Durban MC, the critically acclaimed Raheem Kemet, dropped his latest music video in April and it’s one to tell your homies about. The stunning visuals to Raheem’s ‘SomerSALT’ track from Sony Music Africa are out and it’s a real introspective look into his life in Durban, the ups and downs and what the future holds. This is one hungry MC who is ready to take over 2020.
Keep your eye on Raheem, follow & stream this local artist before he blows up all over Africa. Follow him on Deezer, Spotify, Facebook and YouTube.
Legendary Durban MC and poet, Raheem Kemet is back with new music and it definitely has been worth the wait.
‘SomerSALT‘ is the name of the new track from Raheem released through Sony Music Africa and it’s a street banger of note. If this is a taste of what’s to come then we are all in for a treat in 2020. With more music and videos on the way, you will want to turn this up real loud.
Stream SomerSALT by Raheem Kemet on Apple Music below.
You can also stream the single on all other streaming platforms.
A few weeks ago I attended the Monthly YouTube Meet-Up at the Old Mutual AMPD Studios in Newtown where respected and accomplished South African YouTuber, Sibu Mpanza, the Head of Digital of Digify, Qhakaza Mthembu and UK-based music industry professional T-Roy. The session was very insightful as the panelist shared a lot of great insight about the YouTube platform. I met a really great music industry professional who goes by the name of Nkazimulo Mabaso who has over 20 years experience in the South African music industry. We connected and set up a meeting so we could have a chat about his beginnings, what he does, his work and his role in the South African creative and arts industry.
The interview was condensed for easy readability purposes. Read it below.
Nkululeko: I have to thank you for availing yourself for this interview. I really appreciate it. So yeah, uhm, I think the main question is to find out more about you and what you do? Nkazimulo: The name is Nkazimuloyasezulwini and I run a movement called ‘The Street Government‘, and I call myself the Street Governer. So, on my side, I have a foundation called Inkazimulo Yasezulwini Foundation and its main focus is art in its entirety. Through the foundation, we also mentor artists as well about how the music industry works, the business side of music and how to build careers in the music industry. Many artists lack industry knowledge and all they care about is fame but when it comes to money they are suffering. So, my mission is to curb that by balancing everything in their careers especially in the fourth industrial revolution. Artists should be more empowered than ever before and they don’t need record labels but what they do need is great management.
So your focus is more on the structure and framework side of the music industry. You believe that management is a key component that artists should focus on especially in the times we’re in.
In terms of management, I will say that you get studio time where you record your music and that is where it is important to master the follow up steps. Because I will say that you have different types of managers; stage, road/tour, marketing, PR and distribution manager, and it depends on what exactly you need at the particular stage in an artist’s career. I don’t believe in doing things the traditional way because sometimes that can translate into no returns and that is why I push to always find new ways of doing things especially when it comes to management. I have been in the industry for so long and I have identified where there are gaps, opportunities and means of growth.
You work in different spheres of the music industry and one of them is the events space and you mentioned that you are planning to launch an event series targeted at universities in South Africa where you give unsigned artists a platform to tap into the varsity market. Can you tell us a bit about your process when it comes to organizing such events? Who do you approach and what happens in the back-end?
So when it comes to events at universities, I started in 2009 and I have built a solid track record and reputation in certain spaces. Most students stay in student residences and when I am about to pitch an event like that, I have to go to student housing and I speak with administration team and I say that I have this plan that I want to pitch and who can I speak to. I explain the value that the event will bring to the student community with a detailed. Most of the time I am often referred to speak to the resident advisor who is the one who is in charge of the different residences. I approach the SRC differently because they have their own office, so I check who is in charge of the SRC, be it EEFSC, SASCO or DASO etc. It really depends on what you want. For me, I want my artists to reach students and how do you reach students, by approaching the relevant bodies in the spaces that students exist in.
That’s great and insightful. You mentioned that when you approach varsities, it is often because you want your artist to access the student market. When it comes to management, what is the process before you manage an artist? Because I have come across a lot of artists that say to me that they found managers but the relationships are not working or they are not seeing results. What are your tips on find a good manager?
