Cover Story Archives | HYPE Magazine

[Cover story] Y Evolution: Y’s 25-Year Journey Shaping South African Youth Culture

Lesiba — Mon, 02 Sep 2024 13:00:45 +0000

This story appears in HYPE magazine #45, available here.

Y EVOLUTION: A YOUTH CULTURE STORY

Exploring the legacy and future of South Africa’s iconic youth radio station. A deep dive into the station that gave voice to a generation

Written by: Lolwetu Pakati

Images by: AMR Studios

In the heart of Johannesburg, where the rhythm of South Africa’s youth culture beats strongest, a radio frequency has been broadcasting the soundtrack of a generation for over a quarter of a century. Y has transcended its role as a mere radio station to become a cultural phenomenon, a launchpad for countless careers and a mirror reflecting the dreams, struggles and triumphs of young South Africans.

The birth of a cultural powerhouse

When Y first crackled to life on the airwaves in 1997, South Africa was a nation in flux. The jubilation of newfound democracy was tempered by the challenges of rebuilding a fractured society. The echoes of apartheid still reverberated through the streets, but a new generation was eager to make its mark on the freshly democratic landscape. Into this charged atmosphere, Y emerged as a mouthpiece for youth expression, particularly through the lens of music.

The tale of the station’s inaugural broadcast was a bold statement – pure, unadulterated music with a focus on less talk and more tunes. It was a sound that captured the zeitgeist of the moment, riding the wave of kwaito and house music that was dominating urban soundscapes. This musical focus was no accident; it was a deliberate choice to speak the language of young South Africans who were finding their voice in the new South Africa.

“From Sunday mornings to spring cleaning, Y has been in the background. It’s definitely shaped me as an individual, and shaped my preferences and taste in music as well.” – Yvette Floss

To get a free copy of this issue click here.

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[Cover story] Kwesta: Distinctly authentic

Lesiba — Thu, 01 Aug 2024 09:59:02 +0000

This story appears in HYPE magazine #45, available here.

KWESTA: DISTINCTLY AUTHENTIC

THE STORY UNTOLD

Written by: Lesiba Mankga

Images by: Mishaal Gangaram

In the world of hip-hop, few artists embody authenticity the way Kwesta does. From his humble beginnings in Katlehong to his rise on the global stage, Kwesta, born Senzo Mfundo Vilakazi, has built a career defined by his lyrical prowess, humility and an unwavering commitment to his craft. His realness – both on stage and off – has earned him respect far beyond the music industry, positioning him as a powerful force in the cultural landscape.

It’s this combination of authenticity and relentless ambition that makes Kwesta’s partnership with Bisquit & Dubouché so compelling. For over 200 years, Bisquit & Dubouché has perfected the art of balancing heritage and innovation to deliver cognacs that tell “A Story to Sip”. From its origins as the dream of a young and ambitious distiller, the brand has always been fuelled by a pioneering spirit and an unwavering commitment to the craft. These values led to a natural alignment with Kwesta, and Bisquit & Dubouché appointed him as a global ambassador in 2023.

In a time where true craftsmanship and authenticity can be rare, the collaboration between Kwesta and Bisquit & Dubouché is more than just a partnership – it’s a celebration of the power of staying true to your roots while breaking new ground.

“I have accepted that sometimes people won’t understand my growth and the new message I am trying to convey. In the same light, I might gain new fans in my growth, or fans I lost along the way may even come back.”

To access the full exclusive interview click here.

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[Cover story] Courtnaé Paul: The Jill of All Trades

Lesiba — Mon, 01 Jul 2024 10:47:44 +0000

This story appears in HYPE magazine #44, available here.

COURTNAÉ PAUL: THE JILL OF ALL TRADES

From South Africa to the world

Written by Lesiba Mankga

South Africa is a country that is rich in culture and talent, and dancing is one of the few things we do best as a country. Have you heard about the world-famous dancer with impressive athletic skills and numerous wins and acknowledgements? This talented individual has a playful, humorous and creative style of dance that will amaze and inspire the next generation of breakers around the country – and the rest of the world. She is a great breaker who can connect with the audience using precise facial expressions. If you’re looking for a b-girl with strength, control and balance, then look no further than our cover star, the amazing and multitalented b-girl, Courtnaé Paul. She is one of the few who represent South Africa on breaking world stages and is breaking all the barriers while representing our country all over the globe. We had a conversation with her regarding her career and everything that has been happening in the world of breakdancing. Best believe DJ Kool Herc, who is widely regarded as a pioneer and godfather of hip-hop, would be very proud of the dance moves Courtnaé Paul pulls off on stage.

