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Ons Kerk Se Mense – Part 2

June 28, 2010 – 8:57 am

Source: toypom (Scribd)

Ons Kerk Se Mense

Various Artists

OneF1015

Distributed with ONS KLYNTJI magazine dated November 2007

FULL DISCLOSURE: The reviewer collaborates on three of these 22 tracks and will therefore make no value judgments on the content or his own vocals but will restrict his comments to the inputs of his partners. Two and a half years down the line, this extraordinary compilation has garnered only one online review. The reviewer-contributor is thus compelled to reveal the neglected rarity’s treasures & travesties.

Ons Kerk Se Mense (The Members of our Congregation or literally, Our Church’s People) was compiled by Drikus Barnard of the bands Slow, Brixton, Moord & Roof, Plank & Trike. Nine or ten of these were recorded and produced at his Lekkerrus Studios. (Mystery surrounds track 22). Paul Riekert of OneF Records produced 4 of them and mastered the album. Photographic credit: ‘Train and Trout’ by Mariska Ison.

Acts with more than one contribution include Buckfever Underground (2), Insek (2) and Drikus (under the moniker Brixton Barnard and with Slow).

Recorded in 2000, Slow’s Krismiswurm is the oldest as it would appear that all the others were recorded in either 2006 or 2007. Spoken poetry/prose comprises approximately one third of the work although some tracks straddle genres. Besides numbers 1 and 21 which are in English, the rest is Afrikaans through and through.

PART TWO

Drumbeats and a percolating keyboard line introduces Kokaïnekop Kosie by Nul before an analogue synth and guitars join the fray for the story of Kosie who schnorted substances to excess, narrated in a type of rap. A beautiful symphonic instrumental break is followed by a slower recitation, very atmospheric, then it reverts to the faster tempo. May Kosie’s disastrous experience serve as warning to us all. I like this track.

Die Kaalkop Waarheid by Stean en die Crankshafts blends guitars, cello and drums in an innovative way. This slow rock ballad has impressive bursts of guitar, poetic lyrics and major vocal variation, from the tender to the anguished, but it’s over before you know it.

Kabous Verwoed’s Sunnyside Hotel portrays urban Pretoria in a series of vivid vignettes of people & places in a voice that ricochets between indifference and empathy. The musical backing suits his narration like a Rizla around quality Omkyktwak. This is Beat Poetry at its best.

More traditional, Ronel Nel’s poem Elope is no less striking and memorable. Her recital is likewise enhanced by cinematic sounds and evocative samples in the right places.

Background voices in a foreign language – sounds like Western Slavic/Polish? to me – that weave over & under his narration lend a strange air to Moord Greeff’s Ballas, a slice of urban angst with edgy percussion.

Ah yes, Piet Pompies’ surrealistic & obscene excursions Die Motorhawe and Die Inryteater are expertly backed by the erotic Bullebak Blaasorkes. As for the themes… some things are best passed over in silence.

The enigmatic Poskaart Na Mars by Tannie Marie en die Biscuits sounds like a cross between The Residents and modern classical of the weirder variety, say Edgard Varèse*1 or György Ligeti*2. I kid you not. A minimalistic & hypnotic keyboard pattern constantly changes texture as a bizarre succession of percussion, chimes & drones bathe it in strange sonic hues.

Poskaart Na Mars is a fitting conclusion for this impressive array of cutting edge SA music. Ons Kerk se Mense encompasses rock, electronica, industrial, alt folk, goth and sadcore of astonishing power and variety.

My personal faves? Difficult, difficult…. But they include Esmé Eva Kwaad’s eerie tone poem The Heaviest Red, the anarchic Psalms & Gesange by Buckfever Underground, the melancholic singer-songwriter tracks by Bittervrug and Bacchus Nel, Nul’s cautionary tale of Kokaïnekop Kosie, Brixton Barnard’s ironic wail Barbara Ray and without a doubt, the grand finale by the Auntie Marie & her two friends from Linden.

