In this issue Get To Know Them 8 Diaspora Highlight: Zoli Sway COVER STORY! 13 In Conversation with Jesse Nashe PAGE 18 29 Meet Desirabeink.sa 31 HEY WASHE. 36 A Minute With PRETTYMUCHDON Discourse 16 A Stripper Pole to Hell 35 Chloe’s oversexualisation/ Halle’s infantilization The Plug 12 The Faces of SA Afro Pop 30 Welcome to Synthwave Fan File 4 Propaganda: More Than Humble Tribute 5 What these bitches want from a nigga? Reviews 24 10 Years of Exploring the Haunted House of Balloons 26 Jojo’s Bizarre Adventure – Araki’s Playlist 38 Scary: The Power of EP Editor’s note Get to know them by Sindi Ndaba EIC & Founder Well, hello there. 8 Diaspora Highlight: Zoli Sway Are you tired? Bored maybe? Same. It’s been a long year and if I wanted to make everyone uncomfortable, I’d go into the why, but you know. Right?

What has made this time bearable has been the consistent stream of music that keeps coming out. It’s overwhelming, sure, but I have stum- bled across so many hidden gems during these 13 In Conversation months. Especially here, at home in South Af- with Jesse Nashe rica. (Wild, someone who isn’t from here could be reading this. Hey!) There’s so much talent waiting, waiting for your and my ears to find it. It brings me so much joy to know that for some of you, the following pages will introduce you to a couple of voices we think you should hear if you haven’t. 29 Meet Desirabeink.sa Writing these things is always difficult, I never know when I’ve said too much. So, let’s get to the thank yous. Thank you to the artists who gave us the opportunity to tell a part of their story. That’s thank you to Zoli Sway, Jesse Nashe, Desirabeink.sa, WASHE., PRETTYMUCH- DON and the ever so graceful Thando. Your 31 HEY stories brought these pages alive, and I hope WASHE. the right people find you. Thank you to Khotso Motsoeneng for creating the beautiful art that appears in some of Thando’s images. Thank you to the people at The Other Space and my friend, Khanyi Mawhayi for the space and consistent support. 36 A Minute With PRETTYMUCHDON Finally, thank you to you. Thank you for clicking on this issue, for taking a look at the work we do and for coming back. We do this because it mat- ters to us, and we’re glad it matters to you too. Propaganda: More than Humble by sam_SON.

Sourced from NewReleaseToday.com

My memory can be a little shite sometimes, 2021’s Terraform: The People (w/DJ Mal-Ski). but I distinctly recall having written a Fan File Both records were produced largely outside of for Propaganda (real name Jason E. Petty) way the Humble Beast wheelhouse, with Derek and back in the WordPress blog days. And why Mal-Ski at the decks; having picked them simul- wouldn’t I have? Prop is a true rapper’s rapper, taneously in April 2021, I thus had the perfect a West Coast spitter with career origins in the opportunity to discover Propaganda’s modern legendary Tunnel Rats group. This poet, writer, sound. rapper, podcaster and coffee-maker has been releasing music since 2002, and has a career The first thing I noticed was how Prop leans spanning nearly two decades now. much more heavily into his Black American identity on these tapes. He’s never been shy to I discovered Propaganda in the beginning of speak about Blackness on his prior , but his tenure with Portland, Oregon-based label in these offerings Propaganda almost seems to Humble Beast. His 2011 record Art Ambidex- have greater freedom to make those the heart trous introduced me to a flavour hip-hop I never of the music. I credit some of that to him expected to like, making West Coast boom- having Black producers helming the respective bap both accessible and palatable. His Humble projects (Prop’s earlier Humble Beast disco was Beast tenure also gave him room to grow on executive produced by a white guy, Courtland folksy, experimental beats, and through multiple Urbano); more of that credit largely goes to records – Excellent (2012), Crimson Cord (2014), the context of his music. Nothing But A Word and Crooked (2017) – I learned to love Prop’s and Terraform were both released in the Trump/ unique blend of conscious cerebral lyricism & post-Trump era, an era where the personal and Christ-inspired theological musings. political implications on being Black in America are rarefied & deeply felt. In this atmosphere, And so when there came a dearth on new Prop Propaganda heavily leans communitarian, espe- music following his 2017 release, I was anxious cially on Terraform. for more. My anticipation came to ahead with the release of his 2019 collab with fellow rapper The heart of that tape is the realization that and producer Derek Minor, an EP titled Nothing Black people can only survive through commu- But A Word, and his latest studio , nity, because community is all we have in the face of division. Every song title starts with poetic and charged bars on stripped-back in- “We”, emphasizing that collective action and strumentals. support are integral to finding solace and solu- tions in the current age. It’s a celebration of On Nothing But A Word especially, this smorgas- unity and fellowship, and his Black American bord of sound is unified by a distinctly West perspective is impossible to separate from that. Coast flavour, no doubt because of Prop’s rap background but also because of the sheer skill Derek Minor brings to the decks. His produc- tion is clean and consistently good, allowing Prop the room to deliver an excellent perfor- mance throughout. DJ Mal-Ski doesn’t slack either. His work on Terraform is firmly rooted in hip-hop, and any genre explorations return to that root. This gives every track Prop hops on a classic feel, and elevates the album as a result.

It was Lecrae who said that he’s not a Christian rapper but a rapper that’s Christian. On these two records, Propaganda truly embodies that distinction. Like his Blackness, his Christian Sourced from Genius.com faith can’t be separated from the music. But the music isn’t all about that; these aren’t evangelical The other thing that stood out to me was the records. They are Prop’s lived experiences in sonic versatility that defines Prop’s modern music form, encompassing his faith and iden- sound. Under the stewardship of Derek Minor tity and history and community. Nothing But A and DJ Mal-Ski, Propaganda deftly goes from Word and Terraform are more than Christian rap rapping over hard-hitting boom-bap beats to because Propaganda is more than a Christian pop-influenced ones, gliding expertly through rapper. He’s more than Humble; he’s a Black soulful meditative tracks, and then dropping man in America with something to say.

What these bitches want from a nigga? by liisa.monae

Sourced from Complex Magazine On 9 April 2021, the world lost a legend. DMX was a three-time Grammy nominee, Known for songs like ‘Where the Hood At?”, nominated in 2001 for the Best Rap Album and “Ruff Ryders’ Anthem” and the iconic phrase Best Rap Solo Performance, and again in 2002 “What these bitches want from a nigga?”, DMX for Best Rap Solo Performance. He was also truly left his mark on the world and his absence nominated for the Billboard Music Awards in will be immensely felt. 1992 for Male Artist of the Year, and won two awards in 1999 for R&B Album Artist of the Year, and again in 2001 for First Four Albums Debuting at No.1. Some more of his accom- plishments include appearing on the Billboard Hot 100s Top 40 list 3 times, and selling albums by the millions.

DMX’s songs have also been sampled a lot over the years, a good indicator to me that your music has more impact than what the charts may suggest. I mean you did not even have to listen to his music that much (like me, lol) to Sourced from Getty Images know where to credit the iconic phrase, “What DMX (which stands for Dark Man X), born these bitches want from a nigga?”. Before I Earl Simmons on the 18th of December 1970 even properly knew who DMX was or what he New York, was a rapper, songwriter and ac- looked like, I knew that phrase belonged to him. tor. He passed away following a heart attack That is impact. that had left him in the hospital for a few days. DMX is survived by his 15 children, his ex-wife and best friend Tashera Williams, and fiancée Desiree Lindstrom.