“Dancing was never part of the plan. I didn’t even know breakdancing existed when I started dancing in chruch.

To access the full exclusive interview click here

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[Cover story] ON AIR with Filah Lah Lah

Lolly — Mon, 03 Jun 2024 12:08:34 +0000

This story appears in HYPE magazine #43, available here.

ON AIR with Filah Lah Lah

Tune into her frequency

Written by Lesiba Mankga

Once upon a time, there was a world where conceptual albums were the standard rather than the exception. Artists were truly artists in the sense that they had a story and a message that they wanted to relay to the listeners. Whether they were a reflection of the society that they grew up in or a reflection of themselves, artists were always the most intricate storytellers in the creative field, using their words and melodies to evoke emotions and thoughts that some of us would shut off into a corner. With that being said, you can imagine why I am a huge fan of Filah Lah Lah. Each of her offerings in her career has been an intricate story of the world she exists in and the experiences that are shaping her at that period in time.

Taking a look at the cover of ON AIR, you will see Filah Lah Lah with beautiful braids that make the shape of headphones and, from that one striking image, the concept of the album is clear to see. However, what we see beyond the cover might surprise the listener, as the album is not about radio-friendly records. On the surface level, it is easy to be swept away by the nature of her enchanting vocals, but behind her vocals is a deeply personal story that details the struggles and triumphs that Filah Lah Lah has gone through throughout her career to become the star that she is today. She expertly depicts the contrasting human experiences of self- doubt and self-belief. Without further ado, this is the story of ON AIR with Filah Lah Lah. Tune into her frequency.

“I do feel like I am underrated for the talent that I have. I do feel that I have something to offer people that is broader and bigger than what I already had out at the time.”

To access the full exclusive interview click here

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[Cover story] Jay Jody’s Story In the Music Industry

Lolly — Mon, 18 Mar 2024 11:43:37 +0000

This story appears in HYPE magazine #41, available here.

AUTHENTICITY IN MOTION

Jay Jody’s Story in the Music Industry

Words: Lolwetu Pakati

Images: Megamenia

Amid the constantly changing nature of the game of music, few artists possess the ability to navigate the shifting tides with grace and finesse, especially over multiple decades. As the world of hip-hop finds itself at a crossroads, grappling with the ebb and flow of trends and tastes, young legend Jay Jody shines brightly as a symbol of enduring creativity and adaptability.

With each passing year, he has demonstrated an uncanny knack for staying ahead of the curve, seamlessly adapting to the evolving musical landscape while maintaining his unique voice and vision. Jay Jody’s journey is a testament to the power of resilience and authenticity in an industry fraught with uncertainty.

In our exclusive interview with the young legend Jay Jody, we delve deep into the heart and soul of an artist who has spent decades honing his craft and perfecting his sound. From his creative process to his aspirations for the future, Jody offers invaluable insights into the inner workings of his artistic mind and the driving forces behind his enduring success.

“PLAYING THE GAME DOESN’T MEAN PUTTING ON A FACADE; AUTHENTICITY IS KEY. REMEMBERING WHO YOU ARE AND WHAT YOU STAND FOR IS CRUCIAL BECAUSE INCONSISTENCY CAN HINDER PROGRESS.“

To access the full exclusive interview click here

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[Cover story] Behind the Mic with The Sobering

Lolly — Tue, 20 Feb 2024 11:19:20 +0000

This story appears in HYPE magazine #40, available here.

Behind the Mic with The Sobering

The Sobering Truth

Words: Lesiba Mankga

Images: Black Milk

A lot is said about the extraordinary talents who grace our ears with the rhythms and rhymes of hip-hop, but very little is said about those who amplify the voices of the aforementioned artists. The ones who scream from the soap box about the intricacies that our lyricists weave into their songs. That is where the tastemakers of the local scene step in. A group that is synonymous with every crevice and corner of the South African hip-hop landscape. Scoring a guest spot on their podcast is considered a career achievement for many an artist. I am talking about The Sobering Podcast (sometimes just referred to as The Sobering). Mokgethwa, Kitso and Kabelo are the names of those who could be considered hip-hop commentary royalty for their sobering truths. This is the journey of The Sobering.

What is your first memory of hip-hop?

