when you move away from that the contrast is just so stark.”

You now also study poetry at Stellenbosch University. How does writing song lyrics and writing poetry differ?

“I started writing poetry in order to get away from the discipline and the strong, fixed metre in writing lyrics. But there’s a bit of a snag there: if you do use metre in poetry it has to be more fixed there than in the song, because when you sing a song you can smuggle a bit with how you sing it. My approach to poetry is generally more free verse, so for me that’s an escape.”

Is there poetry in your lyrics?

“Die Sprinkhane Se Begrafnis is there purely for the line: ‘En die sprinkane hou begrafnis op my kar se voorste ruit, muggies as confetti vir die dood se bruid’. I was driving at night and stopped and wrote down the words. I often stop to write when I drive. Look, (he points at the lyric sheet, at the words of Hoëveld-Utopia), the same happened with Nigel and Balfour in winter, I love the highveld in winter. I so disagree with Toast (Coetzer, who wrote a song called The Highveld (Is A Shit Place To Be In Winter)). I hate the highveld in summer, I love it in winter, that’s when it’s beautiful, really really beautiful. The blue gums, the dry grass land, the broken fences, the smoke, the mine dumps. What more do you want? Fucking Table Mountain? I appreciate it when I see it as a desert. That smell of the veld fires. When you arrive from overseas and drive home from OR Tambo invariably there’s a veld fire that welcomes you back. That veld fire is home. Bleak? That’s who we are, a bloody mine town with poison in the soil.”

By admin | Posted in Interviews, Media Archive | Also tagged Andries Bezuidenhout | Comments (0)

Andries Bezuidenhout – Bleek Berus Press Release

October 21, 2009 – 11:41 am

Source: Underground Press (Andries Bezuidenhout – Bleek Berus Press Release 21 October 2009)

Album: BLEEK BERUS
Artist: ANDRIES BEZUIDENHOUT
Label: ONE F MUSIC
Release Date: OCTOBER 2009

Bleek Berus

English Version:

One F Music announces the release of Andries Bezuidenhout’s second solo-CD, Bleek Berus (roughly translated: ‘Bleak Resignation.’) Andries is a leading Afrikaans singer-songwriter.

Bleek Berus contains ten brand new songs, most of which were recorded by former Brixton Moord & Roof Orkes (‘Brixton Murder and Robbery Band’) member Drikus Barnard from 2007 to 2009. Also on the album is “Die laaste brandwag,” (‘The Last Sentinel’), which was recorded by Paul Riekert in 2004 for KykNet’s programme “Die liedjies wat ons ken.”

Thematically most of the songs draw on the theme of deserts and other dry places, be it the Namib, or the Highveld as a human desert. “Vernichtungsbefehl,” the last track, with its references to the Herero genocide in Namibia in 1904, is also available as a poem in Andries’s book of poetry Retoer. As in his previous work, themes such as identity and emigration are explored, but in new ways.

Musically speaking Bleek Berus is recorded in the style of contemporary Americana and alt-country, but with a strong local flavour – acoustic outlines filled out with subtle electronics.

The album follows Insomniak se Droomalmanak (‘Insomniac’s dream diary’) (2003), as well as Spergebied (‘Restricted Zone’) (2002) and Terug in Skubbe (‘Back in Scales’) (2005), which he recorded with the now disbanded Brixton Moord en Roof Orkes. His debut book of poetry Retoer was published by Protea Boekhuis in 2007.

Afrikaans Version:

One F Music kondig met genoegdoening die vrystelling van Andries Bezuidenhout se tweede solo-CD, Bleek Berus, aan. Andries is reeds bekend as een van die land se mees toonaangewende singer-songwriters.
Bleek Berus bevat tien splinternuwe songs, waarvan die meeste deur Drikus Barnard tussen 2007 en 2009 opgeneem is. Dit bevat ook “Die laaste brandwag,” wat deur Paul Riekert in 2004 opgeneem is vir KykNet se program “Die liedjies wat ons ken.”
Tematies sny die meeste van die lirieke by die tema “woestyn” aan, hetsy die Namib, of die Hoëveld as menslike woestyn. “Vernichtungsbefehl,” die laaste track, is ook beskikbaar as gedig in Andries se digbundel Retoer. Temas soos identiteit en emigrasie word weer ontgin, maar op nuwe maniere.
Musikaal is Bleek Berus in die styl van baie van hedendaagse Americana en alt-country opgeneem, maar met ŉ plaaslike inslag – sterk akoestiese buitelyne wat subtiel met elektronika ingekleur word.
Die nuwe album volg na Insomniak se Droomalmanak (2003), asook Spergebied (2002) en Terug in Skubbe (2005), wat hy saam met die nou ontbinde Brixton Moord en Roof Orkes vrygestel het. Aan die einde van 2007 het sy debuutdigbundel Retoer by Protea Boekhuis verskyn.
Interview:

CLAIR CANTRELL FROM ONE F MUSIC ASKS ANDRIES A FEW DIFFICULT QUESTIONS ABOUT BLEEK BERUS:

