Yolophonik & Phume the Artist

In this issue... Editor’s INTERVIEWS note by Sindi Ndaba COVER STORY pg. 19 EIC & Founder Yolophonik & Phume The Artist: When Pioneers Collaborate & Grow My problem is that I have big ideas. Often.

pg. 3 Dougi Dräco: Firmly Planted The Interview Issue. This is it. It is always and Reaching for Greatness wild to come up with an idea and actually turn it into something that lives. I cannot map out how or when this idea came to me, I Like It, O’Shea pg. 6 but I ran with it. Why? I am actually still not sure. pg. 12 KVRVBO: The Answer in Sometimes I think it’s because we’re over- Deep House whelmed by the amount of talented people out there; we want to speak to everyone. A Minute With: Wolffisdeadpg. 15 Other times I think it’s because I just like to do strange and random things like having 12 articles and have 9 be interviews. But, pg. 25 The Genre Fluid Dato Seiko does the why? matter? I don’t think so.

NELE: TO THE WORLD pg. 30 What matters is that we’ve created something, an addition to the archive we’re building. This something, this issue, is perhaps pg. 34 An interview with the tran- the most alive issue we’ve had thus far. In scendent energies of Rosey Jones it lives portions of some very talented people’s stories; the team has come together to put people into these pages. It’s not just Reviews words, no. Thicker Than Water Review pg. 10 So, I have to thank all the people who allowed us to do that. The people who have pg. 28 Snoh Aalegra and Balance given us the right to tell their story, even if it’s just a small part of it. This issue would GoldLink’s HARAM!: Everything A have been nothing without them, and you, the reader. Thank you! Once & Nothing At All pg. 36 Dougi Dräco Firmly Planted & Reaching for Greatness by sam_SON

I feel like we all know or knew a guy back in high school who said the was going to become a rapper. The next big thing. The guy who talked the talk and tried to walk the walk, and ultimately had nothing to show for it. I cannot say the same for 21-year-old Shaun Doug- las, aka Dougi Dräco.

Dougi and I go way back, to our own schoolyard days; the familiarity of histo- ry allowed an illuminating conversation to take place. Dougi isn’t someone who I can lump together with the dream- er-non-achievers. He has a sound engineering qualification to his name, a registered entertainment company with a bold vision, and a debut EP that’s out in the world – Unlimited Roots.

Before he became Dougi Dräco, however, he was just a kid named Shaun. He has an eleven-year background in music, having been a pianist since grade 6. That relationship with the piano ex- panded into a formal musical education when he began attending the National School of the Arts. Dougi relayed to me just how crucial that grounding was. His experience gave him a foundation that made him no stranger to music and became a potent advantage in his tertiary studies at the Academy of Sound

Images by Luyanda Nonkwelo Images by Luyanda Nonkwelo

Engineering. Pure talent met a presti- Having learned how to rap, make music, gious education and a highly technical produce his own beats, and create his skill set. own visual content, Dougi declared that what he does and who he is goes be- Shining credentials mean nothing for yond just being a rapper: in his words, a rapper without a passion for writ- he’s an “artist”, a multi-disciplinarian. ing, and Dougi has that in spades. We This is what sets him apart, and he spoke of what inspired him to pick up intends to use his myriad of talents to the pen, which was the feeling hip-hop make a big mark in the industry. gave him, that outlet of expression. He began to write poetry as teen for that Our chat moved towards his debut EP, reason – to express himself, articulate 2021’s ¬Unlimited Roots. Dougi re- what he was going through – and grad- vealed to me that this body of work was uated to rap because of the culture of actually three years in the making, and expression that came with the genre. roughly four shelved iterations existed prior. Constant tweaking and a desire Dougi grew up in the Northern Sub- for a self-satisfaction kept him from re- urbs of Joburg, an upbringing that leasing until about last year – when the shaped his worldview and the kind of pandemic hit. stories he wants to tell. A big part of his dream is to be a representative of his Lockdown forced Dougi inside, both city in the same way your A-Reece’s and literally and creatively; with nowhere to Nasty C’s rep theirs. But his ultimate go but within, Dougi took the opportu- vision goes much deeper. nity to push through and create a record that he would be pleased with. It was a process that seriously tested him, as he was the near-sole writer, producer, and engineer. Yet out of that season came a batch of songs that represented a greater concept: one that inspired the EP’s title.

“Conceptually, [it] was to plant a seed in my foundation as an artist”, he explained to me. “This is like a first offering from me to whoever is willing to listen, y’know.” Having realised that he couldn’t hold onto the songs forever, Dougi let them go, seeing them as the roots that would allow a tree to grow – the tree of his credibility, his career, the beginning of everything to come. If he didn’t release, he would never know if he was on the right track. I called it a step of faith, a sen- timent he resonated with.

That idea of growth ties into the future he sees for the music industry in SA, as well as what motivates him and his business, EyeConnect Entertainment. A venture that began in college, Dougi described it as a mother company for various ven- tures: music production and distribution, visual media, content creation, and the business of building up the infrastructure of the music industry.

Dougi’s dream with EyeConnect is invest- ment, both in hip-hop and the SA music scene as a whole. He sees huge potential in the country, potential that he believes himself equipped to maximise. “The potential to be great is undeniable” he ex- claimed, and what EyeConnect is here to do is take that to its greatest heights.”

Images by Luyanda Nonkwelo Part of that process comes from col- We laughed, but there was an iron cer- laboration, a notion we both agreed was tainty in his tone that he would secure crucial to the future of the industry. that feature. And you know what? I be- With collabs, Dougi said, “we’re im- lieve in him. Dougi Dräco is a newcom- proving each other and sharpening each er like no other, and he is gearing up other’s swords.” An environment of to truly take over. He’s an artist whose learning and abundance are just a few journey is long and storied, and his words he used to describe the benefits future is fully in his grasp. Indeed, the of collaboration; there’s plenty of space only way is up when you have unlimited for everyone, and by helping each other roots. creatives make each other better. Listen to Dougi Dräco’s latest music Dougi’s face lit up when I asked about a Connect with Dougi Dräco (@dougi. dream local collab. “I need a track with draco) and Eyeconnect Entertainment Blxckie! That man is too much!”. (@eyeconnectent) on Instagram.

I Like It, O’Shea by Tedd

Images sourced from artist

There may be many musicians out there like the living incarnation of smooth. The today, but not everyone was born to make two of us sat down and Kino provided me music. Kino Osheanic is one such person; I with some insight into his life, his music, and can’t speak about him without talking about how they’re essentially the same thing. his music. He’s also a man who gives off the smoothest energy: from the 360 Waves he Kino told me of the humble beginnings of sports to his dancefloor beats, the name Os- his career when he still went by the name DJ heanic and even the way he talks, Kino feels K1NO and was signed to Soul Candi Candi Records. His tales of skipping school to make beats conveyed to me that Kino really has had his eyes set on the future from the beginning. The tag that introduc- es his presence on tracks was made during those early times, with the help of his talented friends. “Young and Ambitious”: Kino managed to secure a tag that captures his music perfectly – smooth house beats that immediately grip you.