*1 http://en.wikipedia.org/wiki/Edgar_Varese

*2 http://en.wikipedia.org/wiki/Gyorgy_Ligeti

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Ons Kerk Se Mense – part 1

June 13, 2010 – 2:41 pm

Source: toypom (Scribd)

Ons Kerk Se Mense

Various Artists

OneF1015

Distributed with ONS KLYNTJI magazine dated November 2007

FULL DISCLOSURE: The reviewer collaborates on three of these 22 tracks and will therefore make no value judgments on the content or his own vocals but will restrict his comments to the inputs of his partners. Two and a half years down the line, this extraordinary compilation has garnered only one online review. The reviewer-contributor is thus compelled to reveal the neglected rarity’s treasures & travesties.

Ons Kerk Se Mense (The Members of our Congregation or literally, Our Church’s People) was compiled by Drikus Barnard of the bands Slow, Brixton, Moord & Roof, Plank & Trike. Nine or ten of these were recorded and produced at his Lekkerrus Studios. (Mystery surrounds track 22). Paul Riekert of OneF Records produced 4 of them and mastered the album. Photographic credit: ‘Train and Trout’ by Mariska Ison.

Acts with more than one contribution include Buckfever Underground (2), Insek (2) and Drikus (under the moniker Brixton Barnard and with Slow).

Recorded in 2000, Slow’s Krismiswurm is the oldest as it would appear that all the others were recorded in either 2006 or 2007. Spoken poetry/prose comprises approximately one third of the work although some tracks straddle genres. Besides numbers 1 and 21 which are in English, the rest is Afrikaans through and through.

PART ONE
Slow’s edgy Krismiswurm opens with sampled male & female voices before the guitars & drums kick in. The complex arrangement encompasses shifting tempos, innovative guitar work and startling bursts of percussion over and around which Drikus steers his acerbic social commentary. Both of Buckfever Underground’s contributions come from their album The Buckfever Underground SAVES. Over a mix of what sounds like sax, cymbals, guitar, drums and drones, the first offering Psalms en Gesange (Psalms & Hymns) praises inter alia airmail, e-mail, roadblocks, alcohol abuse, community service, national parks, simplicity, various vehicles, giving birth, painkillers, the ability to urinate, the dreams of a child, a bank balance, seekers that find, strategic retreats and fellatio.

That wild parade emerges after the slow, ominous intro that lists a series of “iconic” politico-religious figures; the pace picks up for the praises that are interspersed with off-the-cuff observations. Finally the tempo winds down in a loop-like repetition of the jubilations alone.

A burst of textured feedback unleashes the only English song, I Want To Die On A Tuesday Afternoon. This passionate rant’s up-tempo beat supports the swirls and shapes summoned up by massed guitars, surging synths and sundry chimes, hums & buzzes.

Insek’s first track is the brief instrumental called Derrick on which trumpet- dominant segments alternate with screaming guitars & sax-like sounds. The maniacal Terug Van Die Dood (Back From The Dead) combines bellowed vocals & shrieks with 200bpm industrial beats.

Phew! In the name of sanity, let’s turn to the more conventional structures of the singer-songwriters. Ironically, Piet Planter’s blend of brooding vocals and jangling guitar deals with insanity (Niemand By Die Huis). A choir of electronic crickets at first subtly insinuates itself into the rich full sound, progressively infiltrates the matrix and finally fragments the psyche as it triumphs in the mix.

An interplay of symphonic synths and stirring guitar give rise to the beautiful autumnal tones of Bacchus Nel’s Ballade Van Die Vrou Wat Te Lank Alleen Gebly Het (Ballad Of The Woman Who Stayed On Her Own Too Long). His rich tenor narrates a tale of woe, something like Eleanor Rigby’s Afrikaans aunty who dwelt on a farm in the Karoo.

The third singer-songwriter (second in the segue after Bacchus) is Bittervrug with Ek Sien Jou In My Drome (I See You In My Dreams). Alas, the mood lifts not… grieving guitar embraces solemn orchestral sounds while a funereal beat provides the perfect backdrop for Charles’ anguished vocals as they spiral ever deeper into despair.

Feeling suicidal? Let’s jump 5 tracks for the love of life! Brixton Barnard saves the day with a Ween-like faux country send-up of 1970s country queen Barbara Ray. Not exactly humorous either, the song serenades the chanteuse within a framework of bitter irony, dark humor and apocalyptic imagery.