My advice to artists is always this: before you even approach or look for a manager, understand your music and have a vision. Know what you want to achieve. When you give your demo to a potential manager telling the manager to listen to your stuff, it must be pretty good and you must be unique. It’s easy to get management because us as managers we like money, so we see that is guy is dope and talented, I have to look at how we can make money. With me, it is slightly different because I don’t work with just any artist especially when it comes to hip hop artists because they often follow trends that are not authentically South African. I am working on a rhythm or beat when it comes to artist management, I haven’t perfected it but once you hear it, you will immediately notice it and you’ll be like that’s it. I look for uniqueness and authenticity. Artists should always push to do things that are unique and we have a lot of those artists in our country such as Big Zulu who does inkabi rap, Sho Madjozi and more.
So with that being said; if you do find an artist that is unique, from a business perspective what is your process to package all of that to take to the market and make money. How do you package that uniqueness to sell it to the whatever market you have identified?
To answer this, I will go back to one of the answers I gave you for one of the previous questions. The reason artists make music is because they want to sell and make money, so where I fit in is that I am good with marketing and how to connect with fans. Let me give you an example of a guy I met back in 2010 who was making Maskandi music. This guy was a Maskandi artist and I knew that people that are most likely going to connect with his music are mostly Zulu and reside in hostels and that was his target market. So this meant that I had to take that music to those people because if I were to take his music to Universal Music to distribute the music, they won’t take it there and they will take it to the music stores. I went to the elders of that particular hostel and asked if I can get this guy to perform there and they gave me their blessing. We didn’t even print posters or any other marketing material. I just told the guy to make as many copies of his music as possibles and he made 75 copies. He performed at the hostel and after the last song, we sold all the copies and each copy went for R75. We made R7500 within 30 minutes.
Wow. That’s super impressive. And that is the one thing that I have noticed from hip hop and dance music artists in our country, is that they struggle with finding their audience and monetizing it.
You know what the problem is? We watch too much TV [laughs]. Because if you want to be successful, switch the TV off, switch off your internet and think of your career. If you feel like you cannot make it without social media, know that you are not good. There are certain artists right now that are in a position where if the internet where to shut down, they would have no means of connecting with their fans and they’d fade away because they are heavily reliant on these platforms.
Are you saying that in the context of South Africa, it is more effective to sell product from a grassroots level, approaching people in real life rather than sending them links to your music online?
What happens if I don’t have data to access your music if it is just online. We have to think of and face the reality, data in South Africa is not cheap. The other thing artists overlook is where they come from. For example, you can get an artist from Katlehong and they make a certain style of music and they would rather go to Jozi to try and push their music forgetting where they come from. Why forget home? There’s treasure there. If I start at home, I won’t be spending much on transport, spending much on trying to find those fans or even finding venues. You can even take your music to taxi drivers as well. The taxi industry is a channel a lot of artists are ignoring. When I still stayed in Durban, I approached taxi drivers to play the music from some of artists and the response was amazing. Music discovery often happens in taxis and we cannot ignore that.
That’s powerful. I never really thought of taxis being a music discovery platform/medium. What is your view on the internet and its power in the times we live in? How can we use it to make all that we do better and the progressive in the context of South Africa and Africa?
The one thing I know is that most South Africans have WhatsApp and you know how powerful that thing is. With that platform, you have an opportunity to sell what you do using features like stories. Let’s say you are in studio, you record a snippet of the session and share it on your stories, and with those 30 seconds in a story you can connect with people. You arouse interest in your contact list. Some people have close to 100 people on their WhatsApp and when they view their statuses and that is content consumption. That is already an audience you can sell to. Imagine selling 100 copies for R100 to those people and the amazing part is that these people are close to you which makes it easier. You can use WhatsApp to create the hype and as a sales channel. Give yourself three months before you release a song. Prepare and market properly to build hype using accessible channels like WhatsApp. You can also get constructive feedback from the people on your WhatsApp and the feedback that you get will help you grow as an artist. You must build interest. With social media, you can build your leveraging by sharing meaningful and great content which and these days major labels find talent online and if you position yourself well online, they can sign you. And because you have your own audience and content, you have leverage and you can negotiate your own terms provided you are given a contract for a deal.
You would advise artists to do the grassroots push and ground work to build the audience so that by the time they get to a record label they have leverage.
Can you please tell us about the situation centered around the Copyright Amendment Bill that is currently sitting before our president, Cyril Ramaphosa, and why it is important for us a the creative/arts community rally against this new Bill they are trying to introduce?