The house beats that Kino found himself making at the start of his journey were inspired by that formative time: 2012’s house scene was unavoidable, and the Ultimix@6 was a large motivating factor for his career. Kino cites DJ Kent as one of his biggest inspirations, as he sat in his early stages and made his own extended mixes. A glance at Kino’s Soundcloud page made this evident to me, as he produces and provides nu- merous free-to-use beats that cover a large base of house styles.

Kino has since evolved from the house beats, however, and now tries to take influence from various other genres like dancehall and rap. Take Variety Pack Szn 1, the young producer’s 2021 album.

To me, it is a perfect representation of his ability to use what he’s learnt from myriad genres in one cohesive tape – a tape that balances his house roots & a healthy mix of his rap influences. Some of the latter include Drake and Kevin Gates, two rappers whom he says he would one day love to work with.

Images sourced from artist Over the course of our interview, Kino Ambivalent (2020) and Variety Pack Szn 1 flipped the dynamic and askedme , “What’s (2021) during the pandemic but revealed the best part of your day?” While my reply that a lot of the songs were mixed way leaned more towards having a mid-after- before it had even begun. Being someone noon smoke, Kino illuminated to me that who constantly made beats, he report- his favourite part of the day was any time ed a period wherein he would produce spent in front of his laptop. He aims to about 300-400 beats a year! Some of these master the craft and obsession that is mu- wouldn’t see the light of day; others, he sic, to the point where he wishes he didn’t refined and completed. need sleep. According to him, time should be spent growing, learning, and becoming But what happens to completed beats? I better. Kino admitted to me that he does wanted to know. Luckily for him, Kino procrastinate but is ultimately always doing isn’t short on people who want to use his something related to music. Be it learning creations. One such archived beat was used how to make 1-4 beats, methods of mixing on the song “Peace” by fellow SA artist or just listening to music – Kino has made KashCPT. Having produced the beat back music a part of everything he does. in 2018, Kino never thought it would be released until the plan came to fruition this This intense work ethic is evident in his year. “It didn’t happen when I expected it current projects. Kino has released to happen,” he said, “it happened when it needed to.” It’s this kind of patience and resolve that not only blankets Kino and his music, but also his understanding of the craft and how he should handle things. Kino believes that the universe is always speaking to him, and he has found a way to communicate back.

Being an academic, I’ve often felt overwhelmed by of the amount of information available, and my inability to cover it all. It seems a common occurrence amongst varsity students to reach a point of hating your degree & studying altogether. As we spoke, I learned that Kino’s relationship with music followed a similar pattern

During the time wherein he made hun- dreds of beats in a year, Kino felt lost in the sheer expanse of music and the various skills necessary to reach his goal. In fact, the songs that would later become his current projects were made during a time when he thought he may give up. Waiting for “Peace” to drop also contributed to this feeling, but Kino admits that it taught Since then, however, Kino has found that him patience: “You do so much more to the best thing to do is dive even deeper. compensate. It wouldn’t have mattered as Now he’s exploring music in ways he never much if it dropped back then”. has before and learning everything he can so he can better himself. During the interview, he glanced at his phone for his daily motivation: ‘Love it, Kino has found his calling, his home in Hate it, Learn it’. This motto represents the music industry. No one can be sure of his philosophy and his relationship with what tomorrow brings, but one thing’s for music all in one. The beginning of his certain: Kino Osheanic plans to ride life’s career was laden with excitement and in- waves to the top. trigue, followed by a period wherein music overwhelmed him and a future in it was You can keep up with Kino Osheanic’s almost prevented. music and follow him on social media here. Image from Wonderland Magazine ‘Thicker Than Water’ Review by liisa.monae

Let me start off by saying that this 2. Niagara Falls is a rum.gold stan account. So, when I should also point out that rum.gold’s I heard that my boy had dropped an voice is my favourite thing about him album, his debut album? I had to hop because there is no need for someone on that. And precisely because it is his to sound that good when they’re whis- debut - and because his EP, aiMless, has pering. His voice is so raspy and sexy, so many gems (including his best song and it really shows in this song. The to date, “Call It What You Want”) – this beat isn’t doing too much, his voice is review is going to be brutally honest. flowing nicely along it, and that flute The debut album is, more often than near the end? The cherry on top. not, ‘make or break’. 3. Human 1. Follow The Light This song is my absolute favourite song This song is currently in my top two on on the album. Top 2 and not 2. When the album. I admit that it is mostly due the song starts, and it’s just the beat for to the fact that it has an acoustic feel to the first few seconds, I get chills. Then it, which is my weakness when it comes rum.gold starts singing and it’s like, take to rum.gold. Reason being, I feel like all my money. The message of the song his vocals are so beautiful that only an is also just so beautiful: he’s asking for acoustic sound does them true justice. vulnerability, for you to be human. If It also makes his songs have this haunt- there is one thing this man is good at ing quality to them and it is so amazing. besides singing, it’s having great lyrics. The lyrics are also just *chef ’s kiss*. The harmonizing at the end just ties Mans said, “I’d go blind if it meant that everything together. The song also feels you could see”. I’m sorry? Does it get like it could be the soundtrack for a more romantic than that? James Bond movie – it has that vibe. I honestly feel like this song should have been the single.

4. Fix Me This song almost had me in the beginning, no cap. The first 30 seconds? I was ready, okay. Then the song continued, and it lost me. I feel like it mellowed out a bit too much. Like, there are points in the song where there’s just the ‘doom’ part of the beat and I love it. Then the rest of the beat drops and it’s just… meh. Which was so disappointing for me because there is an acoustic version of the song, and it is so hauntingly beautiful. The first time I listened to that version, I cried. So, the al- Image from Amazon bum version was a bit of a let-down.