By now, Angst starts sinking its claws into my soul so I skip Moord Greeff’s Ballas for Monster Soek Sy Meester (Monster Seeks Its Master) by Willem Welsyn en die Sunrise Toffies. At least this one has chugging, buoyant rhythms, roaring guitars and soaring vocals. The music brings brief respite but the lyrics relentlessly push the mutant.

Jeez, dudes … feed me Effexor, Elavil, Prozac.

Singer-songwriter Roof Bezuidenhout’s tender Afrika Wat Wag (Africa Which Awaits) offers elegant melancholia in its acoustic simplicity which is atmospherically enhanced by the odd strategic bleep, exquisite percussive infusions plus some whirring effects that embellish the outro.

OK, bring on the poets then!

The double-tracked vocals (normal & delay) of Esmé Eva Kwaad’s tone poem The Heaviest Red create an echo that’s reinforced by the reference to “echoes of memories”. Conventional time evaporates as the voices spirit us into a dreamtime inseparable from the setting. Timelessness and disintegration exist and occur simultaneously: “nothing’s happening at all” versus “the ache is so beautiful it makes me tick.” The spooky superstructure, the sense of foreboding, rests on a bedrock of resignation. This juxtaposition of the sinister and the soothing resembles the unsettling yet hypnotic effect of the lullaby. Tick-tock percussion joins the eerie background rumble on the line “the clock is only correct twice a day.” Following the last word of the final line “and the sky drips the heaviest reds” this beat speeds up till the single ring of a bell swallows it.

Accompanied by church organ, Esmé Eva Kwaad delivers an equally other- worldly rendition of Ben Jonson’s “Song To Celia” (Drink To Me Only With Thine Eyes) as introduction to the collaboration with Piet Pompies whose spoken vocal commences after her final note has faded, narrating a nightmare over the organ tune (no pun intended).

Filthy but fun! Dit Was Immers 1 January exhibits Paul Riekert’s scatological musings on the word “turd.” Claiming that women will go to any lenth to avoid using it, he examines the synonyms & circumlocutions and then narrates an encounter with the only woman who had ever articulated the word in his presence. On Retha Vermeulen’s lips it became a “bon mot,” expressed with conviction at just the right moment.

Well, that’s what Miranda claimed in the movie Picnic At Hanging Rock: “Everything happens at exactly the right place and time.”

TBC

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Bloedskande And Footnotes

April 2, 2010 – 10:02 am
Bloedskande

Bloedskande

Here comes a band of musicians to redefine the word and make it their own, or not?

When I asked how the band redefine words and what it takes to make it fit a concept which isn’t even remotely linked to incest – Jan Smart frontman of Bloedskande answered…

Lyric-wise we don’t redefine words. The power of the word is in sentences, we don’t try to redefine words, but redefine ideas in sentences. We make our observations of the ‘real world’ and that’s the extent of any attempt of redefinition. If you are referencing the name of the band, we have chosen the term Bloedskande as it is open to interpretation. We don’t aim to make it our own, but we want people to think about their interpretation.

So this is not a concept album in terms of the lyrics, like Pink Floyd for instance have done in the past. The name is the concept and it is open to interpretation.

Bloedskande are a group of artists who banded together to fulfil their personal ideals and to challenge the public and what they think – I suppose to test the market, its pabulum and its fickle nature.

I really had to think hard about what I thought of this band of young men hailing from a middle class, suburban setting and coming up with the idea of leaving their name completely open to interpretation, inevitably redefining words, and employing the use of sentences to enabling them to side-step the original meaning – obtuse, I was immediately intrigued.

According to Jan Smart their music is in most parts social commentary. In their approach to writing songs they needed to sit back and observe the social dynamics in the world – including their own interactions with people and situations. Some of the content (of the music) ended up dark, but isn’t a negative message. It’s a realistic observation about the life they are subjected to, said Smart.

I decided to get the opinions of the people they have worked with, the people who put this vision together.

And so my journey in to Bloedskande began: Firstly Bloedskande are Jan Smart – guitars and vocal, Siff – Bass and vocal, and Shaun ‘Dr Khupcake’ Ruysenaar – on drums.