The current law we have pertaining copyright in South Africa was last updated in 1978, if I am not mistaken. So, right now you see how the world has changed and see how everything has progressed. This law needs to be updated to fit the world that we live in so that it accommodates everyone and is fair. So around 2015 or 2016, some key people in the creative/arts community came together to write down their grievances, requests and suggestions on what needs to be changed on the Copyright Amendment Bill and they were submitted to the Department of Arts & Culture. But to their surprise, although there were some changes, there were many things that were left out. So it still became the similar as the old one which means it wasn’t really upgraded to fit the current landscape. When this new bill is passed, it will mean that anyone can use your music, your paintings, writings, photographs and more for free without having to pay. Right now you have to paid for the use of your intellectual property and you can sue if your rights are infringed upon. That right will no longer exist if this bill is passed. In the early 2000s South African music industry earned about R3 billion in revenue, right now it is on 600 million and if this bill is passed those numbers will be R0. No one will be making money except the big tech companies like Google, Facebook, Spotify, Apple and more. Creatives not earn anything for their work and that is bad.
As a creative community, we really need to take this Copyright Amendment Bill situation seriously. So where can we go to contribute to existing rallies or movements that are fighting this thing?
On the 28th of August, we had a march which was organized by MASA (Musicians Association of South Africa) with the support of organizations like SAMRO, CAPASSO, SAMPRA and more. We submitted a memorandum and we are waiting for the president to respond on follow-up steps and if the feedback is negative, we still have to continue fighting. If you are interested in fighting this, you can visit the SAMRO building in Braamfontein and go to the MASA offices on the 9th floor. They will be able to assist.
Thank you so much for your time. I hope people find value in your insights.
Thanks. Until next time.
The South African DJ landscape is heavily male-dominated and often excludes women. This doesn’t stop certain creative women who have a passion and a love for music, armed with a determination to change the status quo and strive, they are flipping the script in the name of passion and representation. Durban based house music and radio DJ, Blackchild, is one such DJ who is changing the game with her talent. We got an opportunity to chat to the Blackchild to get more insight on her brand, her journey and more. Peep our conversation with her below.
What is the origin of the name Blackchild?
When I first joined radio an alias name made sense. I’ve always been “the odd one out/misfit” at home and with my friends, haha, don’t get me wrong though, I wasn’t the black sheep, and so black child seemed like the perfect name.
Are there any specific cultures you would say you derive your musical inspiration from?
I draw my music inspiration from a lot of things. It’s inspired my desire and love for travel, art and making others happy.
Who has been your biggest inspiration and influence to your music?
As a child it was my mother biggest influence. She introduced me to different genres. She was a vinyl collector.
Could you briefly describe your DJing process and how has your music evolved since you first started playing?
When I first started I was a soulful house head, still am. I have since then grown. Being a DJ is about trying out different genres until you find the one that speaks to your soul. It’s all about learning, evolving and growing in the process.
Many artists perform different rituals before their performances, is this something you can relate to? If so, what is it and how does it help you prepare for your set?
I don’t have a ritual. I feel the best way to prepare my sets is according to time I will be on the decks and the venue.
You have performed at numerous venues and featured on various radio shows. Tell us about your favourite performance venues and radio shows, the set-up that you feel most comfortable in when conducting a performance?
I have enjoyed all of my features because at the time I gave the best version of myself. The ones that have however stood are on The Warehouse on YFM, because in all my time as a DJ deep tech and afro house are the genres I connect with most. The show represents that. The response and support from the listeners has also been amazing.
Have you faced any challenges or discrimination in the industry because of your gender? Was it difficult to receive the recognition you deserve in the game?
Possibly, but not that I am aware of. As an upcoming DJ on the other hand, I’ve had to work harder to showcase my work.
What words of inspiration would you give to other women in the industry who have the same respect and desire for their craft like yourself?
Every time you step out, give it your all. No matter how you feel, give your best version. You are as good as your last set. Play like it’s the last time. Most importantly, rejection comes with making it. Don’t let rejection stop you. Don’t give up. Keep going.
What are your fondest musical memories growing up and how have they influenced your DJing? Whether it be in your house or in your neighbourhood?
When I lost my mother, I was 11. I then lived with my cousins. I didn’t like fighting for the remote so I’d go listen to radio in the bedroom. I’d listen to Umhlobo Wenene’s afternoon drive with KCee. He played the best soulful house. That’s when I fell in love with house music.
What can we look forward to from you in the following upcoming months?
I am currently working on a number of things and because of my line of work and the NDA around them, it doesn’t allow me to speak about them prior their release. However, everything will be posted on my socials in due time.