5. Greed 8. How You Like It This was the single for the album, and I was This song is like “Thicker Than Water” in the okay with that. It was definitely an accurate sense that it takes on a more upbeat, happy representation of what to expect from the vibe compared to the rest of the album. It’s album, so it did its job. It’s a pretty good song also an okay song, even though it was a bit too; it doesn’t really have that wow factor for boring. It gave me ‘song at the end of a teen- me though, so it’s not one of my favourites. age movie’ vibes. I did like how high rum. gold’s voice went on the chorus, a welcome 6. Lullaby change from his usual whisper-singing (which The piano here and rum.gold’s voice work re- is amazing). ally well together in this song, particularly the first half. There’s a lot less piano and more of 9. Thank You a beat in the second half of the song, which I liked the title for this one, as it felt like I was I also liked. It’s a catchy song too – you can being thanked for listening to the album. The definitely find yourself singing it unconscious- song itself is one of my favourites and that ly. is because of my bias towards his acoustic songs. Rum.gold’s voice just sounds so much 7. Thicker Than Water better when he does it acoustic. I didn’t like Our beloved title song. This song kind of the fact that it was so short, however. takes on a different mood from the rest of the album, which is more downtempo, sad Overall, I would give the album an 8 out of love song vibes. This song is more upbeat and 10. I honestly had really high expectations more of a happy tune, which I found to be a for this project (because rum.gold is life), so bit misplaced here. The song itself is okay; I this was good. For a debut album it wasn’t a didn’t really like it, but I didn’t hate it either. ‘break’ situation: he passed the vibe check. KVRVBO: The Answer in Deep House by Karabo Nongogo

Images sourced from artist

From drawing and doodling at a young 2. At which point in your life did you real- age, to exploring the exciting feeling of be- ise that you had a passion for music? coming a DJ, this talented man found him- I grew up in an environment where my self in the music industry after being inspired brother was the only person that was inter- by his late brother and a few local jockeys. ested in music. He was an electrical engineer He has been featured by the likes of Kid and used to fix quite a lot of electronics, Fonque, Iceland’s Intr0beatz, DR.1MORE, like turntables and cassette players. He used Billowjazz, Jazzuelle and many more. His to DJ as well, and my love for house music being part of StayTrue Sounds automatically actually started there. Time went by, and tells us one thing: that he understands the around 2003 was when I started learning essence of deep house, good music, and au- how to DJ. I have been in the music scene thenticity. I had a chat with KVRVBO, a man since then & I thoroughly enjoy it. I love the of many roles and talents, about his journey fact that I do it when I feel like it - for the as a DJ & producer, his influences,and his love of DJing! future prospects. 3. How would you describe your sound? 1. Who is KVRVBO? I fall well within the sub-genres of deep KVRVBO, formally known as Karabo house & deep tech, but mostly deep house. Moloi, is a creative graphic designer, Art Di- I’d describe and simplify my sound as being rector, Deep House producer and DJ based about hard kicks & mad basslines. I feel like in Duduza, Joburg East. once you nail those two together, it creates a nice pump which adds a vibe to your track listener is interested in the name they - it just bangs! already know. People don’t really want to know who is behind the production or 4. Who influenced your sound? who made the beat; they will pay attention Through the years I have experimented to the bigger name or a name they are and listened to different types of house, used to, and that’s where the problem lies. from deep tech to dub-melodic tech (just This happens in all genres in SA to name a few). Artists that influenced my sound are the likes of Martin Stimming & 7. What would you say is/was your big- Jimpster. gest challenge in the music industry? I would say it was travelling to and from 5. Do you think the lockdown contrib- my gigs, because at one point I didn’t have uted to the exposure of all types of a car. Travelling from one gig to the next DJ’s? was strenuous; fortunately, I managed to Yes, I think it did contribute a bit. We sort it out. The Lockdown was the biggest started having an influx of podcasts and challenge too. I had massive gigs lined up online streaming on social media plat- at several events that had to be cancelled, forms such as Facebook &YouTube. which was a let-down. People were exposed to more DJs & productions such as the Lockdown House 8. How important is having manage- Party played a massive role in making this ment as someone that is in the music possible. I fully agree that the Lockdown industry, whether signed to a label or exposed some talent! not? It’s very important because some labels or promoters take advantage of you if you don’t have a manager. They attempt to ne- gotiate you for less or even nothing at all in some instances. Having management or having contractual agreements builds that bridge between one point and the other – meeting each other halfway in a sense.

9. What goes into your creative process? [Laughs] I am going to be honest, the only time I make music is during the weekend. Images sourced from artist The first thing I do when I wake up is set up and check if I can finish off a project. 6. Producers in South Africa are not Music for me is a weekend thing. given the credit and recognition they deserve. Do you agree with that? Why 10. Who do you see yourself working is it that way? with in the future? I do agree. Producers do not get their rec- Jimpster, Jimpster, and Jimpster again! I ognition because most of the time the met him in 2019 and he is the coolest guy; we were at a gig in Cape Town and it was awesome. He truly is such a phenomenal guy - we had a bit of a chat and he gave me solid advice & insight.

11. What would you say is the proudest moment or achievement for KVRVBO? I would say it was at a festival where I played amongst the biggest names in the industry, including Jimpster! The other one is the release of my album titled Euphoria, and I am happy that people love it. I have received positive feedback which has me feeling all sorts of pride!

12. How does it feel to be part of Stay- Images sourced from artist True sounds? An entire award-winning music stable? weekend and feeling like doing a track; I Being part of StayTrue is awesome be- played around with sounds, creating mel- cause you get to be exposed to a whole lot odies, and going hard on it. I finished that of artists, whether signed to StayTrue or song in a single day. A friend of mine test- not. You get exposure to a bigger fanbase ed it out at one of his gigs and the crowd and more listeners, especially if you’re a went insane! It’s one of those special, DJ or producer. You get to be part of cool timeless tracks that I will always play at my exciting gigs, and not to forget, have your gigs. tracks played on the radio, which is great for your numbers as a DJ. 15. Walk me through an ordinary day in your life? 13. Which song or EP did you have the Work, work, work! I am fully employed most fun creating? Why? as a graphic designer & art director. If I I actually have two! “A train to Tokyo” am not doing that I am just chilling and and “Descendants of Apollo” - those listening to music, eating, or hanging out two tracks are something else. I had mad with my friends. I am a pretty chilled guy fun and I kept going crazy while listening [laughs].. to these productions. As much as I had the same feeling with all my other tracks, 16. If you were not a DJ/Producer, I knew those two are going to be huge what would you be? tracks. Turns out I was right: people loved [Laughs] Still a graphic designer! That is the arrangements, the bass drops, every- my main talent - I have been drawing from thing. a very young age. If not that, then definitely an architect or automotive designer. 14. How did Descendants of Apollo come about? 17. What are your favourite top 5 deep The same process of waking up on the house timeless tracks? Jimpster – “Dangly Panther” 30th of July under StayTrue Sounds called Jimpster – “Square up” Euphoria, and I have worked with some DJ Rocco – “Something for the floor” exciting people like Avi Subban, Rephlex, KVRVBO – “Descendants of Apollo” Tahir Jones and Bongani Mehlomakhulu, KVRVBO – “Resonate” who is such a great poet. It’s a nice blend of deep house that sways from a nice, 18. Are there any new projects you are chilled vibe to club bangers – I am very currently working on that fans can look excited! forward to? Yes, I have an EP coming up under a UK [You can connect and interact with KVRVBO on label. However, we will announce in all Twitter: @KVRVBO_Official, and on Insta- due time. I have an album dropping on the gram: @kvrvbo_official.]