Why did it take you so long to release another solo album?
Most of the songs and the concept for the album were ready a few years back. I had initially planned to record and release it shortly after the last Brixton Moord & Roof Orkes album Terug in Skubbe. Since the band’s first CD Spergebied was followed by a solo one, Insomniak se Droomalmanak, I thought it would be a productive rhythm. Kind of like band, solo, band, solo, and so on. But things didn’t work out that way. The band was in a bit of a crisis because of a shortage of new material, so I decided to suspend the solo project and to use the songs for the band. And then that also didn’t work out. I guess the songs were too introspective for the band, which was a rock band after all. When the band finally disbanded, I focused on poetry for a while, but the songs nagged to be recorded. Now, finally, after many years, I can release them.
The album is imbued with a sense of loss. Do you think it is time to, “Vat jou goed en trek Ferreira”?
For many it is, but not for me. My answer to that question is in the song “Dis net werk toe wat ek nog deur Hillbrow ry.” I’ve given far too much to this country and I’ve taken far too much from it to pack up and leave. But many of the songs deal with those decisions, and friends and family who decide otherwise.
You chose Drikus Barnard, who is a relatively unknown producer. What sparked that decision and what was the experience like?
Drikus, also known as Brixton Barnard, started recoding the songs for the Brixton Moord & Roof Orkes album, as bass player and co-vocalist. It made sense to continue working with him on the songs when the band project didn’t work out. He knows my songs well and is the right cynical antidote to the little bits of sentimentality that sometimes creep into my songs. In the end the recoding process took two years and I think he did a wonderful job. I hope people sit up and take notice of his work as a left field music producer.
Tell me more about your book in relation to this album and also the book launch you are attending on the 21st?
The book is called “As almal ver is”. It is a collection of essays about Diasporas and South Africans abroad, edited by Afrikaans poet Danie Marais. I contributed a piece on my visits to my sister in Australia and to Ockert (the former drummer of the Brixton Moord & Roof Orkes) in Canada. The book also contains comic strips and a beautiful lyric by David Kramer about a man, who emigrated to Canada, who visits the South African town where he grew up. Danie asked my to sing some of my songs that deal with the issue at the launch. But I must say, my album is more about staying than it is about leaving.
“Bring die buie, bring die reën, laat die wolke hulle trane oor droë grond ween” – has it happened yet? It has a response almost Nick Caves “Weeping Song” with a beacon of hope and also the “Ship Song”, with a bit of “1000 kisses deep”, this is your Bittervrug, “Ek sien jou in my drome”. You tell me…
The inspiration for the song comes from Lüderitz in Namibia. The town gets its water from deep under the surface of the desert; age old fossil water. The water tastes pure and feels soft on your skin. The Afrikaans poet Wilma Stockenström wrote a beautiful, but cynical poem about this called “Koichab se water.” My song about water under the desert’s surface is an attempt at a love song. I’m not very good at writing love songs, or declaring my love, so it is filled with trepidation. I can only hope that it works.
Explain the themes intrinsic to your album, and the relationship with Joburg – do you hope she misses you?
I initially wanted to call the album “Dorsland,” but that title had been used by someone else. Most of the songs are about the desert. I love the Karoo, the Kalahari, and the Namib. That is where I feel at home. Those are also the parts of southern Africa where Afrikaans is mostly spoken. In the Karoo Afrikaans cannot pretend to be a European language, it is unashamedly indigenised. Like the landscape, it is a tough, barren language, filled with sand and dust. I don’t feel I belong in Johannesburg, as if I’m just one of many immigrants from across the world who scrape a living here. But the Highveld also has its own beauty, especially in winter. That is what the song “Hoëveld-utopia” is about, where the album’s title comes from – bleek berus – bleak resignation. Even though the Highveld is a cold human desert, people seem to find beauty and warmth here. When I think of the place as a desert, I do too.
Do you make the same statements with your visual art as you do with music and your written word projects, do you speak the same ‘language’ in each medium? Not necessarily a written but emotional language?
I’m currently working on landscapes, or rather cityscapes of Johannesburg as seen from the balcony of my apartment. So I guess so. But painting allows me to escape words. When I paint I stop thinking in language and go numb. Without it, I think I’d go completely mad.
Making an album is making something and letting it walk its own road, Nick Cave likened his songs to being sad eyed children, your poetry, music and visual art – what is your relationship to these?
The problem with recorded albums and printed poems is that, unlike people, they can’t grow further. It’s final. So they’re not children. But some psychoanalysts argue people make art because of a fear of death. Apparently they also have children for this reason. So art and children are both attempts at immortality. Since I’ve never been in therapy, apart from the occasional session with Jack Daniels, I’m not sure about this. I’m happy to live a life that is only examined in lyrics. Who cares about immortality? That is the joy of working in a dying language. You know there won’t be people who speak or read Afrikaans two centuries from now, so Afrikaans songwriters and poets can never have pretentions of immortality. I hope this doesn’t sound too melodramatic, but at least we’re allowed to give our language a decent funeral.
This is certainly your most eloquently written album – tell me how your studies have broadened your ability to communicate what it is you wish the listener to “see”.
Thanks for the compliment. I guess you’re referring to the course in creative writing I’m doing with Marlene van Niekerk and Willem Anker? That is more for poetry, but I hope in future it will improve my lyrics as well.
Why are your comments on life so ‘bleak’ – why the dry, dark, ironic side of life – comment?
I don’t know. I don’t think I’m a particularly depressed or depressing individual. I hope people hear the humour in the lyrics and appreciate some of the tongue-in-cheek arrangements as well. After all, a little light makes you see the dark even better.