The music scene in South Africa is in a really interesting space; with the boundary-pushing work being largely created, pushed and promoted by independent artists. In a country where traditional media is still king, these artists are forced to use shrewd methods to share their artistry with the world — from clever social media fan engagement campaigns to self-funded shows that house the fans gained through their online efforts. These efforts, backed by smart marketing and bootstrapping, all contribute to this much-needed shift in the music industry in the country; making sure that this genius, quality and innovation does not go to waste. All that matters
Pioneering, brave and exciting talent exists on the fringes of the mainstream in South Africa; carrying an unwavering urge to introduce new concepts to the South African market whilst staying true to authentically South African sonics and aesthetics. SABC, an abbreviation of South African Boys Club, is new musical outfit that embodies the ideals of independence, South African patriotism and excellence. Founded by Johannesburg based musician and multimedia designer, Thiaps, and Durban born producer and graphic designer, Trust B1; the group seeks to explore South African youth culture from an honest perspective. To achieve this, they dig deep in their culture, upbringings and inspiration; and this allows them to design a sound that is truly homegrown, honest and driven by South African nuances.
The two multi-disciplined artists release the first single titled ‘Ke Friday’. The song invites you into their world, where they speak on a lot of they speak on their wishes, ambitions and life; offering the listener a glimpse into their life. In a rather interesting way, the two artists are able to communicate the struggles black youth in South Africa in a jolly and entertaining way with a core message that says: despite the troubles and challenges that life brings, celebrating life should not be forgotten and because of those troubles and challenges, you are given a license to celebrate. That is a powerful message delivered in a beautiful way.
The duo plans on to release a song off of their debut project every Friday which will then lead up to the official release of the full project. More music is coming and that is extremely exciting!
In the last three years, Durban born and based singer-songwriter, Red Robyn, has been consistent in releasing progressive music with the new crop of Durban based artists that are creating music outside of the conventions that we know. Her rise has been a beautiful sight to see as she teared through many industry barriers, odds and gatekeepers; armed with nothing but her powerful artistry — she has carved out a lane for herself.
The UKZN Music School graduate is ready for the big leagues and she is finally stepping into her own with the release of her debut single titled ‘Dust & Iron‘. Over the years, through collaborations with other artists and performances, she has built a loyal following that has been dying for this moment — where Red Robyn gears up to release her own. The moment is here! Dust & Iron is a smooth, spacey and acoustic with pop influences number which sees the 24-year-old singer float effortlessly on the production with a nonchalant approach of delivering the vocals. With the assistance of frequent collaborator, Sean Ross, Red Robyn produced the song and captured a very emotion-driven vibe.
The single is the first of two stand alone singles that the artist will release leading up to her debut EP which will be available in September 2019.
Every now and again you witness a musician perform live and you stop in your tracks to marvel at the incredible skill set they possess. You wonder how many hours of practice and dedication it took to be this good. One of these gifted musicians is former Durbanite, Hezron Chetty, who is now based in beautiful Cape Town.
Hezron Chetty is an internationally recognized violinist and songwriter, solo artist and is also a member of Cape Town bands – Jungle Book Birds and BRYNN while also being the string player for Medicine Boy.
Hezron has been involved in 7 studio albums and over 40 singles to date. He has shared the stage with world renowned bands and solo artists such as Incubus, Finley Quaye, Jeremy Loops, Francois Van Coke, Jack Parow, Viewe Farka Toure, BCUC just to name a few.
After spending a few years travelling around the world perfecting his craft and learning from incredible mentors, Hezron has created his own unique playing style and performs different genres of music not usually associated with the violin.
Your music career has taken you all over the world, in which country is your favourite City or venue to perform at and why?
All the countries I have travelled to and performed in have been amazing. To single out a favorite city is very difficult because each represents its own colour, texture, smell and feel of the people that leaves me with great memories. For example, I jammed with punk rockers in Mumbai, with Flamenco musicians at Ronnie Scotts in London, played folk music outside the Cathedral of Santiago De Compostela in Spain where St James, one of Jesus Christs 12 Apostles is buried and played to a large audience in Mozambique as the rain and thunder came out of nowhere and poured onto my violin. I have many stories like this from around the world and that is why I cannot choose one as I love them all so much.