DMX became addicted to crack cocaine at the very tender of 14, when his 30-year-old music mentor, Ready Ron, gave him a blunt that was laced with crack cocaine. This was a fact that the young DMX was not privy too. This was following an already rough life, where he was abused as a child by his mother and her various boyfriends, and subsequently sent away by his mother to a boy’s home. DMX would go on to struggle with his crack cocaine for the next 36 years, following many relapses, rehab and even an appearance on the famous show “Iyanla, Fix my Life”. However, DMX was not, and should not be defined by his drug addiction. The rea- son I mention it is because it played a role in his story, and the person he was. Image by Johnathan Mannion DMX was more than his music though, with people on sharing very touching stories about their encounters with him, and I will be sharing a few of them here. @jenniferfraser spoke about the time in 2016 that her and her stepdaughter were on a flight to San Diego following her stepdaughter’s graduation, and they met DMX on the flight. They conversed throughout the flight, and the encounter ended with them getting his number, and being invited to his performance as his guests. Jennifer even gave him advice on one of his tweets, and lis- tened to the Hamilton soundtrack with him.

Another is from @RodHwrd who shared about the time that DMX arrived and picked him up from school when he was a kid, because his par- ent was a concert promoter. One of my favour- ites is of @xhuliano23 sharing a video of DMX in 2013 dancing at an Albanian wedding. This is after the rapper found out that there was a wed- ding taking place at the hotel he was staying at.

The story that touched my heart the most, how- ever, was of a video that was circulating on the timeline. DMX was performing for inmates at a prison in Manhattan in 2018, while he was serv- ing time for tax fraud. I know he was already in jail so it should not be that big of a deal, but he could have just served his time and let that be it. Instead, he performed for his fellow inmates, and to me that was just really beautiful. He knew what his music was worth and what it meant to people, and he performed ; for

Image by Awol Erizku for GQ Image Awol by people who society looks down on and disre- gards. It does not get better for that.

One thing none of us can say about DMX, is that we only gave him his flowers when he died because all you need to do is search DMX and stories will come flooding. Stories telling you about the lives he touched and changed, a lot of times in the most mundane ways. Rest easy Earl, you were loved. Diaspora Highlight: Zoli Sway An angelic voice brining soul-electro to the forefront. by Sindi Ndaba

With a voice that will take you on a sonic tour of what’s on her mind, Zoli Sway paints a soulful picture with her debut Musicine.

The debut is as eccentric as the singer as it takes from a sound reminiscent to that of the early 2000s Neo-Soul and the Electronica of the 2010s. Detailing new love and some heartbreak, the al- bum plays out like a story you’ve heard before in a way that’s unique only to Zoli Sway.

There’s an essence of finding the unknown as the album feels like a discovery of sorts, a discovery into a world where Soul and Electronica are mar- ried by the harmonies of the story being told. To give insight into who she is, her process and how she got to this point, Zoli Sway peels the curtain back and allows us a look into her world.

Who is Zoli Sway? Zoli Sway is a mother to the most handsome boy, 12-year-old Thamsanqa. I am passionate about music. Absolutely. I listen to music for at least four hours a day, I just can’t do without it. I am kind and passionate, I tend to speak with my hands when I get very passionate. I am Zoli Sway.

What are some of your influences? My biggest influence is life. Life, love, hurt and feelings. I am such a touchy-feely person. I like to pretend that I’m not, but I am. Those things make me write. Those things touch me and make me write. I take a lot from my surroundings— what I see when I’m driving, books, TV. My son influences me, especially the way that he thinks about things. When you’re not working on music, what are you doing? I have a full-time job as a reward and tax specialist, which is fun. I like numbers but it’s weird because I do use both my left and right sides of my brain. Right now, I am skewing more towards the music—the creative side is what I’m more passionate about. I feel that I was born with the creative while the analytics and math are more things I was interested in and studied. Outside of work, I spend a lot of time gaming with my son; that’s his thing. I also like spending time out, with other peo- ple just chilling.

As an artist, what are some of your big- gest struggles? My biggest struggle was trying to convey the sound I wanted to make. I had it in my head and I just couldn’t get it out there until now. It was meeting a team that actually gets me and I was like “Oh my God, this is it. It’s here!”. Also, the music industry is a beast. You need to know the right people and be at the right place at the right time. Being online due to COVID-19 has made it easier, you can put yourself out there without having to go out but it’s still a difficult industry to be in. It’s difficult to get people to listen to what you’re saying, especially if you’re unknown.

How did your love for music begin? My family has always been in music. My grandmother sang, my aunt was in the choir and my father had a whole record collection. I think he had about four to five hundred records. Like everyone in my family, I also really liked music. We didn’t play any instru- ments, but we always played some music. There was some kind of noise every day—a lot of offkey singing too. Every musician has that moment where they realize that music was it for them, what was this moment for you? I realized that I wanted to sing when we recorded ourselves on my father’s tape recorder. My sister did her thing and I followed, then we played it back. I was in love with my voice. I was like “Is that me?” and I realized that I could do this. So, I started practicing more , recording myself too. I was singing the songs of Mariah Carey and whoever else was the voice of the time, and I wanted to be just like them.

How important is understanding the business side of things as artists? And how do you bal- ance that with the creative process? It’s very important because you need to know your numbers and your money, invoices, tax and that kind of stuff. Fortunately, I am aware of how to do those things because it’s what I studied. I know how business works, and it’s so important because you’ll think you have the money there and it’s actually not.

What inspired you to make your album? What drove you to telling the stories that you’ve told in these songs? I was yearning to get my sound out there and it was time to do it. The songs that I made are where I am right now although not everything is my experience. Some songs are for everyone. ‘I Like You’ is what you play for someone you like; it doesn’t mean that I like someone right now. ‘Mu- sicine’ is the title of the album and a song on the album. It’s a blend of “music” and “medicine” because I felt that my music heals. I want all my music beyond this project to make you feel some- thing and to heal you. After the making of your album, music can take them. Where is that who is Zoli Sway? How has this pro- for you? cess changed her as a person and I think it’s already starting to take me artist? there. With everything being online, It has changed me in that I now know I’m not restricted to the South African that I can put something down, put audience only; I can take it worldwide. what’s in my head out there. I know I want to go the whole way. The bill- that there are people who are aware of boards, SAMA and GRAMMY awards, this sound and like it. I’m much more and Coachella. I have a vision board of confident with myself and my abilities, where I want this music to go and if it’s there’s less self-doubt. I’m a lot more meant to be, it will be. confident because I know there’s an audience out there. Listen to Zoli Sway’s debut offering Musicine, available on all digital stream- Outside of the fame, every artist has ing platforms and follower her @ ideas and dreams of where else their ZoliSway to keep up with her music. The Faces of SA Afro Pop by Karabo Nongogo

As a person who depends on music TV channels and radio to keep up to date with what’s hot now, I’ve picked up that the charts have been dominated by Afro Pop artists. Both upcoming and existing feature here and I have to say, we truly have come a long way with being able to express ourselves in our art comfortably. More and more artists are gaining confidence in making songs in their mother tongue and that’s a solid W for us, as Africans.