A Minute With: Wolffisdead by sam_SON

Call me old-fashioned, but I’m a firm believer that music needs to mean something. On some level, lyrically or sonically or otherwise, something deeper should lie at the heart of the craft. An emotion; a story; a descent, or a soaring rise. I go up for artists who let it all out on the track. That’s why I de- cided to speak to Khutso Mphahlele, a 20-something year old rapper who goes by the stage name Wolffisdead.

Having followed his career since 2017, I’ve always wanted a chance to learn more about the rapper, whose candid musical approach and meaningful connection to the craft bled into the conversation we had. Get to know him with me. Sourced from IG: @wolffisdead • sam_SON.: For those who might be hearing of you for the first time, please give a brief introduction of yourself. wolffisdead: I’m an artist from the south side of Johannesburg. I make all types of music, or at least I dabble in different genres. I believe in embracing your emotions to the fullest and that’s what I try to get across in my music.

• s: Now, please speak a little bit to your background and upbringing, particularly the things that grew your love of music. w: Like I’ve said, I’m from Joburg South. My family from both sides lived in the South, too, so we were always having gatherings, spending time with each other, listening to music and so forth. There was a lot of jazz that was played by my dad and my grandfather—I think my dad called it fusion. I spent more time listening to music as a kid than I did anything else, and I think that started my crazy love for music in general.

• s: Your SoundCloud page puts your first song there as being released in 2017. What was it that made you de- cide to begin releasing music around that time? w: 2017 was my first year in varsity. It felt like the year that things should start up for me and my music journey. I think I was just in the right space to do so. I was listening to a lot of MSFTSrep and I was reading up about a lot of enlightening things, so I was just really amped to do something. Sourced from IG: @wolffisdead (cred: @wl.tebogo) • s: What goals did you have for your • s: Why the name ‘Wolffisdead’? Is career in its initial stages? Have those there particular significance to that goals changed significantly since stage name? then? w: Haha this story! So, I used to go by w: I think my biggest goal—and it’s still the name ‘Wolfflogic the Pharaoh’ and all my goal to this day—would be to not I made was conscious rap music. I didn’t allow anything outside or inside of music really make time for my feelings and emo- make the process of living out my dream tions. At some point I felt a disconnect feel less fun or fulfilling than it’s always because all I wanted to do was deal with my been. And I stay achieving that goal. emotions and feelings in a way that was healthy; but I didn’t think of using music because my mind always went to the conscious subject matter whenever I thought about writing a song. One day though, I wrote about my feelings in a couple of songs, and I started to realise that I’m not ‘Wolfflogic the Pharaoh’ anymore, I’m becoming a different being. So, I killed Wolfflogic the Pharaoh and the conscious rap ting, and well: Wolffisdead.

• s: You don’t shy away from detailing mental health struggles in your lyri- cism. Has that kind of writing proved Sourced from IG: @wolffisdead therapeutic for you or your listeners? Moreover, was therapy ever the point? • s: Your music is steeped in an w: Therapy was the point for me at least. I open-hearted vulnerability, both to- wanted to help myself through my music wards the good and the bad parts of as well as the people who listened. It’s still life. Why does that feature so promi- wild to me that I get messages from peo- nently in your discography? ple saying that my music has saved them w: I think it’s everywhere in my discogra- or helped them. It’s really crazy to me but phy because I make music that’s based on I’m forever grateful that I can do that for my personal life and things that have hap- people as well as myself. pened. It’s a very common feature because it’s basically all I’ve ever known so it reso- • s: Thousands of people listening to nates with me. Another reason is because your work so far; somethingyoucan- I wanted to express my emotions in a way breakmyheartto has over 30k Sound- that was healthy and somewhat therapeu- cloud streams on its own. Tell me a bit tic, so I started using beats as a page to about how it feels knowing so many leave my emotions on. people connect with your music. w: It’s a very scary thought. I’m always so grateful for it and at the same time I’m always in awe at the fact that people really listen to my music because that’s always been a dream of mine, and I’m living it.

• s: The Covid-19 pandemic has affected musicians across the globe. Your Sept 2020 album More Blue Than Usual re- flects a mindset common to folks in the lockdown. Please go a bit into detail about how that album came to be. w: Well, I’ve had More Blue Than Usual since 2018. I wrote most of those lyrics then and had most of the beats back then as well. It just so happened that I was at the point in my life where I was ready to record and release that album, in a pandemic. It’s wild to me that I was ready last year because I ob- Moett. How did you come to meet and viously never knew that we’d be in the place work with them? we were in, where a project like that could w: Damn, I’ve known Brendon for years speak to how the majority of the population now; we live in the same area and went to was feeling or thinking. the same church. Moëtt I met when I was studying at the Academy of Sound Engineer- • s: You’re a prolific song-maker with a ing. Brendon also ended up going there, and thick back-catalogue: how do you get so we all spent time together and ended up so much music out? And how does your making music together. process differ in single mode vs album mode? • s: What do you see coming for the fu- w: I’m always with Brendon Tayler, he’s ture of SA music? Where do you see made a lot of the beats I’ve made music to. yourself in that future? So, whenever we’re together I’m recording w: SA music is going to change drastically. something new. In the same breath, these The youth are where it’s at and they’re ba- past few years have been taxing for me, so sically running things. Of course, you have I’ve had a lot to write about. Also, I’m never gatekeepers that make it difficult, but the really in single or album mode. More Blue youth will be the main thing in the SA music and NoNeedForRevenge were different industry, in no time at all. I see myself being because I had a plan: otherwise I just end up a part of that and living out my dream, doing having a lot of music that fits into a project extremely well for myself. or songs I just feel I should release as a single. I barely plan. You can keep up with Wolff on IG @wolffisdead, and you can find his music anywhere • s: Listeners might note frequents col- that streams tunes, such as SoundCloud and labs with the likes of Brendon Tayler and Spotify. Sourced from IG: @wolffisdead (cred: @leo.lyle) Photography by Lawrence Symonds Yolophonik & Phume The Artist: When Pioneers Collaborate & Grow by Sindi Ndaba

Sometimes, you find gratitude in the Alternative EP, Early Transcendentals, weirdest places. Like listening to Yolo- Yolophonik credits the simple fact of phonik and Phume The Artist casually hearing each other’s music and liking exchange a life update of sorts while it to what brought the collaboration to you try to figure out why Microsoft life. Teams won’t let you record the conversation. Shared dreams of being gone in Lon- don, building a solid repertoire amongst From the very beginning, it is obvi- their peers, and living a simple life— ous that the two musicians share a these are the nuggets from a conversa- deep-rooted respect for each other and tion that was more laughs and banter more so their respective abilities. Hav- than a boring Q&A session. But, who ing recently released their joint are they? Phumelela Malinga, or Phume The Artist, has quite the email signature. No, really. It is simple in that he lists Me- chanical Engineer, Fashion Designer & Musician but it takes on a whole new meaning when you learn that these three titles coexist due to passion. A passion for design.