MEDIA COMMENTS ON PREVIOUS ALBUMS

Spergebied, Brixton Moord & Roof Orkes (2002)

“Firmly in the middle of the new wave of Afrikaans rock bands, BMRO plays driving folk rock – kind of like Koos du Plessis had he ever heard Nirvana… Their debut album is uncomplicated in sound and filled with great songs (good lyrics is one of their hallmarks) about women, drinking, Jo’burg, yuppies, road rage and life in general… On the whole, music that will make you feel better the morning after you did something reprehensible.”– Toast Coetzer, SL Magazine, December 2002/January 2003
“This is not a very cheerful album on the lyrical side, but the music really rocks. So, to mis-quote Syd (Kitchen, not Barrett), this CD is not for sissies, but the brave listener who ventures into this Restricted Area will be rewarded with some very unrestricted Afrikaans Rock.”– Brian Currin, South African Rock Digest
“Afrikaans music in the folk or folk/rock style has been around for ages, producing excellent song writers like the superb Koos du Plessis and Koos Kombuis, reflecting many aspects of life in South Africa. This album carries on in that fine tradition… No-go areas of the human psyche, despair, hope, deterioration, love and violence are confronted with humour, anger, irony and sensitivity using brilliant imagery… Don’t let me give you the impression that this album is all doom and gloom. There is a great balance and serious fun, some great lines and good music that will leave you wondering when the next Brixton Moord en Roof Orkes CD will be coming out.”– Etienne Creux, Pretoria News, 21 August 2002
“Hierdie is woordemusiek, maar nie daai kak soort wat traai diep wees nie. Lyrics gaan oor gewone stuff soos die lewe in Joburg, hoe kak yuppies is, armgeid, en road rage. En wie sal ooit weer kan stry dat daar meriete is in dronkword op mens se eie?… Doen nou julself ‘n moerse guns en gaan kry die CD of check die ouens live. Die CD het 12 befokte tracks op, dis bedonnerd gerecord met ‘n lekker cover en dis meer as die moeite werd. En moenie by ons kom huil as jy jou broek natpis na “Geraamtes in jou kas” nie. Sterk wees vir daai song.”– CHopper CHarlie, watkykjy? Augustus 2002
“Afrikaanse rock het liriekskrywers soos hierdie nodig.”– Pieter Redelinghuys, Insig, Junie 2002

Insomniak se Droomalmanak, Andries Bezuidenhout (2003)

“It has taken more than ten years, but at last there is a proper follow-up to Koos Kombuis’ seminal ‘Niemandsland’. On ‘Insomniak se Droomalmanak’ singer/songwriter Andries Bezuidenhout has taken Koos’ knack for melody and bittersweet Afrikaans lyrics and catapulted them into the new millennium. The fourteen songs tackle life in Gauteng, with its suburbia, yuppies and old lefties now living behind huge walls. There’s irony, protest and literary references. And not a single trace of Afrikaner nationalism.”- Fred de Vries
“While some idiots give Afrikaans music a terrible name with their badly produced songs about rugby or Rooi Rok Bokkies, at least there are some artists like Koos Kombuis, Kobus! and Piet Botha to save the genre from becoming a line-dancing joke. Andries Bezuidenhout subscribes to the introspective, thought-provoking school of minimalist philosophical expression, commenting on life and the world, from the little things to the bigger picture. The poetic themes of the dream world, the waking dream, sleepwalking existence and the reflection of South African city and suburban life, changes, angst and being white these days may be a heady mix, but it works. There are reflections on idealistic student-type causes and ideals, on hope, longing and the current dispensation – not merely politically but socially, economically and everything else. While it is quite obvious, the only really accurate comparison to be drawn would be with Andre LeToit (better known as Koos Kombuis), both in style and some subject matter. Bezuidenhout loves the language and uses it expressively…”– Paul Blom, Cape Argus, 27 October 2003
“Daar word baie gepraat oor ons land, sy probleme en die mense wat in hierdie omstandighede vasgevang is. Wanneer hierdie kwessies deur rym en sang getakel word, kyk jy weer op ‘n ander manier na die vreemde en wonderlike land waarin ons woon. As kunstenaars nog oor die moeilikhede kan sing en humor in situasies raaksien, kan dit jou help vrede maak met elektriese heinings en sekerheidsmaatskappye wat moet sorg dat vriende veilig kan kuier. Andries Bezuidenhout (van Brixton Moord & Roof Orkes) se kommentaar op die hedendaagse Suid-Afrika is skerp, op die man af en hartverskeurend mooi. Die lirieke vir sy CD Insomniak se droomalmanak maak vir elkeen sin, of hy uit die generasie linkses van ouds kom, of ‘n produk van die reënboog-situasie is… Soos die titelsnit aandui, is die saambindende tema wakkelê(wees) en droom van rus. Die ironie van iemand wat die wêreld juis in die donker nag duidelik sien, blyk uit feitlik al die lirieke. Op die meeste albums is ‘n snit of twee wat minder indruk maak as die ander. Selde gebeur dit dat elke snit op sy eie manier onder die luisteraar se vel kruip. Sonder om opdringerig te wees, maak Bezuidenhout ‘n sinvolle stelling in elke lied…”– Mariana Malan, Die Burger, 6 Oktober 2003

Terug in Skubbe, Brixton Moord & Roof Orkes (2005)