The 9 track self-titled album is ‘n c.d vol ‘Wroeg’ (agony). In the cover booklet there are photographs of the band members in various locations in and around Johannesburg. Shadowy figures against alley walls and under bridges, stencilling their existence on our every day and how many of us noticed? I asked the band how these really striking paste-up’s were associated with the music.

Jan Smart commented thus: “The photographs and the paste-up campaign was used to emphasise the idea of observers…” So, the band pulled a Cassius (The Great Observer) on us. Did they presume to know what life was like for me, by observing me and writing my life? Okay I’ll take the bait, I am slightly paranoid.

So I went a spoke to another paranoid soul like myself – Drikus Barnard – as he is inextricably linked to the band. I asked him to comment on his experiences and his impressions:

“I recorded (Bloedskande in Lekker Rus Studios, Johannesburg) in the winter and spring of 2009.

Working with the band was fun, intense and at the odd interval, frustrating, strong wills came to the fore and, to quote Ian Curtis, “Our vision became a bit blurred”. My duties as a producer were suspended and (the result is) I simply recorded the guys, safe in the knowledge that it would end up in the very capable hands of Paul Riekert (One F Music). We (Drikus and the band members) managed to finish this with a firm handshake and the friendships remained intact.

The concept of the album to me (Drikus), is that of an Afrikaner staying in Joburg and having this love/hate relationship with the city. He explores the inevitable demise of his language and culture, and takes solace in rock and roll. He also aknowledges a universal feeling of loneliness, hence the stirring finale, Almal Alleen; my favourite track on the album. Reflecting this (concept) in the recording was easy: Make sure the angry young men don’t tweak the vocal mics.

I (Drikus) would describe Bloedskande as a classic example of the power trio filling the gaps with a lot of good old aggression. They have an excellent stage presence, and most importantly, they growl. If I see one more band that whines I’m gonna top myself.

With the right crowd bouncing the bands energy right back at them things will lead to a nice little moshpit and a partykie will be had by by all, but us South Africans, we love to just stare, dont we?

As for the content, some heavy shit is spoken so it may not be every baby’s chocolate.

Advice to artists: Be exactly who you want to be, audiences know if your faking it, and very important: your profession is no more or less important than that of a plumber, so save the god illusions to professionals like Mr Malema. Studios are not rehearsal rooms so be prepared, and become intimate with a metronome before you learn to walk. Oh, and fire your producer when your visions get blurred, it is your product after all.

I recorded Bloedskande because I believe in them, I saw them grow over the last year and it’s my sincerest wish that they continue to do so.

Can I go now?”

Last stop before the session with my friend the Ipod, a talk with Paul Riekert, head of One F Music Studio. Paul mixed and mastered Bloedskande from the tracks he received from Drikus Barnard.

Paul’s impressions of the music are, “At the core of Bloedskande’s debut album are rage and frustration.

Fortunately, they express this in an intelligent way, without surrendering any of the intensity. This album could only have come from Joburg, it couldn’t have come from anywhere else, that cynical fast moving culture, they sing about Joburg. There is a lot reference to urban decay and the beauty that comes with that. If you look at the photos they use for the cover and video that hints at that and ties it together, so you know what you are in for. What is nice is the ambivalence of opposing the culture of urban decay and praising it. The negativity expressed comes from exposure to this decay and they want it (Joburg) back. Also amidst all this negativity they crack some jokes, cynical but funny. ”

Bourbon? Check. Kitty Cat? Check. Ipod? Check.. Lets go listen then shall we?..

The first track Joburg Terug starts with a crack of thunder and proceeds to let us in on the secrets held within the album.

The visuals are that of a godforsaken glue-sniffing Joburg Child Of The Night who found his faith in an alley. An intoxicted body to still the soul and his life’s wishes are that which rob him of everything. Sleeping with the dead and dreaming with the gods, wanting nothing more than to have Joburg back tonight…. this Sodom so dark and bad.