It was a first, for me, to hear someone describe music as a process of designing sounds and manipulating them to sound, feel and even look a particular way. This is the outlet that came to him first, finding him in the church and eventually brining us here. That creativity, the bending and formation that he breathes into his music exists also in his love for designer apparel and cars—hence the mechanical engineering—and it gives us Phume The Artist.

The scene is so young and “so raw. It’s empowering ‘cause we get to be the pacemakers. ” With Early Transcendentals, Phume finds himself at the forefront of a movement that is waiting to take off. While understanding this, that they are some of the first to take this leap, Phume also notes that there is so much more for him to figure out and master. There is an inkling that this is not the pinnacle but rather, the beginning. More so, the journey to the ze- nith will be an exercise of persistence and learning, peeling back the layers of what his skillset can do and just how far he can take it. How I’m gonna know I’m “gone is if I have an apart- ment in London and I’m playing Jazz. ”

The Phume we know now is exactly that. last year or so, Early Transcendentals is a A man and artist of the present; we are COVID-19 baby. Phume explains the going to get what he has to offer when he double-edged sword of creating and has it on offer. Early Transcendentals is what most importantly, collaborating during he has for us now, it is only four tracks this time. “COVID is moving mad, and it long and so, it is a mere peak into what puts artists in a difficult place. It’s made he can do. While there are those who are things interesting for us, it’s given us ac- lucky enough to make it off of one hit, cess to people anywhere. So, that’s easier Phume The Artist is investing in building because I can touch places I’ve never been a catalogue that is dynamic and timeless. to because of how everything is online See, with him, it does not matter when now. But, that lack of being together in you find him because that will be the right one place, creating magic together, shows time for you, and him. sometimes. It takes away from the experience.” Like many projects released over the Yolophonik is the introverted producer who, despite having an impressive track record, only recently started really sharing his face online. “Hiding” was a move largely propelled by wanting the focus to be on the music. It is no surprise, then, when you find out that for Yolo, being gone means living a quiet life. A life where he can do what he loves to do without paying the highest price of fame: zero privacy. For the super-producer, he is the man behind the music and not the music. So, whatever attention he receives should be about that and not what he does and with whom.

“I’m excited for people to hear what kind of pockets I can tap into and how I execute that. ” Speaking of the music, Yolophonik alludes to wanting more for producers, especially when it comes to receiving credit. A fair request when you realise just how vast his catalogue is and how little people know of it. However, sharing the same sentiments as his collaborator Phume, he also believes in focusing on the long game. Success looks like building a reputa- tion which spans across genres and artists, making hits every single time.

While the Alternative scene is fairly young in South Africa, Yolophonik sees potential for growth. “It just needs to be put out there. It just needs a dedicated platform”. Despite that, the local “Alternative scene will always have more appeal internationally because of South Africa’s general House-y vibe.”

While taking note of the industry growth do with who or what is hot right now and in terms of new acts and the expansion more to do with the synergy between him of genres, Yolo also argues that there is an and his collaborators. “It’s more about appeal towards a wider audience but that appreciation, appreciating what the other audience is not always South African. person does and wanting to create more of that or something new”. The journey towards finding his signature sound started with Trap beat-making tuto- However, as corny as it may sound, the rials on YouTube. The Trap era continued game is the game and some people’s in- as he experimented with other sounds and tentions are not as pure as his. “There eventually finding what he felt had been have been cases where someone reaches missing from his sound. So, what we are out to me, but I can tell it’s more about hearing now is the product of exercising clout than the music”. While some come patience and diligence. for clout, others turn away when it is time to pay up—something he is no stranger As a producer, the bulk of Yolophonik’s to. “Sometimes, people are keen until they work is based on collaborating with other find out how much you charge. People artists. To him, collaboration has less to forget that you are also a professional in this industry.” So, what does the rest of 2021 look like for the two? “Focus on what you have,” says Phume before chuckling and continuing, “I’m fo- Popularly known as the SoundCloud cusing elsewhere and taking my time but guy—those (re-)mixes are out of this there might be a single here and there. But world ya know—Yolophonik is planning a focus on what you have.” more solid pivot to other digital streaming platforms. The EP, which was supposed What we do have is a solid project be- to hit the streets sometime in Septem- tween two minds who are firmly planting ber is one of COVID-19’s casualties but their feet into the Alternative scene—both that does not mean we should not expect at home and beyond our borders. And something from the producer before the you know what, the Early Transcendentals end of the year. will definitely hold us down. The Genre Fluid Dato Seiko by liisa.monae

Images sourced from the artist

Now Dato Seiko has a great pair of After being introduced to a pow- pipes on her, okay? They’re so good erful voice that literally gave me chills, that I was convinced she had to have I had to find out more about the artist had some type of vocal training, but carrying that voice: Dato Seiko, who she told me that her voice was all hers, describes herself as art and her music as a natural gift. Having been born into a genre fluid. family of singers & musicians, she grew up with music around her and always Dato Seiko, born Katlego Ntirang, is a found comfort in it. Botswanan singer, songwriter and producer in-training who currently holds a You know that voice that sounds like it bachelor’s degree in Motion Picture and could lead a choir? That is what Dato Live Performance from AFDA. When Seiko sounds like, even though she’s I asked her who Dato Seiko is, she said only ever had a brief time where she that she thinks of herself as art more sang praise & worship for church. She than anything. Knowing that she was said that she does not feel that she from Botswana, I half expected her works well with choirs, though she was name to be Tswana or something, but one of those girls who would always be she revealed that her name is actually singing in school. If I had a voice like Japanese – and inspired by anime. A that you would never hear the end of it, Botswanan artist with a Japanese name? so that was understandable (as annoying My interest was definitely piqued. as those girls were). When I asked her what artists/groups inspired her sound, she cited 80s and 90s music; emphasis was placed on Erykah Badu and Lauryn Hill, which came as a bit of a surprise to me. This is because when I first heard her song, ‘Phenyo Ke Yo’, I was like “gospel, gospel, gospel”. I got the shock of my life when I called Dato a Christian artist and she was like “Uh no”.