Mokgethwa: I was introduced to hip-hop by my uncle whose name is Adolf. He used to rock really big jeans and I had no idea that, later, I would grow up to be like him. He had this 72×96-inch poster of Tupac and that’s my earliest memory of hip-hop.

Kabelo: I don’t know if it’s Coolio’s ‘Gangsta’s Paradise’ or a Snoop Dogg tape that my sister had…

Kitso: Coolio’s ‘Gangsta’s Paradise’ is the first song that you rapped from beginning to end.

Kabelo: Yeah, you are right, but the Snoop Dogg tape was my first exposure to hip-hop.

Kitso: In my ’hood, that Doggystyle album was like gospel; it ran the ’hood.

Which generation do you consider the golden generation and which artist do you regard as your favourite?

Mokgethwa: I think that, sonically, the ’90s is my golden generation. I grew up in the 2000s, but because my all-time favourite album – Mobb Deep’s The Infamous – is attached to the ’90s, I have to give it to that period in time.

Kitso: I’ve said this before but I’m going to say it again, the early naughties are the exclamation point of the ’90s. The early naughties was the period when artists from the ’90s were making their best music.

Mokgethwa: That’s why I said it feels wrong because I came up in the early naughties and that’s when I was finding myself (musically). If I look at the type of music that I am listening to right now, like Westside Gunn – it’s heavily reminiscent of the ’90s.

Kitso: I am a Jay-Z fan through and through, so for me, it’s the late ’90s to the early 2000s – that is my golden era.

Kabelo: I am also going to go with the late ’90s, and my favourite artist from that generation is DMX.

DMX isn’t one I get too often…

Kitso: So we are “typical”, Mokgethwa! [Laughs]

I always use these sorts of questions as icebreakers. I need to get a feel for what you want to discuss in an interview. What are your optimisms and/or reservations about the future of SA hip-hop?

Mokgethwa: What if you are content with everything that is happening right now?

“The early naughties are the exclamation point of the ’90s. The early naughties was the period when artists from the ’90s were making their best music.”

I think that is a fair answer.

Kitso: I think that I am content, but the reservation I still have is that local hip-hop doesn’t have a distinct South African sound. I’m at the age when I don’t even think it matters anymore, but I don’t see the international audiences saying, “These guys [South African hip-hop artists] have added something different and unique to hip-hop.”

Kabelo: I am excited about the new energy in the game because we are forced into a state where new energy needs to be noticed or highlighted, whether we like it or not. This is because some of the big hitters have sadly passed on and our other big hitters are at the point where they are becoming legacy acts. My reservation or qualm is that I don’t think people are being completely honest with the pitfalls of the game. We are still dealing with the same stumbling blocks. There is still too much smoke and mirrors.

Kitso: I think that is true for any genre, though.

Kabelo: Yeah, that’s true but, since we are talking about hip-hop, I would say that is my reservation about the genre.

Mokgethwa: I don’t think my stance of being content comes from a good place, you know? As people who have been championing SA hip-hop, we know what we have to do. We have been speaking about unity and, at some point, you just accept that it is what it is. I bump what I bump, and I’ll support whoever is doing it. In terms of making a noise about my reservations, I’d rather keep that to myself. Maybe you could say I have given up to a certain extent but, whoever puts out music and whoever is diligent and consistent, I’ll support them.

What publications were you following when you were growing up, and how did they inform how you guys move today?

Mokgetwa: I’d say this is a full circle moment because HYPE was one of the magazines I used to buy when I was younger and, if I had enough money, I would buy XXL and The Source magazines. Outside of that, I would go to CNA to get Student Life magazine and I would be put on to new music in skate videos at a later stage.

Kitso: YFM was a huge one for me. HYPE and Student Life were also integral in terms of being put on to new music. I would read those magazines alongside XXL and The Source. Basically, I would consume print media and music shows that aired on Friday at 9pm.

Mokgethwa: When DVD players became accessible to people, that’s when smack DVDs came through.

Kabelo: More of the same really… XXL, The Source, etc. To be completely honest, I would consume anything that had music-related content. I used to read the Sunday Times for the magazine on the inside.

Kitso: And we don’t say it enough, but YoTV had artists coming onto their shows all the time.

Mokgethwa: … and Shiz Niz!

“In terms of podcasting, I was an early adopter of that and, as Kitso was saying, there was a lack of documentation.”

Given the amount of music content you have all consumed, were there any music journalists after whom you moulded your career?