“To bring out a great first album is wonderful but to sustain that growth and creativity and come up with an even better second album (albeit more than two years later) is impressive… With all the social commentary and insights of their excellent first album Spergebied, the new album is much tighter, with a harder edge, in music as well as the lyrics. The brilliant imagery, which is at times cutting, humorous or cynical but never bland, explores the human psyche, especially the darker side… While the powerful poetry of Brixton Moord & Roof Orkes’ lyrics is probably their best feature, it is the beautiful tunes and arrangements with great vocals that complete the whole package to make this very fine album.”– Etienne Creux, Pretoria News, 20 April 2005
“BMRO extend their survey of South Africa’s psycho-geography with Terug In Skubbe. With their driving garage blues rock blow-outs (“Vis”), pastoral luisterliedjie pit stops and gothic rock overhauls of Koos Doep ballads (“Dagboek van ‘n Swerwer”), the cult Afrikaans rock outsiders percolate a potent post-Voëlvry brew.”– Miles Keylock, CD Wherehouse, Mei 2005
“ ‘Wie wil nou ‘n mens wees?’ vra Moord Greeff in ‘Vis’, die eerste lied op die Brixton Moord & Roof Orkes se jongste album, Terug in Skubbe. Daar sal sekerlik stemme opgaan van skepsels wat mens wíl wees juis omdat dit vir óns ore is dat die musiek van hierdie album bedoel is. Dis net ménse wat sal verstaan waaroor die seer en die soet in die lirieke gaan. Visse, honde en voëls het voorregte, maar musiekwaardering is nie een daarvan nie. Hierdie album laat ‘n mens opnuut wonder oor rockers se intense kennis van die lewe… In die geheel het hierdie (die groep se tweede) album se musiek meer verskeidenheid as die eerste, wat hoofsaaklik folk-rock bevat… Hul aanslag wys kennis en begrip van poësie en kombineer dit op unieke wyse met die musiekgenre wat hulle gekies het.”– Mariana Malan, Die Burger, 11 Maart 2005
“Terug in skubbe is ‘n tema wat gaan oor omgekeerde evolusie. Soos die meeste songs op die album gaan dit ook oor persoonlike verval en agteruitgang, terwyl die tunes terselfdertyd die mooi daarin probeer raaksien. Gekompliseerde songs wat smag na die ongekompliseerde. Dis min of meer die uitgangspunt. Wanneer jy na dié band se goed luister, gaan dit nie anders kan as om te dink aan ‘n besonderse eiesoortigheid nie. Dit is ouens wat weet hoe om te jol, maar ook weet wat hulle uit hul musiek wil hê. Sover soos true school gaan, is jy hierso op die regte pad.”– Angola Badprop, Beeld, 18 April 2005
“Die verskillende stemme is wat die CD laat werk. Nie noodwendig sangstemme nie (maar dié is daar ook). Eerder stemme wat iets te sê of te vertel het, iets wat nog nie tevore gesê of vertel is nie. Terug in skubbe is ‘n lieflike CD. Die grootste gros in hardekoejawel-rock. “Vis”, “Spoed”, “Sussie se sweep” en “Terapie” staan uit. Maar daar is ook dié wat die vrug van folk en country pluk. Bowenal soek ek die Afrikaanse tunes wat vanjaar by songs soos “Lisa Forward” en “Trane van ‘n terroris” kan kers vashou. Terug in skubbe is ‘n juweel.”– Pieter Redelinghuis, Insig, Mei 2005
“Die manne van die Jo’burg Afrikaanse underground het weer gedilver en ‘n CD uitgebring waarvoor heelwat ander moet terugstaan. Terug in skubbe is ‘n tema van omgekeerde evolusie, maar dui eintlik op ‘n hunkering na eenvoudigheid in ‘n goor samelewing… Ander Afrikaanse bands gaan beslis ‘n paar tips in songwriting kan vang.”– Angola Badprop, Beeld, 2 Mei 2005
“Brixton Moord en Roof se musiek dra ou, afgeleefde Cats; groet jou met ‘n ghrieserige hand en ruik effens na sweet en ou whiskey. Dis liedjies oor middelklas- en minder-as-middelklasmense in middelklas- of minder-as middelklasbuurte en die middelklas- of minder as middelklasdinge wat hulle doen. Die liedjie waaruit die CD-titel kom, Vis, verwys na ‘n gedig van D.J. Opperman waarin dit gaan oor die vrees om die evolusieleer mis te trap en ‘n paar trappe te gly… Kry dit as jy nie bang is vir musiek wat ‘n effense ghriessmaak in jou mond laat nie…”– Jaco Jacobs, Volksblad, 9 Mei 2005
“Brixton Moord & Roof Orkes haat dit as mens hulle die Afrikaanse rockgroep met ‘n gewete noem… Maar dis waar. Terug in skubbe is hul beste album tot dusver, hoofsaaklik vanweë die baie afwisseling wat produksie en musiek betref… BMRO rock hier harder as ooit tevore. Maar onthou ook om te luister wat hulle sê.”– Dirk Jordaan, Beeld, 11 Mei 2005

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Battery 9 2009 Tour dates Announced

September 21, 2009 – 12:44 pm

Source: Underground Press ( Battery 9 2009 Tour dates Announced 21 September 2009)

TOUR DATES ANNOUNCED FOR BATTERY 9 TOUR 2009

Battery 9

26 September ‘09
PTA – VAMP Full Moon Lounge
B9
Plasticoma
Hexotericka

29th October ‘09
JHB – Pienk Kerk
B9 Unplugged
Bittervrug – Unplugged

4th November ‘09
Centurion – Steak and Ale
B9 Unplugged
Drikus and Gerhard Unplugged

7th November ‘09
Bloem – Aasvoel Klub
B9 Unplugged

31st October ‘09
PTA – Kasteel
B9
TBC
NuL
Ankst

Battery 9

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One F

September 18, 2009 – 10:33 am

Source: Underground Press (Underground Press 18 Sept 2009)

One F Music was started in 1994, by Paul Riekert, he is still at the helm of One F, 15 years later. The name One F stems from a Pixies song – Jefery “with one f”.