Putting me very nicely back into my place, she described her sound as ‘genre fluid’, saying that she does not see her sound in one genre because she uses a mixture of genres when making music, most notice- Images sourced from the artist ably 80s and 90s music and the traditional music inspired by her Tswana culture. She countries going into lockdown, and the said that her sound is weird and experi- many restrictions that came with it, she mental because she goes with whatever experienced her first real challenges. One she feels in the moment when making of the many efforts to reduce the spread music. Definitely a far step away from the of the virus was cancelling gatherings. Christian artist I tried to label her. This became an issue for Dato because in Botswana, artists make their living primar- Although my assumption about her being ily through shows and performances. As a a Christian artist were very wrong, Dato result, her income was greatly affected. is a Christian who grew up in the church; with her fluid sound, I had to know if On the topic of income, I asked if she was there was ever a conflict between her faith signed to a record label. Dato answered and the kind of music she makes. saying that she is an independent artist, and although she has been approached by She said that there have been people quite a few record labels, she is not ready who have asked how she can claim to be to be signed to a label. Her reason being a Christian when that is not the type of that there are too many restrictions, and music she makes. She does not let things she is a free spirit Christian. I think those like that bother her, however, because she people to need ask Lecrae how he does it is not the type of person who ties her faith if they are so concerned. to things, like religious people do - she is more of a spiritual Christian. I think those Besides the nay sayers, Dato said that she people to need ask Lecrae how he does it had not really experienced many struggles if they are so concerned. as an artist until Covid-19. With many countries going into lockdown, and the Besides the nay sayers, Dato said that she many restrictions that came with it, she had not really experienced many struggles experienced her first real challenges. One as an artist until Covid-19. With many of the many efforts to reduce the spread of the virus was cancelling gatherings. This With Dato’s sound being described as fluid, became an issue for Dato because in Bo- it comes as no surprise to me that her cre- tswana, artists make their living primarily ative process would be the same. She said through shows and performances. As a that her creative process differs all the time result, her income was greatly affected. because her music is based on her life and the different encounters she has with peo- On the topic of income, I asked if she was ple. That is also the reason that she writes signed to a record label. Dato answered her own songs, as it provides an opportuni- saying that she is an independent artist, ty for her to vent about her life. and although she has been approached by quite a few record labels, she is not ready to Her latest project, The Grace Effect, is be signed to a label. Her reason being that evidence of her music being her life per- there are too many restrictions, and she is a sonified. Biblically, Grace is represented free spirit who wants to make her own deci- by the number five which is also when she sions. She did mention that she does have a was born, on the 5th The album talks about very strong team that she works with. how her whole music career and life have been marked by the Grace of God and There always comes a point when an artist the favour that it comes with which gives knows that music is what they want to do you an unfair advantage. Thus the album is with their lives, and for Dato, that moment acknowledging and paying homage to that came in 2017 when a video of her singing a grace. cover of a song went viral. Botswana’s very own Justin Bieber. Being offered gigs and As part of acknowledging the Grace that seeing that people liked her music opened has been over her life, Dato says that she her eyes to the fact that making music was wants to teach other people music because something more than hobby, which is what she believes that your gifts are meant to to her before that time. be shared with others. The aspirations do not stop there: she is also working towards being able to produce her own music and wants to make projects that will lead her to bigger, better tour. She hopes these will allow her to continue making a living so that she can support herself and those around her.

Finally, I had to know if she had a name for her fans, especially since she had gained a new one in me, and she said that we are called the Datobase. I really like that – how could you not? Everyone loves a good pun.

[You can keep up Dato Seiko on Instagram @dato_seiko, and her music can be found Images sourced from the artist on Spotify, Apple Music and YouTube – wherever good tunes live.] Images from @snohaalegra on IG Snoh Aalegra & Balance by Mongezi Sibande

As silence filled my room on an song to relate every moment within the afternoon where I was left single again, process of love between her 3 bod- I wondered what I could listen to in ies of work – namely, Don’t Explain, order to ease the void of pain and FEELS, and - ugh, those feels again. stillness within. I had already played As soon as I pressed play on Don’t Ex- Drake’s Take Care, my go to break-up, plain’s intro track, I had to circle through twice beofre. Joji’s BALLADS 1 came her whole discography and finish at - to mind, but I wasn’t ready to embrace ugh, those feels again’s closer. I think Snoh the eternal hopelessness just yet. Then, Aalegra’s discography hits on an essen- I recalled a personal fave. A musical ne- tial truth which is important to remem- cessity in overcoming the darkness. The ber during a break-up – that of balance. light of hope: Snoh Aalegra. I previously mentioned BALLADS 1; Snoh, the Iranian-born, Sweden-raised while I absolutely love that album for songstress, is an excellent choice for the consolation it has given me and nu- every part of the love experience. Be merous other sad bois alike, that project it heartbreak or puppy love, early love, is depressing. The record is filled with deep longing or situationships: you sadness, pain, and longing, both over an name it, she is it. Snoh Aalegra has a individual and over the past. And By contrast, within Don’t Explain alone, Snoh is able to transverse multiple emotions. These range from how unrealistic and heav- enly love can feel with “Charleville 9200”, to how comforting the right love can be on “Home”. Throughout the process of listening to this project you’re reminded of all the good that love could mean, of the kind of art it inspires. Additionally, you’re hooked on Snoh’s sultry and addictive voice, which forces you to keep on listening.

“Teardrops up against my skin, searching for some answers that lie within” is sung at the beginning of FEELS, as a reminder of the pain love can bring. On “Worse”, the slowly building violin beneath Snoh’s voice rings out in a comforting sadness. Comforting if only because you’re not the only one who feels a similar pain. Throughout this project especially, Snoh strikes a perfect balance of the good and sad constituents of finding love: where “Fool For You” and “Out Of Your Way” remind you puppy love and how a lover’s effort brought tears to your eyes, songs like “You Keep Me Waiting” and “Time” alternately remind you of tiresome, drawn out conversations and the loss that you feel after it’s all ended.

Snoh contrasts that side-by-side approach on - ugh, those feels again. This tape seems to be a chronological account of the process of falling in & out of love with a partner. The beginning of the album is laced with songs about pure feeling such as “I Want You Around” and “Situationship”. The record changes gears when, perhaps poetically, “Charleville 9200, Pt. II” comes on. Standing as a counterpoint to Don’t Explain’s first itera- tion in the “Charleville” series – a track Images from @snohaalegra on IG which was filled with love – “Charlev- “Nothing To Me” somehow manages to ille Pt. II” is laced with pain and regret. act both as an acceptance of everything This is conveyed in lines like “How’d we that was and as a middle finger. MAG- go from favourites, to being complete NIFICENT. And then, after she admits strangers.” that the love she fell into was uninten- tionally planned on “I Didn’t Mean To Fall In Love”, Snoh finds “Peace”.