Using author Daniel Levitin’s guidelines for bullshit-detecting I surrendered to Bloedskande, and smelt and felt the haunts and spaces I had all but forgotten, as I once again ‘missioned’ around Johannesburg’s inner city streets to the great libraries, sat in bars in Yeoville, danced and got wasted in the alternative nightclubs of the time, bought books and music in Braamfontein and Hillbrow and generally explored this Joburg information mecca.

Wandering thorough the album in the dark morass of my mind as I continued to decipher what they are on about conceptually and being completely immersed in their music, the penny finally dropped – when track 5; entitled Die Skip Wat Sink played. In this track the band speak of the Afrikaans language hanging on the gallows – “lets party while it dies”, they say. Suddenly I was able to interpret the name Bloedskande and it became a reality, Bloedskande to my mind was about all stigmas and strife of Afrikaans artists as well as Afrikaans youths especially have to live with in South Africa.

Drikus mentioned his ideas on the concept and by far that made the most sense to me. I am in the business of music and audio, so all the pretty pictures supporting music mean nothing to me if the music doesn’t hit me sonically or lyrically. What is the point of music then? I often say that when I close my eyes, pour a drink and listen to something that has passed my desk, I want a private audience with the band. THAT experience is the one that will sell me on the product or makes it fail, One F Music is a company based on listening to the emotions of others and not censoring these – I want to feel something gudammit, and I felt the Afrikaans language die in that song. I stood up to fight the fight to keep it alive, and I was surrounded by a great sadness for these boys and the truly innovative Afrikaans musicians I work with daily – the fear of falling in to the cracks was very real. So not only are we attending the funeral of the Afrikaans language, but so too have cultures changed, the X Generation has seperated itself from the Y Generation and we sit with a new breed of musicians and artists that aren’t hanging on to political timeline and yet they pay still for that political timeline. Their message is the same and vastly different.

I haven’t been inside the actual inner city for a good long while now, I am now miserable but comfortable living on the perimeter in suburbia and longing for the Yeoville days and its folk. It was great to walk those streets in my mind again with Bloedskande. If music’s role is emotional, I went through a rung of emotions listening to the music. I held in my minds eye the faces of the paste-up’s of the band members all over Joburg in random locations and they were familiar, like old hats and friends. I loved being manipulated in to visiting those memories again and experiencing universal truth through the eyes of another, for as much as The Observers observe us – we witness them – in my opinion they passed the bullshit detector test.

Get this album – for me they have redefined the meaning of the word through music that makes you sit up and listen, music that is both meaningful in its effect on ones psyche and a has within its lyrics sentiments shared by many who love Joburg and Afrikaans…These young men should be heard!

(the Album is available through all good independents and One F Music directly – www.onefmusic.com)

Footnotes:

* Daniel Levitin in his book This Is Your Brain On Music speaks of what music does to one physiologically and why is it so powerful a medium to use to penetrate the private world of the music fan (a must read for anyone interested in music). His concept is based in Neuropsychology, on how music affects our brains, our minds, our thoughts and our spirit.

* The role of music is emotional.

* Advertising agencies create the ‘look’ of music and the hipness. This is how we become aware of fashion in music, and it creates an idea of one being better than the other.

*Music is manipulation, and we enjoy being manipulated and ‘made’ aware of the need to feel things through the eyes of another.

*For the artist, the goal of painting or musical composition is not to convey literal truth, but an aspect of a universal truth, that if successful will continue to move and to touch people even as contexts, societies and cultures change.

*On the Bloedksande look and feel:
Marketing concept and graphic design – Eras Gous and Moira-Gene Sephton. Eras has been there right from the start with Bloedskande. I remember seeing an early Bloedskande poster designed by him. The design is easy on the eye, visually enticing and somewhat spooky all at once, he did a fabulous job on the logo. A bloodsack and a booze bottle, linked by a cord that reads on the left – ‘Bloed’ and on the right, ‘Skande’, the perfect image for the ‘Y Generation’.