I feel as if making a song in your mother tongue, and/or a language that is not English, used to determine the genre of the song. But the new age artists are not letting that be a thing, and it is a commendable stance. For example, if you were to hear a song sung in Sourced from @Ami_Faku on Twitter isiXhosa on the radio, you would automatical- ly assume that it is a traditional song. But then you find artists with the likes of Ami Faku, that was added to your meal. It’s what mainstream have the ability to produce/write a love story, or artists use every now and then to make their daily life struggles, fluently in a South African song popular or catchy, but in some instances, language. Another example is Aubrey Qwane; it is truly a natural and authentic collaboration. his sound has Maskandi elements mixed with Afro Pop artists have the ability to infuse a dif- Afro Pop harmonies, which make the body of ferent genre within Afro Pop to make the song work more relatable. a hit —I don’t know how they do it, but they just do! The cool thing about it is that it is not only a specific tribe; most of the different tribes have Afro Pop musicians collaborate with each other, an artist or two - with the likes of Malome showing that teamwork truly does makes the Victor, Makhadzi, Blaq Diamond, Sho Madjozi, dream work. This is not forgetting the numbers Sibahle & Simmy. and the charts that are constantly topped by these collabos. They also have such a solid fan- Although it is not spoken of, we do know that base, across all age groups, making it easier for a verse or line or two in ‘vernacular’ does some- them to expose their music to new target mar- thing for a song —it’s almost as if seasoning kets. For instance, you know how “Jerusalema” was popular on its own? It definitely didn’t need I have created a playlist on Apple Music for our a remix, however because of the artist on the lovely readers (yes, you over there ! ) to check remix, it got even more exposure. out, just in case you have not been in touch with South African Afro Pop. For the official Apple I feel like Afro Pop has switched up; it’s more Music playlist, click here. appealing, if that makes sense? I also have to mention that there are some artists that are Blaq Diamond - Love letter going with that sound, and are simultaneously Simmy (feat. Sino Msolo) - Ngihamba nawe taken aback by the fact that they are actually Aubrey Qwana - uKiss doing pretty well with it. Mduduzi (feat. Q Twins) - Putsununu Zano - Umakoti Malome Victor(feat. Blaq Diamond) - Dume- lang. Ami Faku - eBhayi Tresor(feat. Msaki) - Sondela

For all tracks on my playlist, click here. Sourced from @AmbitouzEnt on Twitter

In Conversation with Jesse Nashe by Kgothatso Miyelani Manzere “I always gravitated to music that has a dark, I have noticed that you do not feature any atmospheric vibe,” says Joburg based musician artists on your tracks. Is this a conscious Jesse Nashe. His mindset when creating music decision? is mostly intuitive, and allows his art to take on I prefer to work alone. I have tried getting into a life of its own. Even though he does dabble in studio with other artists, but it never feels nat- many genres, the dark element that he describes ural. I am very conscious of who I collaborate as a ‘night-time and lonely vibe’, is something with, because my name is attached to these that stay constant in his music. bodies of work. I only want to put out projects that I am proud of, and if I ever make beats What would you say the essence of you is? for someone, I want it to be an artist that I am Nashe is my middle name, meaning “with God” sure will deliver fire. I take my production very in Shona. As a person, I am still figuring myself seriously, because I want to be recognized as out. From an artist’s perspective, I just want a producer. With that being said, I do think it to be known for being honest. When people is time that I venture out and work with other think about Jesse Nashe, they should think of artists. This is what I am looking to explore in an artist that uses music as an outlet for their my next project. thoughts and experiences.

When did you decide that music is some- thing you want to pursue? I grew up in the church, so I was mostly ex- posed to Christian rap. In 2015, I bought my first album ever, and it was To Pimp a Butterfly by Kendrick. It was like hearing music for the first time. My mind was blown because I did not know people could rap that well. It led me down a rabbit hole, because I started thinking about all the music I had been missing out on. This made me think about ways in which I can create the feeling I got from all this new music I had been discovering, but express it in my own specific way. I made the decision to start rapping in 2017, and my brother started making beats around the same time, so I began to hop onto those.

Jesse goes on to speak about how his brother started varsity and no longer had the time to make beats. This was a loss for him, in the sense that his brother’s production was some of the best he had heard, but this gave him the space to start being his own producer. He started making his own beats using FL studio, and as he got better with time, he began to realise that he can be good at both production and writing; there was no need to limit himself to one thing. Walk me through your processes when cre- What is your biggest challenge right now ating a song. with being a musician? The writing part comes quite naturally for me, Exposure. I have also noticed the music that is because I started off by writing poetry. In the mostly popular here in SA is trap, so I am never beginning I really struggled finding a studio sure how my music will be received because I to record in, until my brother suggested that I am heavily inspired by . EDM record everything on my phone. I started doing was my first love, and that really stuck with me that, and I have been recording in the comfort in my production. I use those sounds to set of my own room ever since. You do not really myself apart from everyone else, so it is always need much to make a song these days. It has nice when I get a good response from an audi- been about one year and eight months since I ence. I am also quite introverted, so I struggle a started releasing my music, and I have grown little with live performances, but I am happy to comfortable in that. Writing and producing say that my recent performance at Kitchener in beats are my favourite parts of the process. It Braamfontein went well. The vibes were there depends on the day though. Sometimes the beat and that made me realise that I can be a per- slaps harder than the writing, and vice versa. former. I’m really looking forward to doing live Mixing and mastering has the most admin, so shows in the . the processes can become tedious.

In your album Skeleton Whale, I picked up that you reference Greek mythology. What drew you to using these stories as an inspi- ration for your album? I will be honest; I do not know why I gravitat- ed towards Greek mythology. I had the idea at some point to tell a story about a sailor duo that goes on adventures. I wanted it to have a lot of symbolism and themes of water. This is where is started to think about Poseidon and the ideas just come as you go, so that is how I ended up with Skeleton Whale. I prefer to call that body of work a tape or a project, because for me an album would have to be something that I make from scratch. I am yet to have a project that I build from the ground up. I also write a lot of fictional stories, so I guess that is where the ideas also come from. Which international artist would you like to You like using the colour red and skulls a lot collaborate with one day? in the imagery that goes with your music. Every dream has got to be wild, so I have com- Why is that? mitted myself to one day have Drizzy on an al- I do not know why; I just think it is wavy. It bum executive produced by me, alongside some looks super cool, and I just love that imagery. I of my favourite producers such as Boy Wonder am also looking at continuing the Skeleton and and OZ. I never want to think about what is in underworld theme in my next project. reach. I want to aim for my craziest dream. Top 5 favourite songs. Let’s go! number one though. I am not a top 5 kind of guy, but from the top of my head would say: What do you wish you knew before you 1. It’s Like That - Jay- Z ft. Kid Capri started your journey in music, especially as 2. Rain – SWV an independent artist? 3. I Like It – DeBarge (This is my favourite You can do everything by yourself. Everything song right now) is little easier to do these days, because there 4. What’s next – Drake are apps that can help you cheat making a beat. 5. 4 Your Eyes Only – J. Cole There are loops available for use. There is no 6. (BONUS TRACK) Machine Gun Funk – excuse for not getting your work out there. It is Notorious B.I.G not easy, but there is a way.

I really love J. Cole. I think over the years he has It was inspiring being in conversation with Jesse grown musically and emotionally as well. Jay- Z Nashe. He is an artist that did not let his lim- and Biggie are some of my biggest inspirations. itations prevent him from creating. Be sure to Only difference is that Biggie was my Jay- Z, check his music out on Spotify, and if you want before Jay- Z became my Jay- Z. I did not like to know where he will be performing next, keep Jay-Z at first because I thought he was over an eye on his Instagram page @jessenashe for hyped, but last year, something clicked, and I details. started loving his music. Drake has to be my

A Stripper Pole to Hell by liisa.monae

Sourced from @LilNasX on Twitter

If there is one thing that I love, it is a good now with his most recent single, “MONTERO troll. And if there is one person who not only (Call Me By Your Name)”, and the Nike Satan excels at being a good troll, but also at ruffling shoes. Although the Christians were aggravated people’s feathers, it would be Lil Nas X. Firstly by the use of their oh-so-sacred biblical images, with his hit single, Old Town Road, that had all it is clear that homophobia is the uniting factor the cowboys ready to throw their hats away, and between these two incidents. Lil Nas X first popped onto the scene with his Name), actually. The song itself is actually quite hit song, Old Town Road. This song was so big short, a young two minutes, but it is a really fun that you could not go a day without hearing it at song. The beat has this really cool guitar thing least twice, and that is being generous. Not mat- going on, along with this Spanish beat, that just ter how much of a fan of the song you were, makes you want to salsa. The lyrics are okay, after hearing it that much, anyone was bound and the hook is catchy enough to vibe to, so for to get tired. However, it being overplayed was me the song is a solid 6 out of 10, maybe a 7. not the reason that it caused the controversy it did. No, we can attribute that to our dear friend, Homophobia.