When you get up on stage and play, what does the whole experience mean to you and do you still get nervous before a big gig? The whole experience for me has changed over the years. When I was in my late teens I would be a lot more shy and reserved with how I approached the performance, I was still in my baby phase as a musician then and was concentrating hard on making sense of all the notes I was playing on stage. I slowly started to develop my own sound in my 20’s and began experimenting with my stage performance and pushing the boundaries of what I could do and how I could stand out more. Now that I am in my 30’s, I’m more confident with my ability to pull out tricks on stage and understand how to control them. I always get nervous before I play and I think any musician who says he or she doesn’t get some sort of nerves before they get up on stage is either lying or is not playing real music.
You make playing the violin look effortless man. When did you first pick up this instrument and did you feel that this was the one for you or were there other options?
I didn’t have a very good feeling when I first played the violin! It is the violin after all, which is one of the most beautiful sounding instruments when you master it but the absolute worst when you start learning it. There are things I can remember like the first smell of the wood as I opened the case, the feeling of lifting this perfectly shaped instrument, the first sound that it made and the feeling of coating the bow with rosin. I was 8 years old back then and did not realize at that moment what an impact this glorious instrument would have on my life and how it would stick by me through the good times and the bad. I have dedicated my life so far to this instrument and I am constantly learning from it. There were no other options. All I ever wanted to do was understand the instrument and learn from it.
What do you think the Cape Town music scene needs most at the moment to flourish?
More venues definitely. Also better promotion from venues to get their audience from their database coming to shows and not solely relying on the artist. Lastly, more trust in other genres that push boundaries. Currently a lot of bands sound the same like either a bad Arctic Monkeys rip off or a some lame pastiche attempt at German electro/pop.
What are you up to at the moment musically, do you have any plans for new releases and music videos in 2019?
My band Jungle Book Birds will be releasing our debut album in March 2019 along with music videos. We spent last year restructuring the name change from Hezron Chetty and The ZugZwang and working on our business model as well as our release strategy. The album is a masterpiece and I hope people enjoy the complexity, textures and beauty of the album.
The 14th of November marked the release of Hold The Game, an eleven-track project by Jaedon Daniel – an artist that has firmly rooted himself in the music scene in Durban – and to be honest, many music heads that know their South African music are aware of this man’s musical prowess. With a natural knack for crafting great records, it comes as no surprise that many of dopest up-and-coming talent in Durban comes to him for the sauce.
When thinking of Durban talent that he has helped, names such as Red Robyn, ByLwansta and Kyle Deutsch quickly spring up in the conversation – although there are many other artists from his city that he has worked with, he features in the professional ascensions of many of the top tier talents to take South Africa by storm. Over the last few years, he has refined his craft, confidently owned the producer tag and set his own path. On the production side of things; he is not limited by genre or style, he can fit into any space, box or pocket you put him in with his ability to tap into different creative worlds. A master of many styles and sounds, he is great at testing ideas and pushing himself and those around him to prioritize experimentation in artistic expression.
With Hold The Game, Jaedon pushed to showcase his ability of creating a full body of work as a recording artist that can hold his own in the game – the unforgiving and often unequal music industry in South Africa. Sonically, the project is versatile and is somewhat of a collection of well put-together sounds which are drawn from Jaedon’s external influences. You get hints of dance, world, ambient, electronic beats and hip hop, making for an extraordinary musical experience with gives you a graceful introduction to Jaedon Daniel – the man and the artist. He clearly put his best foot forward with this body of work and it is still to reach, amaze and captivate people, locally and internationally, due to its structure, creative direction and sonic textures. The project features Bylwansta, Mandla Matsha, Karen Van Pletsen and Bob Perfect, who offers up his voice performing on a song called Agape.
Jaedon Daniel is undoubtedly part of South Africa’s next – a group of young artists that are not bound by music industry conventions, mediocre and palatable standards of creativity. These artists are carving their own path and are introducing the masses to new ideas. Not only is Jaedon a great producer, but he is also great live performer who is often called up by bands and artists he is affiliated with for performances. He is also a fierce solo performer who can captivate any crowd he gets a chance to entertain. In 2019, we have no doubt that Jaedon Daniel is going to continue to impress.
With so much music to choose from, it’s easy to get lost in the streaming maze and forget who the true emcees are and what they stand for. One of these artists who truly captures the hip hop art form is one of Durban’s favorite sons, Raheem Kemet.
Raheem Kemet is an acclaimed South African hip hop artist, songwriter, poet, beatboxer and one of the most respected lyricists that Durban has ever produced. He has been on the music scene for the past 16 years, firstly as an Independent artist and is currently signed by major label, Sony Music Africa. Raheem is responsible for hit singles such as ‘The Fire’, ‘Lampin’ and ‘September’
After a busy 2018 where he launched Deconstruct Live, released a single and was performing live a ton, I had a chance to chat with Raheem and cut it up with him about the local music scene, news on any new releases and more.