After much turmoil in the existing framework for music distribution and production, the underground music industry especially that in the alternative genre and Afrikaans language were getting a raw deal, and so the motivation was sparked to get something together to help these artists. To this day it is still the same difficult struggle, albeit that there is a platform for artists who are shoved to the fringe, that being One F Music.

*The end of apartheid has meant a loss of government support for Afrikaans, in terms of education, social events, media (TV and Radio), and general status throughout the country, seeing as how it now shares its place as official language with ten other languages. – wikipedia*.

We are A political, A religious, and A language – we like the language of music – because written word like the wikipedia quote I have just used as reference are still out there on the net and we still have Nicholis Louw’s in our midst this has to be mentioned. Having said that One F Music does not give a shit about the above. We do not care if you speak the English language, are Afrikaans speaking or if you speak Swahili – we are in it for the music! Not the politics surrounding music! and the exploitation of artists works in a sheep-mentality society that stands in wait for the next big thing! We also don’t care for the artist who fall in to the trap of sounding like any one else – all our artist are unique across genres.

Paul Riekert - One F

One F Musics mission is to facilitate the production, distribution and manufacture of those artists products who would ordinarily be overlooked by the mainstream music market – for use of language some deem offensive (we do not care what you say) – for use of tones that are deemed to be unfriendly (we have enough friends) – and those that speak from a point of self not saying what “my friend” likes but what they personally feel. One F Music is not out there to make fistfuls of cash on the general pabulum that is spewed across our radio airwaves, we prefer a more intelligent approach.

Clair Cantrell - One F

So we are smaller – but our artists endure across fashion, and unlike other record labels we do not sweep them to the side when budget runs out, or people tire of the marketing strategy.
We are not genre specific either – what is good is good and doesn’t have to be put in a box – we are also not psychologists so your angst is welcome here – we quite like it.

We believe in those that believe in making good music – because music is so emotional – it is cathartic and it always astounds me that music is marketed in a visual fashion, but I can close my eyes I can still experience it, and because it is so personal nobody is going to experience it the way others will. So there again I am shtoomped with why people make music that will serve the mass hypnosis of idiots!

You may ask yourself at this point why we do it, my reply – because we deal in music that matters! That will never change and even if we don’t shift a million copies of an artist we will create awareness and you will still be able to get any artist from One F Music directly at any time, via postal order – we do not discontinue runs because they do not sell as fast – we keep them on the shelves for people to procure and appreciate always. If the corporates won’t take it we damn sure will. Screw them!

One F official Site: One F Music
One F – Postal address – P.O.Box 84250, Greenside, 2034 – Physical – By Appointment Only.

Music Genre type supported: We deal with any kind of music, as long as it it unique – we like it, it stays – we don’t it doesn’t. Don’t even think of sending Mp’3’s they will be deleted off the server, if you want us to listen – send to the postals!

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8 OUT OF 9 DENTISTS PREFER STICKY ANTLERS!

September 9, 2009 – 9:14 am

Source: Underground Press (Underground Press 9 Sept 2009)

From 25 September to 4 October, Sticky Antlers will be doing their first mini-tour through Cape Town. This exciting news comes in the wake of the recent release of their début album on the KRNGY Logo (with help from One F Music).

Despite the fact that the album isn’t available in any of S.A’s mainstream music shops yet, requests for the group to play in the Mother City flooded in over the last few months. When Jarred Figgins, the owner of Club EVOL, offered a big organizing hand, Sticky Antlers jumped at the opportunity to graze on some fynbos.

Sticky Antlers are one of the most interesting and hard working groups to have emerged from the dry, dusty land of Pretoria. This is one band which does not give you more of the same, of anything.

Sticky Antlers

Their fiercely unique music is impossible to pigeonhole, but has been described as an amalgamation of experimental rock, pop, noise and alternative. Individual songs vary from mellow drones through transcendental grooves to earth-shattering distorted bliss.

Live, they are one of the most energetic and intense groups around. Wild and desperate, each band member milks every drop of expression out of their instrument(s), often to the extent of beating them into submission. Art SA magazine voted Sticky Antlers their “Second Young Bright Thing” for 2009 and the band has been the subject of numerous articles in various publications, including the Mail & Guardian, The Weekender, Pretoria News, The Star Tonight and A Look Away Magazine.

Confirmed shows in Cape Town are:

25 September: Club EVOL
30 September: The Assembly
2 October: Club EVOL
3 October: The Corner Bar

The tour will not only be a fantastic way to spread the Stickiness across our nation, but also acts as a great opportunity for the group to introduce the “KRNGY Logo”, which has been rumbling underground for some time now.