The fact of the matter is that it upset the proud straight white cowboys that a gay man, not to mention a gay black man, was not only making country music but was doing so while being proudly gay. Their heterosexual cells were mal- functioning. Similar malfunctioning happened Sourced from @LilNasX on Twitter with the release of his new song, MONTERO (Call Me By Your Name). It must be noted that What I really loved about the song, however, is the hate was directed more towards the video, the meaning behind it. Lil Nas X said that Call because I doubt any of those people actually Me By Your Name is the first gay movie that he listened to the song. had ever watched, and he found it really beauti- ful how they expressed their love for each other In the video, Lil Nas X can be seen sliding by calling the other person by their own name. down a stripper pole from Heaven to Hell, and Although I have my own reservations concern- then proceeding to get hot and heavy with the ing this movie, because of the problematic age devil himself (very saucy). This obviously poked gap between the two men and the highly possi- the Christian bear, because how dare you use ble grooming, I think it is important that queer the image of the being they absolutely hate. Not people have representation. to mention the fact that it is a homosexual do- ing it? Purgatory. Ironic, since he was going to Because of this, the main title of the song is hell in the video anyway. Then, Lil Nas X added Montero – which is also Lil Nas X’s real name. icing to the damned cake by releasing custom- It refers to a boy that Lil Nas X fell in love with ised Nike Air Max 97 ‘Satan Shoes’, with one when he was younger, so he is calling himself drop of human blood in the sole (my favourite by his name. I am such a sucker for soft shit like troll), and a bible verse. If there was a way to this, so when I heard this story, I was thinking get VIP access to hell, that would be it. to myself that everyone who hates this song can go bungee jump without the rope. The outrage surrounding this shoe was so huge that not only were people threatening to boycott I really admire Lil Nas X for being a proud Nike (who had nothing to do with the manufac- black gay man in a society that would quite turing of the shoe), but the whole Governor of frankly rather see him dead. It takes a lot of South Dakota had the nerve to say that ‘Ameri- courage to own your truth, and continuously ca was battling for its soul’. Dramatic much? give the homophobes your middle finger. It is also really entertaining to see the Christians get Christians and their weirdness aside, I want to mad. Stream MONTERO if you know what’s talk a bit about MONTERO (Call Me By Your good for you. Photography by Sindi Ndaba Artworks by Khotso Motsoeneng

Thando Is Betting on Herself A journey on taking the plunge and making things happen. by Sindi Ndaba

South Africa’s R&B scene is experiencing a guitar at the beginning of 2020’s lockdown, renaissance of sorts, with a handful of young making random songs here and there. Despite women taking the genre and pushing it in a not knowing what happens outside of the mu- direction no one expected. Thando is one of sic, Thando was sure of one thing: this was her those women. calling, and she was going to go for it.

Thando’s calm demeanour might make it diffi- The title of the EP, A Force To Be Reckoned cult for one to imagine that she is the voice be- With, seems to have chosen Thando more than hind the boldly titled debut A Force To Be Reck- the other way around. The songstress first wrote oned With (AFTBRW). And then she speaks. it as a line of a song, only to change her mind When she speaks, she speaks with a confidence and remove it all together. Thando would later that one can only have when comfortable with bring the song back, still with the audacious who they are and where they are going. line, and find it “cute” but not enough to keep around. As the stars would have it, a quick scroll Inspired by a TikTok on how to make a song in through Twitter would land her on the Astrolo- 20 minutes, Thando decided to take the voice gy side of Twitter where she would be told that she played around with to time and she was, indeed, a force to be reckoned with. make something of it. So, she picked up her And so, it would become the title of her debut offering. The EP was born from a suggestion to take it further than singles and to make a full body of work. Easily described as a project detailing the intoxicating and heart-breaking rollercoast- The second that I made my er that is love and boys, AFTBRW is a robust “first song, I was like, this was introduction to Thando, what she can do and how she does it. Thando, with the help of three definitely what I am meant to producers each producing two of the six songs do. I knew that I had a pur- on the EP, told a story that we all know in or another. pose in life, and it was always to sing, and make people feel It’s the universality of love—it’s ups, downs and awkward middles—that allows her to tell something. her story while telling mine and yours. Unsur- prisingly, then, not every song on AFTBRW is ” about Thando or a piece of her life; some sto- ries are borrowed and retold. She describes her part as singer-songwriter as a painter who has seen a setting sun and painted it from memory. And sometimes, as the painter who is told of a setting sun and painting it from pure imagina- tion. According to her, it is a little of this and a handful of the other. The key? You can never be sure which is which.

When asked about how the process of making the EP and taking on this new role has changed her, she offers a simple yet brilliant response. “I’m much happier. I’m in a place that I’ve never been before, so much happier. I’m doing something that I absolutely love and I’m so much more confident in myself and what I’m doing. With every release, I’m getting better and better.”

Competition is the name of the game, as many together. It’s about believing in one’s talent so have come to know, but for Thando, the “com- much that you’re secure in your spot and trajec- petition” has been replaced by a sisterhood. tory without feeling like you need to compete. Citing her peers such as Joda Kgosi and Phiwo as people she can lean on for support and share That is one of the most stunning things about knowledge with, Thando gives an insight into Thando. She exudes a resilience that one finds the inner workings of what we’re seeing as the in the nooks and crannies of the stuff greats audience. are made of. This resilience is paired with a remarkable lust to learn and to be better. So The girls I’m close to make me much so that Thando yearns for a mentor of “ realise that we can help each sorts. Someone who has played this game she’s stepped into and could offer some guidance on other out. It makes me feel as what to do from time to time. though we’re going to go “I’m not saying that I want all your money, or far, together. I want to have all your contacts. I’m just saying help me out with the basics so I can keep going. There’s an understanding that if it ”wanted to, To tell me, do this not that. That will work, that the industry and the public could pin them won’t.” against each other; leaving us with an it girl. As a collective, they have decided to reject this pos- Ever aware of how important teamwork is, the sibility by sticking together, sharing tips on how star displays an immense appreciation for the to do this and that because “there’s room for all people who have helped her come this far in of us to make it”. It’s not just about sticking such a short period of time. Photography by Sindi Ndaba Artworks by Khotso Motsoeneng

“One of the best things that I’ve learnt is that Having started the journey in her room, with if you don’t try to do it yourself, you won’t just herself, her guitar and some beats friends appreciate it when someone else does it. If you sent to her, Thando now realises that it’s be- don’t manage your own affairs first, or try to yond the music. Slowly, she finds herself dis- produce a track by yourself, you won’t under- covering the inner workings of the industry stand why it’s important to pay people. Why it’s and that, after all, it is a business. A business important to give praise and accolades where where cliques make the already existing barri- they’re due. This is work, real work.” ers to entry much higher. There’s a shortage of information on how to build a successful Although grateful of the internet and the op- career in South Africa’s music scene, let alone portunities it has presented her with, Thando take it internationally. That’s why Thando is realises that sometimes, it’s not your friend. working on turning her existing TK & Produc- Detailing the pressures of having to watch tions into a production house. what you say and people wanting more and more of your life, Thando makes it clear that First thought of as a , the realisa- she’s never going to lay it all out there. tion that there’s so much more that needs to be done to make room for others has changed its trajectory to something more communal. “I want to create a space that brings people together, people who don’t have the means to do some of the things There are people who don’t they want to do. If you want to release a “ song and don’t know where to begin or have want to see you succeed, to see any equipment to do it with, we want to be able to do that for you”. you get to where they are or be better. So, they’ll do any- While focusing on expanding her ventures, Thando has not lost focus of the music and thing to tear you down. where it can take her. Wanting to fill up sta- ” diums around the world, bag the illustrious and rare EGOT (Emmy, GRAMMY, Oscar and Tony wins) and dabble in Broadway; the songstress has no plans to slow down any time soon. And with nods from illustri- ous platforms such as the UK’s Colorblock Magazine and an Apple Music artist feature, stopping her is impossible.