Thanks so much for making time to chat to me today Ra. First of all, what does picking up the mic mean to you when you perform live? For me, music has always been something that has been therapeutic, a means for me to channel my thoughts. I’ve always attached it to spirituality. I think of it like words manifesting. When I speak and when I rhyme, it’s like I’m either speaking into my life or I’m trying to convey a message across & speak into people’s lives. Getting behind the mic helps me get through this crazy thing called life. The stage & studio is like a sanctuary, a space where I can channel energies and allow it to manifest into the world.
If Kwa-Zulu Natal had a supergroup of emcees and a DJ, dead or alive, for one show only, who would be in it and why?
MCs: XO, Blackmoss, Solomon of BFG, Manelis, Jet Wentworth, ByLwansta, Champ Tile, HCL, Celestial Mic, Canis Major.
DJs: P-Kuttah and The Brother Brother Experience.
This was a tough one to answer as there are so many more dope hip hop artists out there that I didn’t mention. I feel that all of these Emcees encapsulate what a lyricist is all about and are active on the scene except for XO who unfortunately passed away. Whenever I have l have seen these artists perform live, it challenges me to be a better Emcee so I salute them all as they push the game further upwards.
What are you working on musically at the moment and can we expect any music videos or releases in 2019?
At the moment it’s all about the music man. Right now I’m focusing on key features, it’s an element I feel is needed and I have the time to work on this currently which is exciting. I can’t say who the tracks are with right now but they will feature some exciting local and international artists who inspire me. Artists that I want to be aligned with and have their listeners find my music and vice versa. There will definitely be some music videos on the way in 2019 and maybe a full body of work too album wise, an EP or a few singles.
What do you think the Durban music scene needs most at the moment?
Creatively and musically I feel like the scene is perfect right now. The most important thing I feel like the Durban scene needs is a music business infrastructure. Artists from Durban have been suffering for years due to the lack of this infrastructure and have had to travel outside the province to tap into this. If you look at the type of people that really blow up in SA you will see that they are mostly from Durban.
Are there any local Emcees or Hip Hop groups in Durban or anywhere in SA that you are really excited about at the moment and would love to collab with? YoungstaCPT– Really like the homie’s movement especially with the type of vibe he is pushing right now culturally in Cape Town and the identity of the people, it’s powerful man. I can relate to it as I’m a part of the Zanzibari community here in Durban and I feel a responsibility to teach people about my culture.
Champ Tile– I’m excited about him as he is really nice with the pen, his stories and content is very relevant. I hope people start to recognize him more soon.
ByLawansta is doing powerful things in the Durban Hip Hop scene and all over SA.
What is your ultimate dream music-wise?
I’m a huge fan of Anderson .Paak and Smino, it would be a dream to work with them. Being in a studio with The Roots and collab on a EP or album with members of The Wu Tang Clan, Talib Kweli, Black Thought and Mos Def would be the ultimate scenario.
Keep an ear out for Raheem Kemet, 2019 is going to be a huge year for this Durban Emcee. Check out his latest track, Never Late, from earlier in 2018 if you haven’t heard it already.
Black Math, is a Durban based spacey garage rock band taking the South African rock industry by storm. Formed in 2010, these school friends have remained original throughout and have subsequently gained a loyal following in Mzansi. We got an opportunity to speak to them about their experience at Endless Daze 2018, got to know a little more about them, potential new releases and what’s on their minds.
First of all, big ups on an epic set at Endless Daze, you killed it on stage! If you could choose any band/solo act to join you on a world tour, who would it be and why? Bob Dylan and/or Spice Girls.
How would you best describe Black Math in five words?
Fast, angry, clumsy/raw, noisy and strange (as people).
What makes Endless Daze one of the best festivals to perform at in South Africa? Endless Daze is rad because that wild beach is right next to it. Another, more important factor, is that it is well organized and this year’s line-up was super rad. The mild landscape and weather allows it to be a less stressful experience. Also, one can wander down the beach where you could be completely alone.
Where can we find you online to see your upcoming shows and to stream/ buy your music? You can follow us on Facebook, Instagram, Twitter, Bandcamp and SoundCloud. We are releasing a new full length album before the end of the year.
The images used for this feature piece were taken by the very talented, Pierre Rommelaere. Follow him on social media. He’s super rad!