The KRNGY Logo seeks out musical oddities all across SA and does not work for profit or fame. In fact, the regular paradigm of music distribution is disregarded entirely; the aim being to find interesting musicians and groups who are truly passionate about creating original music instead of focusing on commercial concerns.

The label hosts a wide range of offbeat and limited edition merchandise items, entirely hand made by the band members themselves. Silk-screened T-shirts, CD-R’s (from as little as R10), CD’s, badges, Slime-O-Saurs and posters are only a few of the items available, all at very low prices!

The merchandise changes often, and editions can end at any time so you have to get whilst you can. KRNGY stands firmly on the foundation of the “do it yourself” ethic and has a strong “hands on” approach. Every part of production is handled in-house; even music videos are covered by KRNGY’s exceptionally creative video and animation department.

The KRNGY logo will also be launching “Taste Nightmare” on the tour. Taste Nightmare is a limited edition illustrated “zine” with original art by South African artists coupled with two CD’s focusing on local bands with strong DIY ethics and a limited edition silkscreen poster.

The KRNGY Logo Corporation Ltd.

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St. J – Prophesy Project

August 27, 2009 – 8:54 am

Source: Dawid Khats (Underground Press 27 August 2009)

Dawid Kahts on ST.J

Making a guitar album is a daunting task. Firstly, you need some solid guitar chops. Secondly, you need to have a solid understanding of music as a universal language because in the absence of vocals and lyrics, you need a strong sense of composition in order to entice the listener. Thirdly, instrumental guitar music is not renowned for having pop sensibility. I bet my sweetest Fender Stratocaster that most people who own Joe Satriani, Yngwie Malmsteen and Steve Vai records are plectrum yielding maniacs themselves.

I salute anyone who undertakes the arduous task of creating an album where the guitar rules the roost with no other strings attached. (Excuse the pun). Does St. J – Prophesy Project succeed with this offering? Well he can certainly hold his own to the big guys. With wailing solos played with the ferocity and speed of Bruce Lee kicking ass and taking names, St. J can certainly use this album to acquire a teaching position at the GIT guitar university.

St J - Prophesy Project - Beginnings

The spiritual philosophy gives a welcome theme to the album and serves as a narrative in an almost Stravinsky-like fashion. There are a lot of different moods on the cd and it ensures that this instrumental guitar music does not fall into the trap of becoming yet another soundtrack for an extreme sport program on TV. A pleasant surprise is the use of keyboards. The tracks “Repentance” and “Forgiveness” features some very intelligent keyboard playing to add different colour to the compositions.

There is a very strong Joe Satriani influence in this album which both a good and a bad thing. It is a good thing because if you are likened to Satch it means that you can really play the instrument damn well and that you heeded Mr. Zappa’s advise to “Shut up and play your guitar”. The downside of having such a strong influence from one artist in particular is that you are in constant danger of sacrificing your own individuality. Not that St. J has no voice of his own but at times the Satriani influence is perhaps a wee bit too strong. Well I guess being an artist is like walking a tightrope and there needs to be a balance between acknowledging your influences and giving something of yourself. I am really interested to hear where St. John will take his music from here and anticipate the follow-up to this album.

In a nutshell: this really is a nice album and highly recommended to anyone who loves guitar music. If you don’t like guitar music piss off and go and listen to Lady Gaga.

St. J - Prophesy Project

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NuL – Pretoria

August 19, 2009 – 8:30 am

Source: Underground Press (Underground Press 19 August 2009)

NuL is more than a band. NuL is part of a revolution, rising from the undiscovered underground of the Internet to surface randomly all across the worldwide web. It exploits the greed of the modern commercial Music Industry, by placing itself in the ever-widening cracks in the Music Industry’s draconian marketing strategy. The music of NuL does not adhere to any formula. It is raw, pure, and from the gut. NuL is musical guerilla warfare.

All of NuL’s music is freely available as high-quality downloads, and being Creative Commons licensed, NuL allows the music to be freely copied and distributed by anyone for non-commercial purposes.

NuL

History

Adriaan Pelzer and Simon Kruger have been working together since helping to form the avant-garde rock group Nothing in 1996. After Nothing broke up in 1998, they started experimenting with electronic music on a Pentium II 350 Mhz. Using mainly Soundforge, Fruity Loops and Cool Edit Pro, the machine was barely capable of keeping up with their immense creative drive. During this time, they often resorted to Open Source tools on the Linux Operating system, like Csound, ECASound and raw programming to generate sounds and noise with often very random results. Their style of preference during these early days was mainly glitch and drum ‘n bass, inspired by artists such as Aphex Twin, Autechre, Squarepusher and even Sigue Sigue Sputnik. These early works resulted in their first CD, EeN, released by themselves in 2004. This release is in itself an interesting case study, as all of the music on the CD as well as the CD artwork are available as free downloads, allowing anyone to create their own CD. This is marketed as the “Please Pirate” campaign, aimed at attracting the Pirate CD market of Southeast Asia. In 2004 Pelzer moved to Singapore with his wife, Mareli Minnaar, and together they started developing a more hard-edged industrial sound. They also started experimenting with vocals on most of the music. In 2005, while in Singapore, they created the NuL website, http://www.nul.com.sg, which acts as the central seeding point for all of NuL’s media online. In 2009 the total downloads have reached an astounding 50000 on the website alone.