Thando is currently working on her sopho- more EP but would rather remain mum on the details. The motive behind this is to keep the curtain down while she figures out her next moves, without any added pressures from her supporters and industry heads. She likes to work at her own place because re- gardless, win the race. 10 Years of Exploring the Haunted House of Balloons by Mongezi Sibande

Sourced from Genius.com

The breakout mixtape of now global intensify the haunted feeling by the empty sensation , released March 21st bass. He seduces the woman and assures 2011 is arguably the birth pool from which her that he is what she requires in this life. a plethora of artists would stream inspira- Faintly, chimes return throughout the chorus tion from in their own right. PARTYNEX- as the chorus returns to its formerly empty TDOOR, Bryson Tiller and 6LACK are state. The emptiness in these instrumentals artists who have taken the dark and moody are motifs used in later songs, and empha- aspects, and gone their own ways on the size her state of mind. sound. But it would be to say they have accomplished what HoB did, because of House of Balloons / Glass Table Girls the immense world building The Weeknd is the most ambitious song on the project. accomplished on the mixtape. Aesthetics, The light chimes from earlier songs explode sounds, themes, concepts and moods within into Amusement park-esque sounds in the a project are solidified, stated and followed first portion. The song describes the effects through immensely in HoB. of the drugs on her, and just how swept into his world she is. From symptoms such as not High For This immediately places you being able to recognise who The Weeknd where The Weeknd wants you to be. Piano is, to the new lifestyle she lives, where she’s keys and chimes slowly build and embrace worn the same clothes for long periods. The each other before a hollow base drops. Dark, claustrophobia described in the chorus is moody and the perfect fit with the name- echoed by the fullness of the instrumen- sake of the song. This is a dark world you’re tal, arguably the busiest one on the project entering by the time the hook starts. An to emphasize how she’s trapped here, by electro-esque base drop occurs to juxtapose “choice”. the menacing base. The Weeknd is keeping “This is a , we’re happy here”. a woman calm through the almost bad trip they experience together. There is a very sudden transition into the second section. The abrasive, yet hollow beat What You Need sees The Weeknd’s vocals returns partial electro inspired synths, and a mixed partially beneath the instrumental to more blatant description of events. The Image by Micaiah Carter for Billboard

Weeknd’s singing is replaced by a low toned voice speaking about the drug/party life- style.

The Morning describes how The Weeknd shows love to his friends and the views he has on his city. This is all while describing aspirations of making it (the city), while the amusement park sounds remain drowning out in the background.

Wicked Games comes on and a similar menacing base is present, accompanied by a simple and deep drum beat and deep guitar riffs. “Bring the drugs baby, I can bring my pain” - is a refrain that is repeated through- out, with slight variations. This time the bass is accompanied by a much more hollow and airy sensation throughout the verses, with a more rock ballad-esque chorus. Throughout the song, The Weeknd pleads for her love while maintaining his vices with her.

The Party and The After Party: The amusement chimes return on this upbeat instrumental. While he describes her ap- pearance and actions in the bedroom, the instrumental evolves into minimalistic elec- tric guitar riffs accompanied by his backing vocals. The subject matter of their nightly habits, emotions, and actions become more detailed in the second half.

Coming Down starts with a similar yet lighter emptiness and piano keys as High For This, before the drums come in. While the beat feels similar, it maintains a unique void between the drums chimes and guitar. Lyri- cally, The Weeknd continues to say how he needs this woman when his vices are wear- ing off. Since her movement in the house, he continues to need/use her more and more. Loft Music follows a haunting yet upbeat that there is pain and insecurity hidden be- instrumental, accompanied by the amuse- hind the facade of their party lifestyle. He ment park sounds distorted, and over a blames her for her actions, before insisting different drum beat. The songs first half is a he hasn’t been affected emotionally. Electric long verse where his flow changes, as he says guitar fills the chorus and the ending of the how the drugs have left their “brain fried” song, almost drowning out his vocals as the and habits through emotionless sex to his two proceed to drown in this lifestyle and love and lifestyle with his friends. toxic relationship.

The second section becomes more haunting House of Balloons is extremely close to my and pulls back on the amusement sounds, as heart. A mixtape that filled a lot of my emp- his vocals echo out one question to his lover. ty nights and break ups since 2011 when I “What you thinking about?” The minimal- first heard . The Weeknd has ism, voice effects, and instrumental choices risen an astronomical distance in the past create a vacuum, whereby we experience decade. From homeless, to the Forbes list, to what the woman experiences while she’s on the Super Bowl stage. This was a love letter her come down. The song ends with the to the project that started it all. An album dominant line in the following song: whose sound is contained, yet expanded on “I Know Everything” throughout the 9 songs and the trilogy bo- nus, Twenty-Eight. HoB explores it’s themes The Knowing is the closing of the original within its sonic landscape with repetition, HoB mixtape. Through the haunting and until the points are laid across without be- snare heavy instrumental, the space through- coming overbearing. It establishes personal out this song is spooky, with backing vocals motivations with repetitions that only em- used to fill the space. The Weeknd admits phasizes the depth of their co-dependency.

All images sourced from @Artaraki on IG Jojo’s Bizarre Adventure – Araki’s Playlist Warning: Possible spoilers for the series JJBA by Tedd Outside of being an avid lover of music, series, and what Araki must’ve been listening I’ve also found myself heavily engrossed in to while creating them. anime.

The world of music is no stranger to the world of anime, however. Many musicians have described their love for anime. From styling herself after Hunter x Hunt- er, to Flying Lotus’ self-produced Netflix title “Yasuke”.

The opposite, however, is also true. Manga artists will constantly make reference to mu- sic, but none do it quite as well as Hirohiko Araki in his series, Jojo’s Bizarre Adventure. DIO Brando Posing as the villain for both parts 1 and To sum it up, JJBA is an anime targeted 3, Dio Brando was once adopted into the for teenagers. It finds its origins in a family Joestar family, and could really be called the bloodline destined to fight for justice across propagating factor in the stories to come. multiple generations, somehow always hav- Stylized as a Van Damme type, his name is ing the nickname JoJo and the same star- a reference to the metal band DIO. Whilst shaped birthmark on their left shoulder. Dio as a character is a smooth-talking vam- In each part, a stand out of the series is pire, the band’s frontman Ronnie James Dio its perfectly created power system: Stands. screeches out fables of victory over harsh Physical apparitions of a person’s soul with riffs and a thunderous drum kit. varying abilities dependant on the individ- ual’s personality – and all give some sort of music-related name.

A long-running comic series, it has found notoriety in the anime community due to its brilliantly animated features by David Production. The vibrancy of each comic panel is brought to life with a brilliant stand and excellent voice acting. Out of the eight parts currently available to read, five have been animated so far, and the sixth has been announced. Since the whole fandom has The Pillar Men jumped onto the hype train, I figured I (and They are, as they themselves claim, the per- you) may as well. fect beings. Having been trapped in a rock structure, they were awoken in part 2 and If one thing unites us, it’s our love for the sought out a way to solidify their immortali- over the top villains presented in every part, ty. A configuration of a main leader, two ad- so why not get you hooked through them? visors and their assistant saw the characters Here’s a list of the main antagonists in the of Kars, Whamu, Esidisi and Santana respectively. All are references to bands and Diavolo musicians, namely the Cars, Wham!, AC/ A bit of a complicated one, as this villain DC and Santana. As much as their real life presents with two completely different counterpart differ vastly in sound, each Pillar personalities. The only thing they both have Man has their own strong personality as they in common is their stand King Crimson, claw for seats at the top of humanity. named after the band of the same name. What’s more is the use of one of their songs (Epitaph) as the main ability. Diavolo and his stand are actually quite terrifying, keeping to the shadows and causing the group a lot of trouble. In stark contrast to the character, King Crimson’s music is a raw, jazz-infused boisterous take at rock. Look out for Moody Blues, another of their albums, as a stand on the hero’s side.