Mokgethwa: As a kid, I wanted to be a graphic designer but then I saw bylines on magazines and I would be interested as to how those people got there. In terms of The Sobering, I think Combat Jack and Juan Epstein. I also moulded myself after Ayanda (Aquarian Ox) from Boyznbucks.

Kabelo: If there has been one instance where I have enjoyed someone’s interviews and how they present themself, it’s Sway. His presenting style has no frills. He just sticks to his job as a journalist. For those reasons, he will forever be my GOAT and my inspiration in broadcasting.

Kitso: Unlike the other guys, I was inspired by the “lack of”. There was a point in time when we didn’t have in-depth interviews with artists. It would just be a quick, in-and-out interview where they asked surface-level questions. I will bring up a journalist named Trevor Nelson because, when you read his pieces, they were in-depth because he actually spent time with the artist. Even when I go back to how Dream Hampton used to write – her pieces were so in-depth because she cared enough to deliver a quality piece. So, to answer your question, we didn’t plan this.

How did you guys conceptualise The Sobering?

Mokgethwa: In terms of podcasting, I was an early adopter and, as Kitso was saying, there was a lack of documentation. I hit up Kitso with this idea and I had a full-page document ready for him and he just tossed it out. [Laughs] I had it (the podcast) in a radio format and I later got to understand that this is a different playing field. I had modelled it too much after Aquarian Ox. In terms of the name, we had a few options, but we settled on the name The Sobering because we speak the sobering truth on the show. It has nothing to do with our habits or lack thereof.

Kitso: Let me defend myself. The only reason I threw it out was because we would have wound up doing the same thing as radio. What’s the point of doing the same thing, just with different faces?

Mokgethwa: I was very appreciative of that because I was still wet behind the ears and Kitso is years ahead in broadcasting and engineering. His saying no to the idea widened my perspective on a lot of things. I had to evaluate what was happening without being too avant-garde on how to cover my own lane.

How did you find it navigating the media space as a new media platform, and how did you guys keep the fire burning all the time?

Kitso: There was a season… Mokgethwa, I don’t know if you remember… There was a season where we felt bummed after every episode. Our being drained was because of the uncertainty we were facing at the time. We knew what we were doing was dope, but now what?

Mokgethwa: I had just come from Kool Out and we were running through everyone who was a part of it at the time and, one day, Kitso said that we had become the Kool Out podcast. Luckily, Kitso had Zubs at arm’s reach and that widened things, and shoutout to all the other guys who showed us love from the jump. On the other end, we were being questioned about where the content would live, and people weren’t really too keen to come on the podcast because the content would live on Soundcloud. Kabelo came in later and he had a wider network and that made things easier for us.

Kitso: Before Kabelo, our guests would give us the run-around. We would go from Braam to Bryanston, and the guest still wouldn’t show up.

Mokgethwa: We’d get to the space we would be recording at and I would ask the guest, “How far are you?” and they would be like, “Nah, I’m in Bloemfontein for a gig.” [Laughs]

“I’d say this is a full circle moment because HYPE was one of the magazines I used to buy when I was younger and, if I had enough money, I would buy XXL and The Source magazines.”

Kitso: I think you should know that the team is just the three of us. We don’t have PR or anything like that, so everything happens between the three of us. Mind you, we also have to maintain other things outside of the podcast, like nine-to-fives.

Kabelo: What’s dope is that we rely on each other like that. When one of us is tired, the other one comes through with that new energy and new vibe that will recharge the other two. Even if guests don’t come through, we will always have each other. That’s the gift of having us three. We put the batteries in each other’s backs.

Mokgethwa: It’s also the reliability of skills shared. We sort of service the same industry in various parts, but we come with different skill sets, hard and soft skills, that we all bring together and we have become somewhat symbiotic in this whole thing.

Having touched on how The Sobering evolved from its SoundCloud days, will there be another evolution of the show, or are you looking to solidify and maintain the show in its current format?

Mokgethwa: I think the show will evolve into having different segments, but the main evolution will come on the business side. We are looking into new ventures, new shows and entities.

Kabelo: It’s about not being stagnant and not being comfortable. It’s about finding new ways to spread our wings, and new partners to collaborate with. Just making sure we exercise the brand.

Talking about the brand and business ventures, you came out with an announcement about the podcast being available on the Revolt Network. Can you tell me a bit about that and what it means for The Sobering?