* On Mariska Ison:
..and speaking of images… the photography was executed by Mariska Ison for the paste-ups, and so I thought I’d have a little chat with her too…
I asked Mariska how she created the visual moodiness of our voyeurs The Observers according to the brief she had received, she replied: “Bloedskande is a hard-rock band with a strong message. Using the brief, I decided to use strong sidelight to create contrast and mood, because they are all photogenic , it worked perfectly”, and indeed they are strong photographs to match the message, I thought. Mariska has been in the photographic world for a number of years, and has been involved with many interesting photographic artists and projects she says, “I qualified at the University of Technology in the Vaal Triangle. After which I assisted Nick Boulton full-time for a period of four years. Then I was a freelance photographers assistant to Shane Rowe, the late Crispin Plunkett, Francki Burger and other inspirational photographers”. Most recently she has had Die Brixton Moord en Roof Orkes under her lens and assisted Pol Ramalheiro shooting The Parletones, you can view her work on Facebook search her by her name ‘Mariska Ison’, her photo galleries are awesome.

* On Drikus Barnard:
The last we saw of him for two years was the end of Die Brixton Moord and Roof Orkes. Today the band is back on the map and ready to make waves once again. The frontman for the aforementioned band, Andries Bezuidenhout released his latest solo offering entitled Bleek Berus and Drikus had quite a bit to do with that album, for more on this read: http://www.facebook.com/notes/clair-cantrell/andries-bezuidenhout-bleek-berus-his-second-solo-offering/155652658420

* Alternative nightclubs of the time:

  • Le Club
  • The Doors
  • Alcatraz
  • Sub Zero
  • The Fridge

* Bloedskande launched their self-titles album at Prosound on the 17th March 2010.

They are included in the Prosound / One F Music sessions – live recordings done on world-class equipment by a world class sound company. What more could a band of cult-status ask for? Not much with such generosity….
Thanks Prosound – thanks Jon Penreath who mixed the band, set them up on the stage and engineered the recording -

want to know more on how to get these – contact lisa@prosound.co.za or myself on Clair@onefmusic.com

Words and Photo by Clair Cantrell

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Met Jou In My Kop, a page out of the book of Bittervrug

March 24, 2010 – 1:03 pm

Source: Underground Press (Met Jou In My Kop, a page out of the book of Bittervrug 24 March 2010)

Nick Cave said in his “Secret life of a love song”, “It is no wonder sadness is so sad, melancholy hates haste and sits in the back of the class”. He was referring to a state of mind that Garcia Lorca coined in his writings, and what the Spanish call “Duende” - ( Duende (art), a difficult-to-define phrase in the Spanish arts that connotes emotion and authenticity.)

Charles Badenhorst is duende personified. One cannot put this artist in to a box and label his music in genre specific terms. Very seldom in life does one come across artists like these for they are often denied their rightful place in the compulsive modernity of the music industry. True raw emotion is tamed for airplay and tamed further – to market an individual who will invariably slip through the cracks that are so well formed by industry-heads.

Bittervrug

Bittervrug

Charles Badenhorst aka Bittervrug is an artist that endures across genres and across linear marked selling-time. Charles Badenhort is an emotional artist, he speaks from a very personal view of the world around him and himself. Bloed Vir Ontbyt, his debut offering released by One F Music in 2007 saw Charlie jumping off the deep end and learning to swim in torrential waters. With Bloed Vir Ontbyt Charles immersed himself not only in the underground music scene, but also the visual side of Bittervrug. He is an animator by profession and his visual art through his animation company Fopspeeen Moving Pictures compliments his content brilliantly. You have to surrender to him or miss the point completely. Bittervrug’s music video Hoppelpertjie and the album Bloed Vir Ontbyt received a Huisgenoot Tempo-Toekenning nomination in the Kopskuif catagory in 2008. Check out the Bittervrug channel on Youtube.

Charles launched his second offering on the 4th of March 2010 in Johannesburg at Prosound – The Shop. Just before Daars Wolke Buite was to be born, it poured with rain, ‘soos die harde nat trane val’, the mood was set for a performance by an artist who hits you intimately with his emotional gestures. His falcetto voice weaves in an out of pain and love, and the concequence of those emotions, leaving you somewhat fixated on the humanity you see and hear before you upon the stage, likened to Tom Waits, who always sees the human behind the mask – you are stripped of your mask in the face of Bittervrug.