Yoshikage Kira A very normal man who wants eight hours of sleep and murders women for their beau- tiful hands, Kira may be my favourite. A serial killer with a knack for leaving no traces behind, he develops a Stand with the ability to make things explode that he chooses to name Killer Queen. Killer Queen, being a reference to the Queen song by the same name, even has a theme that mimics the piano in the song. (Look out for the added ability: Sheer Heart Attack.) Father Pucci Counting prime numbers when stressed, Fa- ther Pucci is our up-and-coming antagonist. Speared on by Dio himself, he aims to reach “heaven”, with his stand White Snake. While Father Pucci is a calm calculated man, the band Whitesnake boasts classic rock music, with a sound similar to that of Guns and Roses. Meet Desirableink.sa A home for South Africa’s budding talent by Simphiwe Sibisi eds. Sindi Ndaba

Hailing from one of South Africa’s townships, That inspired me to work with them and that has Simphiwe Sibisi found himself without positive role led our entire brand to nurture amazing local talent. models or influences. So, he decided to become one We’re happy with the response thus far and hope to himself; deciding that a cycle of unhealthy coping utilize the available resources to help struggling art- mechanisms would end with him. Inspired by his ists with progressive views. We also want to extend studies in Logistics Management at the University of this help to the community at large”. Johannesburg, Sibisi began his side hustle as a pho- tographer. The growth is undeniable as they have a stream of budding creatives on their roster. With artists Tshi- Taking this step, to start a business during a glob- diso (@Kul_tshi), Phinda (@Gary_Wilson), Qinqile al pandemic was no easy feat but it was fuelled by (@Qithegong) and Lindokuhle (@Miss_J), Desir- a desire to make a change in his community. Sibisi ableink.sa is set up to make waves in the coming wanted to bring opportunities that were not in reach months. It does not end there, though, as they also closer to his peers and those who come after them. manage models Gontse Mofokeng, Lesego Mo- So, Desirableink.sa was born. fokeng, Thando Maphanga, Kelebogile Mabiletsa and Kelebogile Malebo; and videographer Sihle (@ Its main goal is to change the community through Sihle_SG). ideas that are powerful enough to create sustainable employment. As a collective, Sibisi and his team are breaking through the stereotypes and barriers that have kept many like them out on the side lines. Desirableink.sa is a platform that is dedicated to curating and designing a new kind of life for South Africans.

Mindful of the work it takes to achieve the afore- mentioned goals, Sibisi is backed by a team of talent- ed and hardworking individuals. Along with Sibisi, Prince Khumalo (creative director), Thato Molepo (PR and marketing director) and Lunga Tshabala- la (model/influencer) all come together to come up with the creative strategies that Desirableink.sa brings to life.

Speaking on the journey thus far, Sibisi displays tre- mendous appreciation for the support he has behind him. “I knew our brand was something special when I realised the wisdom and leadership that my child- hood friends possessed and would bestow upon me. Simphiwe Sibisi, Founder Since its inception, Desirableink.sa has worked Our brand invites artists that embody compassion, with various magazines. Youth Magazine, Upcom- femininity, bold expression of self and resilience ing Magazine, EZL Magazine and the well-known to join us in reimagining the Black experience. It is newspaper Soweto Urban News are publications that time to exchange our collective trauma for a better, have shed light on this blossoming platform. healthier future.”

“When one of our artists gets recognition, nothing To keep updated with all things Desirableink.sa, beats that level of affirmation to see that our ser- follow the platform @Desirableink.sa on Instagram vices make a difference and make things happen. and Twitter. Also make sure to keep tabs on Simphiwe Sihle Sibisi on Facebook.

Sourced from Wikipedia Welcome to Synthwave: A Starter Kit of Songs to Check Out by sam_SON. I have fallen into something of a rabbit hole “What is synthwave?” you might be asking. Well the past few months. In a bid to escape the dear reader, lemme tell you all about it. Synth- overwhelming nature of the modern album wave is a sub-genre of electronic music born in release model – just SO. MANY DROPS – as the early 2000s, that takes sonic and aesthetic well as distract myself from the global Pinterest influence from pop culture of the 1980. More board we’re still in, I sought solace in the com- specifically, synthwave bases its sound on the forting sounds of The Midnight, an American action-adventure and Sci-Fi/horror movie synthwave. They’ve been a fave for a long time, soundtracks from that era, all in an effort to but this time round I used them as a jump-off create a feeling of nostalgia and an immersive point to engage with the genre as a whole. And soundscape. so, the rabbit hole, inside of which I’ve learnt the true glory of synthwave. The best synthwave cuts do a kind of magic trick and perfectly transport the listener to There are some repeat appearances; those artists another time & place: a place where neon lights and songs I highly suggest you listen to ASAP. reign and DeLorean cars blaze the highway; a It’s also nowhere near comprehensive, which world that’s bright-eyed and full of hope. leaves lots of room for you to find your flavour. Whatever that may be, I invite you to lose your- Artists like The Midnight and Timecop1983 use self to it. No regrets. that immersive power to then tell emotive sto- ries of love, loss, discovery and coming-of-age, Welcome to Synthwave, my friends. and the depth of human experience. Couched safely in nostalgic production, the stories told * Timecop1983 feat. The Bad Dreamers – in synthwave feel purer and more amplified, like “Back to You” they belong to a better, truer time. The feelings * Timecop1983 feat. The Midnight – Static are heightened & the narratives hit harder, a po- * The Midnight – Sunset tency that makes the fictional seem biographical. * The Midnight feat. Nikki Flores – Jason * Young Medicine – Not Human Listening to the music, I felt like some of the * Young Medicine – Winter Soldier lyrics were taken from pages of my life, even * Lazerhawk – Dreams in the Dusk if they weren’t. I put on my synthwave playlist * Lazerhawk – Electric Groove and understand why people idolize stories like * The Midnight – Seventeen Back to the Future and Stranger Things, why * The Midnight – Prom Night they yearn for those 80s summers and why these * WolfClub – All We artists build sonic worlds around them. There’s * The Midnight – Ghost in Your Stereo a force to synthwave, a compelling call that I * The Midnight – Lost can’t resist. Maybe it’s the feeling of escapism it * NeverMann – All 4 U offers, or the sheer quality of the music itself, or * Roxi Drive – Electricity both. Whatever it is, I’m hooked on it, and I rate * Shadowrunner – Vectogram you should be too. * The Midnight – Shadows * The Midnight feat. Timecop1983 – River of Hence, the reason for this piece. Listed down Darkness below are 20 odd songs from a few of my fa- * Observer Drift feat. The Motion Epic – Earth vourite synthwave artists, as well as some un- Kid missable jams from those I’ve just discovered. * Empathy Test – Bare My Soul

HEY WASHE. by Kgothatso Miyelani Manzere On the 17th of April, I had the honour of Hip-Hop, and it became an influence on him. interviewing the talented WASHE. Our conver- After a while, he realised that the Lo-fi Hip-Hop sation started with me asking him to deliver the route was not sustainable, because a lot of artist best pitch he ever has about who he is. in that genre seem to fall off the radar after a while. Instead, he began to incorporate ele- W: What I feel is a real core aspect of this ments of Lo-fi Hip-Hop into his music, along WASHE. persona is a deep layer of introspec- with electronic synths and afro beat drums. The tion. I think a lot of artists today struggle to music has gone from trap, to Lo-Fi, to this low look at themselves from an objective and un- fidelity electronic Hip-Hop and R&B. biased point of view. The WASHE. persona is about vulnerability. I make music that highlights the simplicities of emotions and thoughts. We all go through similar situations in life, such as liking someone and them not liking you back. I want to make music that can portray these feel- ings as honestly as possible.