Mokgetwa: The Revolt move came about through a connection with a guy named Wise who used to work at Indie Creative Podcast Network. He made the move to Revolt and put us on. The move to Revolt means quite a few things but, mainly, the price went up! It also means more opportunities, more eyes on us and new ventures.

Kabelo: It’s about expansion but it is also about knowledge and learning about how other pockets of the world operate and what they value more. A lot of people have misconceptions about digital media and what really counts. Being in meetings with these people, we’ve been exposed to what advertisers look for in a podcast, among other things.

Kitso: Now we are open to an international audience in terms of advertising, which is something we never had.

“The move to Revolt means quite a few things but, mainly, the price went up! It also means more opportunities, more eyes on us and new ventures.”

Where do you see new media featuring in the media space in general? Do you feel that there will be more who follow in your path in this new space?

Mokgethwa: Calling it new media is relative because the whole media space is syncing. It’s new media in relation to traditional media but that’s what the whole landscape moulded into. I look at it as something that is bigger than we are. I mean, we were one of the first podcasters of colour in the country. We knew coming into this that we were paving the way for those after us. Things are going to get bigger and better in the world of podcasting.

Kabelo: New media might not be the go-to immediately but it’s definitely going into a space where it becomes a standard. There will be a lot of reinterpretations of this thing. You’ve got the podcasters and now you’ve got the streamers, you know? There is always a new layer to be covered. It’s going to be ever evolving, and it’s exciting to watch… and it means you can’t get comfortable.

Finally, if there were one thing that you’d want people to associate with The Sobering, what would it be?

Mokgethwa: It is difficult to give you just one thing to associate with the podcast. We are a whole host of things. We are culturally inclined; we are well researched; we are irreverent; we are authentic.

Kabelo: We are about everything fly. We are all about good vibes.

Kitso: I always wanna throw in this thing – South African. We are very patriotic about that. We are trying to move South African music media forward.

Kabelo: Shoutout to Kitso, for the quality of the production. Also, I don’t know if you noticed but The Sobering is the first purely South African podcast that is unapologetically local. Even when we talk to international artists, it has to be in the context of South Africa.

Kitso: You know what’s crazy? Even in the meetings with Revolt, they want to know about South Africa. They don’t care about your opinion of what’s happening there (USA).

This story appears in HYPE magazine #40, available here.

The post [Cover story] Behind the Mic with The Sobering appeared first on HYPE Magazine.

[Cover story] The Evolution of MajorSteez

Lolly — Mon, 29 Jan 2024 13:22:35 +0000

This story appears in HYPE magazine #39, available here.

The Evolution of MajorSteez

Sprouting from musical roots to become the face of new age hip-hop.

Words: Lesiba Mankga

Images: XAINTVISIONPSD

Majorsteez, a duo of brothers separated by a mere two years, has garnered notable attention for their chart-topping singles. These brothers are making serious waves in the South African hip-hop scene. If you haven’t caught on to their chart-topping hits like ‘Asbonge’ with Cassper Nyovest; ‘Changitse’ featuring Emtee & Roiii; and the powerful ‘Smooth Operator’ paying tribute to AKA (Supa Mega), you’re missing out. Their music isn’t just a sound; it’s a whole cultural movement. Music videos racking up millions of views, dance challenges taking over socials – Majorsteez is a name you can’t ignore. But here’s the deal – they’re not here to ride one wave forever. Majorsteez is dropping hints about a more mature sound, and their debut album is the pivot point. No more sticking to just one genre; they’re flexing their versatility with trap, R&B and throwing in some Afrobeats. It’s like they’re saying, “Yeah, we can do it all.”

Billed to have an international feature on their debut album, Majorsteez is eyeing the global stage. And with collaborations featuring practically every big name in the South African music scene, this album is stacking up to be a star-studded body of work.

This isn’t some abrupt departure from their roots; it’s a strategic step forward. Majorsteez is keeping it authentic, evolving as artists and giving us a glimpse into their journey. The buzz is real, expectations are sky-high and the boys seem poised to drop an album that marks the crossover into their more mature sound, carving out their identity as serious contenders and not mere internet musicians.

We had the pleasure to catch up with the duo, delving into their inspirations, heavyweight collaborations and the sonic landscape they’re about to unleash in their debut album. It’s not just a vibe; it’s the future of South African hip-hop unfolding.

“Whenever we’re in studio, we’ll make 100 songs or whatever, and we think of ways to make the music relatable to the people because, if we can’t make relatable music, then how are the people supposed to enjoy it?”