It was absolutely necessary to document this moment for it is a rare occasion to see this man perform. Prosound provided the sound gear to record his launch for digital media, and so too the Prosound and One F Music Sessions were born. Jon Penreath was so kind as to offer his services for the evening’s event as sound engineer and he also engineered the recording. Charlie got to use all of the best gear money can buy. You will get the chance to get your paws on these recordings in a bit – we’ll keep you up to date.

Charles Badenhorst aka Bittervrug

Charles Badenhorst aka Bittervrug

It is rather ironic that a multi-million rand company would take a chance on an artist like Bittervrug. One of the driving forces behind One F Music is to document rare quality music and the people at Prosound understand that. Check out the impressive list of gear at the end of this article used for the recording and the live performance. Oh the truth be told, I have it on good authority that you may book a session and go and try out the gear. Get a hold ofLisa@prosound.co.za and book your session now.
Oh and Charles did play. Daars Wolke Buite was born to the media, that unique and special moment captured for eternity, thanks again to Jon, and the rain you ask? We all thought that was the universe’s blessing in the end..
www.onefmusic.com
www.prosound.co.za
www.fopspeen.co.za/content/cv.html

Vocal Mic: Electro-Voice ND767 Dynamic super-cardioid
Guitar Mic: DPA 4099GTR instrument mic
Into a Midas Venice 160 mixing console

Front of House: Electro-Voice TourX 15” Loudspeakers
Run by Electro-Voice Q-Series amplifiers

Monitoring: Electro-Voice TourX 12” Floor Monitor

Processing: TC Electronic M-OneXL Reverb/Delay

Recording: TC Electronic Konnekt 24D interface (taking direct outs from Midas)

FOH Monitoring Headphones: Sony MRD7506 (recording) and MDR7509HD (FOH)

All cables made by Prosound.

Clair Cantrell onefmusic ©

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VAN COKE BO DIE GROND ROEP NA KOOS ONDER DIE GROND…

March 17, 2010 – 10:51 am

Source: Andries Bezuidenhout (versindaba)

van coke kartel - skop, skiet & donner cd cover

Die een ding wat my steeds van Koos du Plessis verstom, is hoe hy musikale grense in Afrikaanse musiek oorbrug. Dink maar aan sy lied “Gebed,” wat keer op keer deur gospelsangers gesing word. Die mees oortuigende weergawe daarvan, dink ek, is egter Dozi s’n. Sy stem dra iets van die ware kwaliteit van die lied oor: ʼn Desperate kreet om hulp van ʼn alkoholis wat ”elke afdraaipaadjie” kén – “elke keer het U my iewers kom haal, maak dit, Heer, die laaste maal.” Maar hy wéét dis nie die laaste maal nie.

Maar dis nie net skoolkore en gospelsangers wat deur Koos du Plessis betower word nie. Een van my gunsteling interpretasies van ʼn Koos Doep is Battery 9 se weergawe van “Kouevuur”. Paul Riekert gooi die wysie weg en werk net met die ritme van die liriek, een wat jy kan spoeg en grom. Absoluut asemrowend. Luister hier, sommer ook na “Lie if you have to”.

Dan het Johannes Kerkorrel ʼn hele CD met Koos du Plessis covers opgeneem. Hy het dit weer op sy manier geïnterpreteer, iets waaroor ek baie dankbaar is, aangesien Kerkorrel een van die groot geeste van een van die ander rewolusies in Afrikaanse musiek was. Ek is bly hy het op so ʼn manier hulde gebring aan ʼn voorganger.

Dan is daar natuurlik Gert Vlok Nel se pragtige afskeid aan Koos du Plessis – “Waarom ek roep na jou vanaand”… “Gert bo die grond roep na Koos onder die grond, kom in Koos, kom in, kom in…”

En nou voeg Francois van Coke ʼn nuwe generasie se stem by die res van die left field koor wat Koos du Plessis se songs laat aanhou sing. Nóg een van die voorlopers van ʼn nuwe rewolusie in Afrikaanse musiek. ʼn Nuwe interpretasie van “Skadu’s teen die muur” is te vinde op Van Coke Kartel se pas uitgereikte CD Skop, skiet en donner. Van Coke Kartel is die meer ongeskikte off shoot van Fokofpolisiekar, maar met hierdie album doen hulle amper wat die Fokofs met Monoloog in stereogedoen het. Hulle gebruik akoestiese kitare en minder aggressiewe klanke. In sommige gevalle gebruik hulle geprogrammeerde perkussie en ander klanke. Ek dink ek hou daarvan.