His musical journey came about as a surprise. He liked music but did not really have a con- nection with it. In 2017, it was his first year in varsity and this is where he made friends that all happened to be musically inclined. At first, he started making music to fit in. 2018 was a particularly hard time, because his mental health and many other aspects in his life were taking a toll on him. This was the year he first heard KMM: Judging by what you have told me, it the song Apocalypse Dreams by Tame Impala. seems like music really found you. Would you Blown away by how intricate and beautiful the say your musical journey so far has been more song is, this led WASHE. into the arms of mu- spiritual, rather than just a hobby you want to sic. Making beats and songs gave him something master? to hold on to.

At first WASHE. did not see himself becoming W: I believe that God put the music I was lis- a performer, but the more music he released, tening to, and the people I was surrounded with the more confident he became with the idea of in my life, for a reason. Those people needed to being in front of an audience. He focuses a lot also be at a specific part of their musical journey on melody and sound design, and tries to cre- for me to relate to them. I had to be vulnera- ate sounds that are different from the ones he ble enough to realise that there was something created before. missing my life. There were too many elements about this journey that fit too well together Trap was the first genre he got into because of for it to be a coincidence. One thing I can say the popularity around it during that time, and though, everybody has a different relationship because of how simple the arrangements were. with music. For some it is a spouse, others it is a It was a great way to start learning musical pro- sibling or best friend. The kind of relationships duction. Next, he started getting into Lo-fi we have with our music as artists determines the level of intensity we put into it. I would not say music is my everything, but it does help me shine light on different aspects of life. It is ther- apeutic and God uses it to express certain things through me the same way He communicates with me through it.

WASHE. went on to talk about his least to most favourite parts in the process of creating a song. His least favourite had to be the step right be- fore mixing and mastering, where he must cut, edit and place the vocals in the right place. His favourite part is when everything is done, and the vocals are being mixed and mastered.

This part of the process allows him to take what he had already created and makes it make sense sonically. Great mixing makes the difference be- tween an amateur and a great artist. When mak- ing a song, WASHE. tries to make ensure that it sounds great, regardless of which way you are listening to the music. Whether it be through your speaker, your phone or your headsets.

KMM: You started off by releasing music on SoundCloud. When did you decide that you want to venture off into other streaming plat- forms?

W: Streaming platforms are weird because I had this problem (and I still maybe do) of how I couldn’t get a bigger audience to listen to my music, because it felt like it was in a vacuum. Streaming platforms seemed like the next step to take in becoming ‘serious’ about my craft. If the people that listened to my music were only on SoundCloud, I was probably going to let go of Spotify and all these other ‘official’ streaming sites. When you are starting out as a musician, you do not really make money on these plat- forms. Most of the time I feel like that is a step that is taken because we feel as though releasing on these other platforms makes us more legit. In the end it is just about where your audience is. I am not about being everywhere, so do what is best for and what makes sense for you. KMM: Do numbers matter? think about what is being said. Two artists that W: Numbers operate in context. Did you get are his guilty pleasures are Drake because of the bots? Who is listening to that music and why? I vulnerability, and Kanye West because of how managed to land a Spotify playlist for two of my his journey with faith almost mirrors his own. songs (Catch and All This Time) and I was get- Kanye’s whole persona when it comes to music ting streams every day, but none of the people is brutally honest, and it’s either you like him or were engaging with me. Numbers mean nothing not, and WASHE. can resonate with this. Fur- without engagement and people reaching out thermore, he says Kanye must be one of the to me about my work. It would be nice to have best producers the world has seen. thousands of people listen to my music but what matters most is people having a relation- KKM: For the culture, what is your star sign? ship with me and my music. It means you are doing something right and that is my opinion on W: Capricorn, apparently. LOL. numbers and stats. KMM: Where do you see yourself in 5 years? KMM: Where was your mindset when you W: For the longest time, I wanted to be a shad- created your latest project ‘Lover Suffers’? ow. A lot of the artists I work with are stars, and I prefer to be behind the scenes, or rather well W: Whenever I make an album, I am never versed in the more technical aspect of music. 5 making an album, I am making songs. I do not years from now, I am hoping to have had played know when I will be inspired to put music out. a role in a lot of artists’ greatest works, just like With ‘Lover Suffers’, I started making music Pharrell Williams has. I love music so much that around a person I was in love with, but things I do not only want to make stuff in my own ca- did not work out. Eventually the songs I made pacity, but I also want to be able to create magic became a tape. Initially I wanted to name the with another artist. I also hope I am making album ‘Love Suffers’, but I made a typo that money from it (lol). I only noticed when it was too late. I could very well call it a typo, but I could have literally To end our session off, WASHE. spoke about pressed any other key by mistake. The fact that how South Africa has not really opened itself it played out this way made me realise what the up to alternative sounds. That is where his tape is about. Me suffering through love, and music lies, but doors for these kinds of musical some of the things I spoke about on that tape creations are being opened up by artists such are only becoming real now. Shane Eagle and his relationship with Dream- ville, along Nasty C’s relationship with Def Jam WASHE. considers influential artist to be peo- (amongst the many other things he is doing). He ple that he does not necessarily like but inspired really believes in the sound that is coming up in him in some type of way. For him, those mu- SA, not just in Hip-Hop. It is happening slowly, sicians are Tame Impala, and Kendrick Lamar, but surely. because when he listened ‘To Pimp a Butterfly’, he felt like he was listening to music for the first Personally, I am excited to hear more music time. Kendrick Lamar makes him want to be a from WASHE., but in the meantime, let us all better writer. He does not just want to rhyme bump his music on our favourite streaming words together in his lyrics, but he also wants to platforms. Follow him on @hey_washe (IG) to use figures of speech that will make the listeners keep up with what he is doing. All images sourced from @ChloexHalle on Twitter Chloe’s oversexualisation/ Halle’s infantilization by liisa.monae

Chloe has always been known as the ‘sexier’ type. This speaks to a broader conversation, sister, because of how her body is fuller in com- where we as a society oversexualise bigger parison to Halle’s. And yet, with them creating women and thus as a result, infantilize smaller separate accounts due to Halle being in London women. for her movie role, and Chloe being more active with posting pictures of herself, these senti- A quick example of this is something I saw on ments have only grown stronger – to a some- Twitter with this queer couple, (two women I what disturbing extent. am assuming). The one person was really short and tiny, about 5 ft., and the other person was Grown-ish casted Chloe & Halle as twins in the very tall and had more body weight. There were show I did not even think twice about it. In fact, a lot of comments from people saying that they I thought they were twins in real life too, and it were uncomfortable with the couple, because was only some months after that that I found it looked as if the bigger person was in a rela- out that Chloe was older. The reason that I am tionship with a child. This was because of the mentioning this, is because I have seen – and fact that small, petite women are often likened have been guilty of it too – Chloe referred to as to children, lacking the curves that would make the sexier, more ‘grown’ sister because she has one a ‘real’ woman. the curvier, fuller body. This is what has been happening with Chloe It is quite ridiculous that I was able to see Chloe and Halle. Here I think about the compliments and Halle as twins, while simultaneously seeing and comments about Chloe, versus those about Chloe as the ‘older’ sister because of her body Halle. Chloe is described as sexy and sultry, whereas Halle is called beautiful and cute. There It may seem trivial, but imagine it: on the one are always very disturbing comments about what hand, you’re living your whole life always being people would do to Chloe if they could get seen as older than you are and sexualised con- the chance, and I seldom if ever see the same tinuously, and on the other hand, never getting comments about Halle (not that either woman the chance to grow up because you are always should be receiving such commentary). being likened to a child. How would that make you feel? Regardless, the point I am trying to make is that you can see in that is used with the two women how Chloe is oversexualised, and thus seen as grown and more mature whereas Halle is seen as the ‘cute little sister’. It could be argued that it is because of the content that Chloe puts out versus the ones that Halle does, but that would be dishonest. Firstly, Chloe has said that she has struggled with accepting her body, because she was always bigger than the girls her age. As a result, she was sexualised from a very young age; her posting a lot of body pictures and videos, is because she finally feels comfortable in her body.