When we were having our discussion a couple of months ago, we were speaking about you two being on the cover. Last year, you guys said that you were going to be dropping your album sometime at the beginning of this year. So, I feel that this interview comes at a perfect time. Right now, you guys are sort of a massive cultural phenomenon in the music industry.

Steez: Thank you so much. I don’t know about massive, but we appreciate that.

What tends to happen with music is that people will jump onto artists at various stages. Some people have followed you from the beginning of your music career. I personally remember hearing about you guys in 2018, but I know a friend of mine heard about you in 2015 already. So, people jump on at different stages. For someone who hasn’t known about your journey within music, how would you describe this duo?

Steez: Alright, so I am Steez, the older brother.

Major: And I am Major, and I am two years younger.

Steez: We are a brother duo born and raised in Johannesburg – west of Johannesburg, to be specific. We fell in love with hip-hop and R&B at a young age. But now that we have taken the genre label off, we are just purely artists and entertainers. Right now, we’re venturing into Afrobeats, and our upcoming debut album is dropping this year after announcing it three years ago. So we are very big procrastinators [laughs], but we are also perfectionists. So that’s another thing. At the same time… f*ck man. Yeah, you know. We are troublemakers.

While doing my research and preparing for this interview, I read that you guys come from a musical background. Both of your parents are musicians?

Steez: Yes, so growing up, there was never a silent moment in the house. There was always music playing, like Luther Vandross and Aretha Franklin. They were on heavy rotation in our household all the time. So I think that’s where our love for music came from. But in terms of our family’s history, it’s either that our great-grandmother or great-aunt is Miriam Makeba. Our dad was in a band that was formed shortly after his stay on Robben Island, called Roots.

That is crazy.

Steez: Yeah, our mother sang with the great gospel singer Rebecca Malope, and our other cousin is Nomuzi Mabena, so we’re all in entertainment in our home. To be honest, we didn’t really have a choice.

So, you grew up listening to the likes of Luther Vandross, Aretha Franklin, Teddy Pendergrass, and more. That’s a lot of soul and R&B music, and I’m sure jazz as well. But when did you guys start listening to hip-hop, and who were the first hip-hop artists you listened to?

Steez: Big shoutout to DStv because we started listening to hip-hop because of Channel O and MTV. TV introduced us to hip-hop, in all honesty.

Major: Fun fact actually, our first music video was on MTV when Steez was 16 and I was 14.

That’s crazy. What video was that?

Major: It was for some song called ‘Oh My Lord’, which we took off our YouTube because right now it’s just super cringe! Oh my God.

You don’t want to look back at it?

Steez: Oh my God, yes! Maybe someone did that thing where they saved the video and put it on their YouTube. It might still be out there somewhere…

Your first music video on national TV came when you guys were just teenagers. That must be a huge deal for you.

Steez: Yeah, it was quite crazy, actually. But to answer your question about who we started listening to, we started listening to hip-hop by buying CDs at Musica. I bought Graduation by Kanye West, and Major bought a Sean Kingston album, which is so funny looking back. So, from then onwards, we obviously started exploring more artists within the genre.

When was the moment you guys decided to start making your own music?

Major: I was 14 and Steez was 16 when we decided to go fully in. We told ourselves we were going to do this thing.

That’s such a milestone. Imagine! The first time you decide to make music, your first music video lands on TV. That’s crazy!

Steez: It was actually because of that; it felt like it was a sign from Jesus that we were headed in the right direction. We had no connections in the industry whatsoever or anything at that point. You know what I mean?

Originally, the group was a trio, right? There were three of you guys, and then there came a point where it became two. What happened for you guys to break apart?

Steez: You know, it didn’t even feel like a breakup. I would say there was no major cause. It wasn’t even like a surprise. Unlike the groups like New Addition and more, our breakup was actually quite amicable. We ended on good terms. Our third member was Kyle Jacobs, who’s the same age as me, and we started university together. By our second year, we had been pushing this music thing for four or five years nonstop. But then he started to lose faith, and I think there was also added pressure from his family in terms of making a decision, sticking to it and putting his full energy into either school, or this thing took a toll. It piled up on him, and he decided to take a step back on his own. We just made it easier for him to let go.

“We planned a session with him [Riky Rick], where he would have had us on his podcast, The Yard, and then, the week that we were meant to have the session, he sadly passed away.”