Benewens “Skadu’s teen die muur” is daar twee ander covers – vreemde keuses – “Maniac”, wat in die 80s in fliek Flashdance te hore was, en JJ Cale se “Cocaine” uit die 70s. Ek weet nie heeltemal hoe diep Van Coke Kartel se tonge in hulle kieste met hierdie keuses sit nie, of selfs in wie se kieste hulle hul tonge ingedruk het nie. Maar van een ding is ek seker. Ek hou baie van hulle weergawe van “Skadu’s teen die muur”. Hulle maak ʼn anthem van ʼn bitter siniese liriek.

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BITTER EERLIK

March 2, 2010 – 9:41 am

Source: Gulsig van Vraat (www.musiekvraat.com)


Bittervrug - daars wolke buite

Bittervrug is akoestiese musiek wat nie bang is om ‘n bloederige hart te ontbloot nie.


Bittervrug is gestroop, eerlik en sonder tierlantyntjies. Die band se tweede album Daar’s wolke buite het die lig gesien onder One F Music se vaandel. Bittervrug bestaan uit Charles Badenhorst en sy eerste album heet Bloed vir Ontbyt en het in 2007 verskyn.
Sy band se naam is heel gepas en beskryf die atmosfeer en lirieke van sy musiek baie goed.
Die dualiteit in bittervrug is ook teenwoordig op die jongste album. Bitter omdat hy dikwels die tema van verlore liefde na vore bring soos op Net toe ek jou vashou en die roerende Wat is ‘n hart. ‘n Vrug kan ook soms lekker proe en dis hier waar die bisarre dualiteit sy kop uitsteek. Vat maar byvoorbeeld Eet jou later. Daar’s twee temas wat hier na vore tree: Die seksuele betekenis van Eet jou later en ook die verhaal van die Duitse bra Armin Meiwes wat ‘n gewillige ou oor die internet gekry het en wat ingestem het dat hy geëet word. Op metaforiese vlak kan Charles se lirieke seker ook verskillend geïnterpreteer word.
Musikaal is Bittervrug gestroop. Dis Charles en sy akoestiese kitaar, met ‘n paar harmonieë en hier en daar ‘n kort solo. As mens Bittervrug in ‘n blik moet druk in terme van genres, sal iets soos aweregse folk seker gepas wees.
Die riff op Sit my af sit my aan is doelbewus staccato om tematies die song te versterk. Charles se harmonieë hierop laat ook iets van Gilmour en Waters van Pink Floyd deurskemer.
Dat ‘n bittervrug nie lekker gaan wees om af te sluk nie, blyk ook op ‘n song soos 2D Girl. Tweedimensioneel en sonder diepte is wat die girl blyk te wees. Bittervrug verkies dat sy eerder die hasepad moet vat. Die volgehoue klokkie-effek skep ook ‘n onheilspellende gevoel.
Ou Charles moes al duidelik so ‘n paar bitterpille(-vrugte) in sy lewe sluk, en dit lei tot emotiewe songs soos Met jou in my kop. Die riff op die song herinner sterk aan Diary of Dreams se Flood of Tears. Daar’s ook sterk lirieke in die liedjie, dink maar net aan: “Ek voel jou so skraps aan my lyf.” Bittervrug is doelbewus gestroop om klem te lê op die lirieke, luister maar net na Leeg met ons harte by die deur,
Dis ‘n aangename verrassing om Afrikaanse kunstenaars te hoor wat nie bang is om hul hart te ontbloot nie, al bloei dit ook hoe erg. Daar’s wolke buite sal nie vir Kurt Darren slapelose nagte besorg oor die moontlikheid dat dit sy nommer een op die treffersparade gaan steel nie, maar dit bevat die hartklop van ware alternatiewe musiek.

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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

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.

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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-front2

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:

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. “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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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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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 cover

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

St. J - Prophesy Project

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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 cover

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

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