When Pelzer and Minnaar returned to South Africa in 2006, they found an overwhelming awareness of NuL, mainly as a result of their online endeavours whilst living in Singapore. They subsequently started NuL as a live show, together with Kruger and two new members, Dawid Kahts (guitar) and Niel de Lange (video jockey). The live show has been a huge success, and incorporated for a time the shocking though energetic live video mixing of Niel de Lange. The number of fans is still growing with every gig, and NuL plans to grow its live show accordingly.

The second CD, Twee, was released in 2007. The band has been joined by Gerrie Roos, who does full-time sound, and Chris Erasmus, who handles Cameras and Lighting.

In 2007 NuL signed a distribution deal with OneF Records, run by Paul Riekert of the first ever, hugely successful Afrikaans Industrial band, Battery 9.

2009 saw an increase in activity for NuL following the launch of their third album, Drie, In June. 2009 also brought about some changes in the lineup with the departure of VJ Niel De Lange. The band, opting not to try and replace his artistry, compensated by focusing on introducing a more organic and dynamic feel to their live shows utilising Chris Erasmus’ phenomenal ability as a lighting technician.

NuL is:

Adriaan Pelzer – Keyboards and Vocals
Simon Kruger – Bass Guitar
Dawid Kahts – Guitar
Mareli Minnaar – Analog Synth
Gerrie Roos – Sound Engineer
Chris Erasmus – Cameras & Lighting

Influences:

Combichrist, Rammstein, Aphex Twin, Autechre, Front242, NIN, Kraftwerk, Skinny Puppy
Einsturzende Neubaten, Frank Zappa, Tom Waits, Pink Floyd, Iron Maiden, Mr Bungle, John Zorn

Discography:

Een

Een (2004)

Wakkerslaap
Op die Spykertafel
Rina
Die Gatsometer
280g
Atari
In die Aand in die Spens
Die Ysterkoei met Beet
Cancancancancancancan
Hie Haai Hie Haai Hou
Don’t mock the Animals
Somer III
Guy W Brush
Nooit op Mars
Die Generiese Ooms met die Ligblou Windbreakers

Twee

Twee (2007)

Online Superstar
Vrees
Swart
Pyn
Kokainekop Kosie
Kaper
Rina
Kontaminasie
Gerome Djimbovski
Hardcore Rina
Utopia

Drie

Drie (2009)

Elektro-Berzerk
Über-Rampokker
Mystic Bohemia
Die Man Van Telkom
God red die President
Hoëveld
Utopia
Vloek
Kokainekop Kosie (kom af)
Vloek dub mix
Elektro-Berzerk (refleksie)

Unreleased (But downloadable from the website)

Laan van Smarte
Plek

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NuL: Drie

July 27, 2009 – 7:58 am

Source: Clair Cantrell (Underground Press 27 July 2009)
Is there anyone who doesn’t love NuL?

The band NuL have now released their third offering!!!!
Aptly titled Drie.

I remember sitting in my office, come lounge, come kitchen, for the first time (no it is not true, that all things hurt for the first time) listening to Twee, NuL’s previous album, and jumped up and down at the prospect of getting this band involved with One F Music – if I had to abduct them myself this was going to happen – I know people who can make this happen but as it turned out my task was much easier. So Paul and I went to the Bohemian and saw them – fell in love with what they were doing live and invited them to tea / bourbon party.

NuL Drie

We became immediate Rampokkers and will be to sepulchre. This album Drie courses through my alcohol filled veins with the fury of an atom bomb!

If you do not know NuL – what planet do you live on? They are just about as revolutionary as they come. Not just the stance they take on guerilla tactics by giving their music away for free to whomever wants it for download off their site, but also the industrial sound they have which is seriously lacking in the scene in South Africa.

And so we soldier on….

I listened to Drie for the first time yesterday – no pain again, just pure joy – it rings true with my own levels of anger, and lard knows I like venom. Their social commentary cannot be missed – so you freak out with anger that you feel about the state of the nation, the stupid people in it and the love of South Africa with the Aloe Mandala printed on the c.d itself, the Aloe is a theme throughout the cover design.

As much as I appreciate the download thing making music more accessible to people I love hard copy and Drie contains the brilliant artistic design of Niel de Lange – the Video Joggie.

There is a remix on Drie of Kokaine Kop Kosie, which features on Twee, a favourite among NuL fans world wide. The instrumentation is brilliant and Adriaan (front man) tells me that there was very little messing about with the final takes on the songs on the album – some of them are the original takes not like we all know can take up to 30 tries to get right if the guitarist is pissed – Dawid certainly wasn’t – he cooks like Satan, to get his stuff done just right, hardly any takes through processes that take away the autehnticity of the take, theirs are the real thing. The answer remix of Kokaine Kop Kosie, the original incarnation, is called Kokaine Kop Kosie – Kom Af, and cuts right through you – no salf te smeer. If you have ever come down – don’t on this song…otherwise please send photos.

Hierdie is ‘n klomp bitter bliksems but you dance you ass off. Great beats – great sound, great guys and girl.

Mystic Bohemia track three on Drie, is a powerful song with bass that hits you – well you know where, we are all adults, no need to elaborate – with a guitar sound to boot, F**k it is so good.

Pissed off as it is – gotta love it – I agree with every word spoken on this song, damn bastard cops!
It took me right back to the club raids we have had in the recent past.