Legendary producer No I.D. said that he first noticed the “emotion in her voice”; throughout every song in her discography Snoh Aalegra lays those emotions bare, with both her strong lyrical ability and the tones she is able to effortlessly strike. Images from @snohaalegra on IG However, the ending of the album isn’t Snoh Aalegra comforted me with bal- sad; it’s quite the opposite. After reflect- ance on a cold winter’s night, and with ing on the love experienced throughout her upcoming album Temporary Highs In “You”, Snoh confidently reminds her The Violet Skies set to arrive on July 9th, lover how difficult they’ll find it to forget I’m certain one of RnB’s best is set to about her impact and love. The track deliver another important project.

NELE: TO THE WORLD by Karabo Nongogo

Sanele Dhlomo, popularly known by his stage name Nele Worldwide, hails from the South of Joburg. The 24-year-old can’t be easily categorised, as his sound is inspired by different genres such as traditional Soul, UK Drill & Hip-Hop just to name a few. I have a chat with him about his journey and sound, his accomplishments, and what the future holds for him. Images sourced from the artist 1. Who is Nele Worldwide? I am a young musician from Naturena lot of contemporary hip-hop music in my which is situated in the Southern region of roster. The songs are usually themes based Joburg. I make a lot of music on a daily ba- on my life with very over-compressed sis & I am really passionate about it. I also drums and minor scale melodies. As time produce my own music. goes on people will get to see how diverse I can be and why I want to break down the 2. At which point in your life did you re- genre barriers. I want to completely change alise that you had a passion for music? the whole narrative on why genres should I guess I have always had a passion for still be a thing in music - I personally be- music, from a very young age. It’s so cra- lieve it is irrelevant at this point in time. zy: I remember wanting to ride along in my older brother’s car just so I could catch 4. Producers in South Africa are not giv- what he was playing on his radio. This was en the credit and recognition they de- around the Morafe, Pitch Black Afro & serve, do you agree? Why is it that way? Thandiswa Mazwai era. When I began to It depends. We are slowly starting to see enjoy these sounds, I made it a must to an influx of producers who are becoming trace back to that as well as how they made household names and that is mainly due me feel. I always chase that vibe even in the to consistency and branding, as well as process of making a new song or working association. Your Kabza De Small, your with a different artist; I truly enjoy doing DJ Zinhle and Anatii (my favourite local that. act) – these guys fully put their names out there because of the characteristics I men- 3. How would you describe your sound? tioned. The best part is that they don’t have This is a tricky question, because I have producer tags. However, I will not speak always had an issue when it comes to being against tags because they are their own designated to one sound, I don’t have ONE form of branding, especially in this genera- distinct sound, but at the moment I have a tion of music. 5. What would you say is/was your biggest challenge in the music industry? [Laughs] My biggest challenge was, and currently still is, independence. Being an independent musician is not as glamorous as you want it to be, especially when you are starting out. It’s like any other business where the founder must embody (nearly) every department in the business to keep it running, which is difficult. With that being said, it’s a painful kind of pro- gression that I am happy to be consistently in.

6. How important is having management as someone that is in the music industry, whether signed to a label or not? I typically vouch for no label and no contract because it’s the hardest easy way out, but labels are businesses and at the end of it, they have very specific goals that they want to achieve. I learnt this from Naye Ayla when we were working on my project - so it is advisable to sign to a deal in an event that they approach you. When that happens, you usually have some sort of leverage to override certain terms to your liking as an artist. With independence on the other hand – especially when brands wanting to be associated with you – you have an opportunity to build relationships, and make a shit load of money! It’s all yours! But you have to put in the work & that’s quite an interesting thing you get to unravel.

7. What goes into your creative process? I am a very spontaneous person, but my mind is constantly thinking about music and trans- lating every experience into a song so how I manifest that depends on my mood as well as the environment. Two other people max are allowed in my space and when it’s like that I can bounce off ideas, but generally I prefer working alone. I get a lot of ideas from unusu- al places, like going through social media and reading articles and, I am comfortable with that. Images sourced from the artist 8. Who do you see yourself working wholeheartedly - I really loved just experi- with in the future? encing their energy and having their vibe That’s easy, Future - he’s really dope! I want on the project. Limrinse is one person who to make a song for Frank Ocean and Andre really stands out the most for me; I say this 3000 together, that would be freakin’ epic. mainly because I relate to him as a full mu- It is a fantasy of mine and I am hoping I sician. Limrinse is a beast! You think you’re will get to experience that moment. I get talented until you meet someone just as tal- chills even thinking about it! It’s going to ented as you are – he’s possibly even more happen, most definitely. talented than me. All these artists made it such an amazing experience for me to work 9. What would you say is the proud- on Exile. est moment or achievement for Nele Worldwide? 12. Walk me through an ordinary day I had a moment where a kid told me on In- in your life? (When not travelling/per- stagram how one of my songs helped him forming) get over an unrequited love/relationship. [Laughs] I don’t live an interesting life YET. It’s crazy! I didn’t know my music helped people. I just thought people would feel 13. If you were not a musician/rapper, good. I guess it makes it an achievement what would you be? too! A porn star haha, that’s a joke. It’s quite cliché but music is my greatest love, after 10. Who is your biggest inspiration? God. Music is all I ever wanted to do. Oh my God, my mom. She believes in my dream more than I do so that makes her my 14. Are there any new projects you are biggest inspiration. currently working on that fans can look forward to? 11. Which song or EP did you have the I make songs almost every day, but as far most fun creating? Why? as projects go I am still promoting Exile. With all the mixtapes, LP’s and compila- We have actually opened up an online store tions - Exile is my first EP which I thor- where people can go purchase merchandise! oughly enjoyed creating. Meeting the people I will keep you in the loop on Instagram and the guest artists I had on the project, and Twitter. like Naye Ayla and Xenlaii. These are people I had never worked with in my life. [You can connect and interact with Nele on Conversations were sparked and got me social media platforms @NeleWorldwide. really inspired to take on music Online Store.