Secondly, both Chloe and Halle post a lot of photosets, and as said before, the only reason you would see Chloe’s as more ‘provocative’ is because of her body. Lastly, if you look close- ly, you would see that Chloe and Halle actually have the same body type, the only difference is that Halle’s body is smaller.

A Minute With PRETTYMUCDON A quick chat with someone waiting to make waves by Sindi Ndaba Everyone wants to make music, to make it and be someone but few actually take the leap of faith and do it. PRETTYMUCHDON is one of the latter. To give insight into his budding journey, the singer quickly details the process behind the man and the music.

What made you decide on the name PRET- YMUCHDON? My real name is Macdonald and every time I would introduce myself to people they would give me all sorts of nicknames. So, I decided that I needed to choose one, so I pretty much chose Don. It worked well because I was also inspired by PARTYNEXTDOOR, and that’s how I ended up with PRETTYMUCHDON.

What made you decide to go into music? My aunt had an R&B lyric book that I would read, and I would also sing along to the songs. As time went on, my family would hear me sing and compliment me on my singing. That con- fidence boost allowed me to seriously think of music as a career path.

What can we expect from your upcoming project? What is the overall sound and direc- I want my music to help people. Through the tion we can expect? stories I tell and the way I express myself, I want People should expect chill, laidback R&B songs people to find something to relate and connect that you can sing along to. The overall sound to. Something to heal someone and make people of this project is modern R&B/Soul although, realise that there’s a chance to make it, you just I have tapped into different sounds and I am have to tap into that. finding cool ways to incorporate it into my cur- rent sound. After the making of you upcoming EP, who is PRETTYMUCHDON? Could you share your musical journey? How Simply put? An established artist. Someone who did you start and how did you get here, on is confident in their skills and abilities, who can the brink of your release? take it to the top. It took a while, but I essentially spent time on Twitter, looking for producers who I could work While we wait for the debut to drop, listen with and who would help me create the sound to “Somber” and “Lights Out” on all digital I was looking for. Once I found that, it was streaming platforms. “N.G.L.” drops on the smooth sailing. 28th of May 2021. Make sure you don’t miss out on the developing story that is PRETTY- Outside of the fame, what else do you want MUCHDON by following him on social media your music to achieve? @PRETTYMUCHDON. Sourced from EuphoriaZine.com Scary: The Power of EP Drake by sam_SON.

I’m going to open this with a fairly uncontro- versial opinion, one which nevertheless pains So when he puts out tapes with 20+ songs me to write as a die-hard stan: Drake’s albums after this fact, it sometimes feels like he’s saying are way too long. [So much pain.] Yet it’s true. things we’ve already heard. And remember that problem of mid songs and duds? Drake’s latest The Canadian rapper-extraordinaire has nev- records seriously struggle with these, leading to er really shied away from a lengthy tracklist: the final products sounding messy and bloated. both and Take Care, early favourites in Drake’s discography, toy with 18-20 tracks I mention all this not to drag Aubrey, or even to on their most complete version. Records like lament this phenomenon, but to highlight the NWTS and IYRTITL attempted to buck this instances when something very different occurs. trend, but 2016’s Views saw a return to chonky I’m talking about Drake in EP mode. Something bodies of work that hasn’t let up yet. Views is 20 special happens when Drake makes a much tracks long; , 23; Scorpion (the length of smaller project. Something… scary. which I’ve already addressed) is a whopping 25 tracks long. and Scary Hours 2 were released on January 19th, 2018 and March 5th, 2021, respec- To be clear, there’s nothing inherently wrong tively. Both stand as pre-major studio album with a longer tracklist. The extended length may releases – the former for Scorpion (2018) and the lend itself to more mid songs or duds to slip in, latter for (2021?) – as well as but that isn’t a given. My gripe in this instance is teasers for the new Drake era they herald. But that Drake’s albums post-If You’re Reading This the Scary Hours EPs also do something else; actively suffer from being too long. On a cer- they showcase just how consistently good Drake tain level, Drake has plateaued. He’s reached the can still be when he’s focused, and cuts down on levels of fame and success he dreamed of in his superfluous tracks. Between the two EPs Au- come-up era, and he had largely proven himself brey only gets 5 songs out, and each one is razor as a serious rapper during his 6God era. sharp and tightly delivered. Take “God’s Plan” for instance. Originally a like a bomb, its brassy synths effect and lilting Scary Hours cut before its appearance on Scorpi- woodwind melody signalling that something big on, this is a radio-ready joint if I ever heard one. is coming. The 6God is the big idea here, letting Yet its commercial ambitions don’t stop it from us know that he’s back and preparing to drop being a genuinely good time, with Drake expert- fire music, this being the first taste. “What’s ly tapping into his instincts to create Next” is also not overdone; clocking in at only a banger with massive crossover appeal. The 2:58, Drake wastes no time in reminding us to beat is infectious and lively, the production is keep an eye on the work and anticipate what’s clean as an OVO record can only be, and Drake coming. pulls deep from the caption-bag to deliver some perfectly meme-able lyrics. “God’s Plan” is an The second thing this EP does is show Drake’s earworm by design, but it’s a good earworm. ear for collaboration. “Wants and Need” fea- tures a surprisingly robust verse (to me at least). Considered by many to be just a Young Thug clone, Lil Baby is given a great platform by Drizzy to deliver a formidable flow and tight lyricism. “” sounds like it was produced with Baby in mind, so he properly shines on the record while Drake taps into his chameleon flows, and mimics the style of this trappier cut. While it’s not the best song on Sourced from RepublicWorld.com here, this nevertheless is a good quality cut and a distillation of the best of Drake’s collab skills.

And then without much ado, that song leads Finally, Scary Hours 2 spotlights Drake’s scariest to EP-closer “Diplomatic Immunity”, which power: the power to immerse you in his world- continues the legacy of great closers that Drake view. EP closer “Lemon Pepper Freestyle” does consistently delivers. It’s not flowery or showy; what the greatest Drake closers do so well – it “Diplomatic Immunity” is a stiff-necked PSA to gives you a front-row seat to the current mind- all the foes in Drizzy’s orbit that he is untouch- set of the artist. It plays in Drizzy’s diary-es- able and always will be. Such posturing isn’t que style, delivering a stream of consciousness new for Drake – he built his career on it – but account of where he’s at and what he’s dealing “Diplomatic Immunity” lands well because it’s with. The production, sampled and looped to the only track of its kind on this very short EP. perfection, provides a soulful and pensive back- Scary Hours isn’t stacked with half-assed bragga- ground to the musings of the 6God. This cut docio, as would appear on Scorpion; Drake only is made richer by the guest vocals of , needs to state his dominance once here, and he who glides over the best with cool suave and does it well on “Diplomatic Immunity”. buttery smooth delivery. “Lemon Pepper Free- style” refreshes a Drake staple, breathing new The brevity and focus of Scary Hours is the re- life into what could’ve been tired monologuing. cord’s great strength, and these attributes return to greatly aid Drake on the sequel, Scary Hours 2. Drake in EP mode is a force to be reckoned This EP uses its short runtime to spotlight three with. His shorter records deftly remind listeners things that Aubrey does very well when motivat- of what exactly made him the star he is today, ed. The first is his ability to make a helluva hit and that power to wow us to this day is a scary single. EP opener “What’s Next” lands thing. Pinnacle Pop A bi-monthly zine which focuses on all things current. We’re archivists of the highs and lows of the culture. We are the apex of culture.

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Issue #9 drops July 2