O wee, o wee die SAPD, het ons verskree in ons local Kafee, my baby betas, en haar ontklee, my ‘n back hand teen die oor gegee

They go on to say that there was a small bust by the cops for two joints with jat rolled in them (poor people who can’t afford chronic, hee hee ) while –

In die loop van die selfde nag, is vier mense vermoor, 18 vrouens verkrag, die arme polisie se hande was gebind, hulle was doenig met die dinge van ‘n kind…

damn if that doesn’t say it nothing will. I love that about them – they are not afraid to say exactly what they want to, stuff people feel but are afraid to say have a voice with NuL.

Track 11 on Drie, titled Elektro-Berzerk speaks of the same, and one of my “personal favourites” – says she climbing out the Strepsils ad –

Adriaan’s deep voice is a sensual playground –

Se my, my vriend as jy vandag moet sterf, het jy jou lewe self geleef?

Het jy jou tyd geslyt aan ‘n ander se jolyt, of het jy op die hoe wind gesweef?

Was jy die hoof karakter in jou eie bestaan?

Of was jy net ‘n ekstra op jou stel?

Wys my al jou stories, laat ek deur hulle blaai.

Wys my jou geheime, laat ek hulle bietjie oorvertel.

Vernietig jou remote, verskeur jou koerant, buite jou vensters le ‘n ongerepte land, trek aan jou pantserdrag, jy is niemand se klerk, vaar die wereld in,

Elektro berzerk.

Elektro berzerk,

Elektro berzerk.

So for those of us who’s genes are made up of english mad dogs and South Africans, we can with all sincerity say we love them – and now is your chance to hear the insurrection, get some anger out and become an ardent fan. Drie will stand out in South African music as something to aspire to, not the usual mediocrity we are dished up to accept.

The rest I am afraid you will have to check out yourself – I have already let the cat out the bag.

Whoo hoo!.

Indeed! Another Bourbon down.

www.nul.co.za

Clair Cantrell – onefmusic

By admin | Posted in Media Archive, Releases, Reviews | Also tagged NuL | Comments (0)

“We have all had them” Cut out Collective

June 14, 2009 – 2:33 pm

Source: Clair Cantrell (Underground Press 14 June 2009)

Cut Out Collective

We have all had them – those days when life seems too hard to handle. Those existential crisis days where the only thing that is going to make you feel f**king alive is music with balls.
So there I was, in exactly as I have described – what is it all about? Where does it all come from? Why are we here? These things can never be answered with just clarity.

“Enough is proverbially enough”, as they say and I had promised a friend I would do this for her, long stories about calls from Saudi Arabia one doesn’t have a gap to take, and so a friend steps up to the plate and helps – so, so much for existential crisis’s, the promise has to be filled, and a review will damn well be written.

What joy, what fun and what a band! Existential crisis? What existential crisis? I have been inoculated!

The Cutout Collective are one of those bands that can make you feel good if you are prepared to open your mind and take the sensory assault for what it is – and it does make you feel damn fine.

I normally don’t like to review on only three songs off a sampler c.d, this particular one entitled – Eponymous by the Cutout Collective – but hell these guys have the ability to say in one song what the rest take three albums to say.

This band is danceable and lively – with its dark undertones and clever synths (that have no baring on being a hippy) Cutout Collective will appeal to any music taste, and to anyone who likes schizophrenic, challenging (for lack of better term) dance music – a mix of four on the floor and great rhythms. If you like music that has a good solid beat, interesting lyrics and clever arrangements this is for you. The mix is amazing! It is punky and dark and happy and emotional with a message to boot. I have a policy – if you are not on my iPod you do not exist – Cutout Collective landed up being loaded on Larry faster than you can say well, “Cutout Collective”.

Go back a couple of years and think about Dead or Alive’s- ‘you spin me right round’ and Kraftwerk’s ‘Antenna’ and you will have an idea of what you are looking at with Cutout Collective just a couple of years on in music evolution. Mix the two tracks in your head and you have a chance at the gauging Cutout Collective.

I will best describe Cutout Collective by saying – the Cutout Collective is like an angel crashing down to earth with burning wings, accompanied by a chorus of crazy music, the kind of music that lets you look forward to your flight downhill.
Tim Apter and Jason Hartford are responsible for the music, recording and production on the album. Tim takes credit for the lyrics. Jason also takes credit along with Chris Brink when it comes to mixing of the album. Lapdust mastering facility mastered the album. Lapdust are responsible for a host of great South African artists’ music mastering, and Cutout Collective come to the party with whistles and bangs – they don’t fail in their duty. Dan Flikker also did a really good job on, and I quote “everything you see”.

Cutout Collective make you want to tear the walls down and lay in the debris patting yourself on the back as they say to you – “do do do do what you do, sah sah sah say the right things, you know the feeling is there because you want it to sting, do do do do what you do, sah sah sah say the right thing”.

Isn’t that the perfect solution for an existential crisis? Hey and even if you aren’t plagued by existence and are looking to hear some kick a** music, that is seriously ground breaking in South Africa, music that sticks in your head like a well written jingle, go get it! Sweet Lard go get it. I promise this band is better than the Vodacom jingle – says she while lighting the Molotov cocktail.

Well done deconstruction recordings! This is one for the books.

Thanks: Clair Cantrell

By admin | Posted in Media Archive, Reviews | Also tagged Cut Out Collective | Comments (0)

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