SUBSCRIBE An interview with the transcendent energies of Rosey Jones. by Mongezi Sibande

Images sourced from the artist

At the age of 18, Rosey Jones has she had an Epiphany; a realization that her accomplished significantly more than your existence can be used to tackle music, and average teenager. With 2 albums and an EP that she could use that as a motivational on the major streaming services, as well as force in making and spreading her music her latest single being out, the young starlet - a motive that makes her happy. This was is bubbling under with a strong force pro- accompanied by an urge, if not an over- pelling her upwards. She resonates with a whelming force, to use her music for oth- sense of focus on music in line with ethere- ers, just as her inspiration Willow Smith did al balance and meditative awakening. Rosey for her in terms of healing. is most frequently found with her guitar but “I finally began seeing the divinity in the is proficient in the keyboard and bass as universe and I realized that my calling is to well. use music to help others grow the way that I had,” Jones explained. Jones, who is also 1/3 of the group Deans Bream Band, has a simple process of mak- Within the aforementioned song, Rosey ing music: using the energies present and also alludes to dying before, which is a ref- a clear mind. When asked how she over- erence with multiple meanings. Namely, the comes the unknown, she merely cites “a death of one’s ego, self-rebirth, and reincar- strong sense of, ‘it’ll all work out in the nation. The process of her becoming her end’” as her answer. This bravery has aided current self after being released from her Rosey Jones in overcoming a lot of adversi- pessimistic outlook was derived from her ty in her life. difficult experiences. At the same time, she speaks about the multiple lifetimes she has On the intro track of her recent EP, Rosey experienced and the lack of barriers which laments on the optimistic side of life. After exist between your own consciousness and a difficult period in her life that involved reality. recovering from an eating disorder, mental and physical illnesses, Throughout the EP, Rosey controls her voice within the higher octaves and regis- However, Rosey Jones admits to struggling ters of her vocal capabilities. With Willow and dealing with doubt. On the project she Smith as a noteworthy singer who also mentions being her own greatest opponent, operates in the higher registers, Rosey took from times battling her own ego regard- time to improve on her voice through join- ing insecurities, and the thief of joy, coming the choir & taking vocal lessons during parison. Yet she overcomes this through the year of recording Epiphany. self-awareness, understanding and a process of letting them go without letting them Love is a prominent part throughout the take control. project, as well as Rosey’s life. She names the Divine Mother of everything as an Trust is something that comes difficult to essential motivational source in the work; Rosey. Though only trusting people with namely, as a nurturing figure for stability. deep connections, she says ultimately the In line with spirituality, the aura that Rosey product is “beautifully rewarding”. This can Jones describes herself having is the spec- be found in two particular cases, her songs trum of sunlight. So named because of her with Willa Mae and No3tic. The former balance, as well as range of emotion en- who is a dear and talented friend who ap- ergies and chakras she exhibits – from the pears on “Angelz”, and the latter who ap- orange and yellow sacral and solar plexus to pears on her latest single “Get Free”. the vibrant green of her heart. “Get Free” has over 2000 streams on Spo- tify, which Rosey Jones is very excited by – not just for herself, but also for No3tic, whom she believes has every right to shine. “Get Free” features similarly transcendent and important lyrics as appeared on Epiph- any, but with more of a groove present to increase the accessibility of her music. Still, the track maintains the crux of her message and happiness in the process.

Currently, Rosey Jones is finding balance by using her music and creative avenues as therapeutic relieves, on top of maintaining relationships and her daily school life. Her future is no doubt as bright as the energy she projects. Rosey Jones can be found on Images sourced from the artist major streaming platforms via Rosey Jones and Deans Dream Band. GoldLink’s HARAM!: Everything A Once & Nothing At All by sam_SON

Sourced from IG: @goldlink (cred: @hipster0008)

It’s hard to root for GoldLink when musicians, GoldLink had to contend this what I must work with. with the Covid-19 pandemic and what that meant for creating music. He also I usually preface my articles with some had the additional problem of a public background info about the artist in ques- falling out with the listening public af- tion and the musical journey that led to a ter some very offside comments about particular point in their discography. I’ve the late Mac Miller. A new album had given GoldLink that treatment before, in to do a lot of work to engender itself my review of his 2019 debut album Di- to an unamused audience and be good aspora – an album I reviewed favourably too. Thus, I could reasonably conclude at the time. But I won’t do all that this that GoldLink just got unlucky, and that time. I can’t. GoldLink wasted my time, HARAM! failed to meet some lofty ex- and I refuse to do the same with yours. pectations. Let’s get right into it. But that isn’t all of it. It’s not even the HARAM!, DC rapper GoldLink’s sopho- most of it. No, the main reason why I more studio album, is not a good record. think HARAM! is not a good record is because it doesn’t sound like GoldLink is There are a few reasons I can list for trying. why I think this is. The lowest hanging fruit is the ‘sophomore slump’, the I rarely level this claim against any artists, dreaded curse that befalls the follow-up because making music is hard. Again, efforts of good & well-received debuts. this is true at the best of times, and the It can be hard to repeat the success of a pandemic is not that. However, HA- tape as fun, lively and refreshing as Dias- RAM! plays like a lazy album. It’s lazy in pora at the best of times. And like all a way I didn’t think an album could be: it simultaneously does too much and ends up feeling empty as a result.

My greatest point of contention is Gold- Link’s vocal delivery. He’s always been one to drip his voice in nonchalance and grace tracks with the most re- laxed-sounding flows, conveying a breezy ease that betrayed very tight rapping and wordplay. This worked beautifully on Diaspora, where the goal of a sonic tour of the Black musical scene allowed him to take a step back and let the tunes lead.

But on HARAM!, that nonchalance Sourced from IG: @goldlink more often sounds like bored disaffec- tion and disinterest. That is made worse No one track on this tape feels connect- by GoldLink’s bizarre decision to lay ed to any other by any sonic or thematic this weird, muffled-intercom effect over threads. GoldLink finds himself on er- his voice on the majority of tracks. It ratic electro-hop beats one minute, then makes him sound like he’s rapping from muted drill joints the next, and somehow across a bad internet connection, and a wild and almost singular RnB-hop song he couldn’t be bothered to increase the makes its way onto the tracklist. signal. I could give a generous interpre- tation of that decision – and on a better Many of the songs are aggressively over- album I might have – but it was Gold- produced and work to overwhelm Gold- Link’s job to make that decision self-ev- Link’s already faded vocals. See culprits idently good, and he failed to. His vocal such an “Extra Clip”, Terrordome” and performances on HARAM! are ultimate- “Evian”, though I’m excluding way more ly lacklustre, distant, and boring. songs that are guilty of this. And where Link has feature artists, they simultane- Then there’s the production, which is all ously overwhelm him AND sound over- over the goddamn show. To draw con- whelmed & under-served by the instru- trast with Diaspora again, that album mentals. There’s simply too much going managed to make its sonic smorgasbord in; GoldLink threw it all at the wall and sound cohesive and purposeful, as it was very little sticks. led by a grounding theme and was produced really fucking well. HARAM! falls After a few listens, I got that sense that short of this by once again forsaking GoldLink said “fuck it” to both the ex- what made the former album work. pectations of this sophomore record and the disdain of the jilted listening public. HARAM! sounds like a middle finger to all that, a commitment to doing whatever he wants. But in choosing not to be beholden to outside forces, GoldLink also inadvertently chose not to be beholden to effort, quality, and a job well done. This makes HARAM! a tape that is everything at once and nothing at all; loud and empty, in your face with little of substance to show for it. And that just is not good.

Sourced from IG: @goldlink (cred: @calligrafist)

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 #10 drops August 27th 2021.