Hmm. And you, Steez, were also in school at the same time that he was?

Steez: Yes, he and I are the same age.

Ok, so how did you juggle school with pushing your music career as well?

Steez: There was no juggling [laughs].

Was it easy?

Steez: It was never easy. If there was juggling, we’d be dropping the balls. It was either one or the other.

Major: Yeah, it was kind of difficult to actually, you know, divide our time between the studies and the passion. But to tell you the truth, the passion took over, and you know, we really just pursued it throughout our school pressure. We pursued the passion more than we pushed our studies.

And it paid off.

Steez: By God’s grace. Otherwise, McDonald’s would be calling our names.

So, obviously it paid off, because you’re here now and you guys are making big moves. I want to address the evolution of your sound because it sounds very different to what it used to be.

Major: Facts yeah, actually.

You mentioned earlier how you initially started making hip-hop, but now the genre label has fallen off.

Major: Yeah, at this point, we’re just making music. We’re just making what we like. But mostly, if we had to list our top three genres right now, it would be hip-hop, Afrobeats and R&B. It’s in those three now.

Steez: I mean, we’ve dabbled into amapiano, but to be honest, we feel like as much as we have a love and respect for that genre, we’ve always felt like our core foundation is Afrobeats because it’s not so far off from hip-hop in terms of its elements. So we felt like we found our footing in that as a third genre.

What inspired you guys to explore making other genres?

Major: Well, it’s actually a crazy story. Our first love was hip-hop and R&B, so we actually started chopping up R&B to make hip-hop or we took some hip-hop sounds and slowed it down to make it R&B. So we’ve really just been dissecting the sounds ever since we’ve started, and the evolution is crazy because now we sample old R&B classics to make Afrobeats. We really just use every sound. Or we utilise every sound to create another sound. We’re very experimental with that.

“Our mother sang with the great gospel singer Rebecca Malope, and our other cousin is Nomuzi Mabena, so we’re all in entertainment in our home.”

Will listeners hear that experimentation on the upcoming album?

Major: Definitely, you can hear it on the only single that’s out so far from the album called ‘Smooth Operator’, featuring AKA.

Touching on that track, I remember we briefly spoke about ‘Smooth Operator’ dropping. It feels like the start of the evolution of your sound that you guys were talking about. I think that is a perception that a lot of people have of you.

Major: Yes, that’s right.

I know you guys have just dropped the music video to the song. It just felt so significant because of the AKA feature, since he is sadly no longer with us. How was the whole process of creating that song with him? How did it come about?

Major: It was a movie, to be honest. Many people might not know that Steez and I have been supported by the Supa Mega for the longest time. Even before ‘Asbonge’, he was so supportive. Even at our shows, he’d come through and stand right in front and turn up, you know, just vouching for the boys. He even got mad that he wasn’t on ‘Asbonge’… that we didn’t call him to hop on the joint. He took it upon himself, and Steezy, to speak to our producer. We designed this record, ‘Smooth Operator’, with Kiernan from scratch. The process was beautiful because we were all there making it together at his crib over a game of FIFA and a couple of drinks. It just turned out to be so flawlessly executed and now it is a masterpiece. It’s a masterpiece on God, for real, and the streets are loving it. I’m pretty sure the streets can tell that we were all in studio together. I’m pretty sure you can hear it as well. Like the energies were right and it’s just a beautiful process. Oh God, life-changing thing, considering he was our role model as well.

“There’s a little bit of something for everyone in there too. If you like Kelvin Momo, you’re going to like at least two songs on the album.”

There was such a closeness between you guys and him, and I think everyone could pick up on that. As I said, the significance of him not being around anymore is symbolic because this is one of the last remembrances of him.

Steez: Damn, that is actually beautiful when you put it that way… that’s so mad. Shoutout to the Forbes family; shoutout to Aunty Lynn, Uncle Tony and Kiernan’s younger brother, Steph. Also shoutout to Nadia, Z, Baby Kairo and the whole family who gave us the blessing to release the song.

Oh wow..

Steez: That’s what made it even more of an honour. That’s just a fun fact or whatever. As much as it’s our song, it feels bigger than us in a way. We’re just grateful to have been able to do this for him and for the magazine. As I said, it feels like such an honour, man.

On the topic of ‘Smooth Operator’, are you guys smooth operators?

Majorsteez: [Laughs]

Steez: Wait, what do you think?

The streets are saying you are.

Steez: What did the streets say? Oh God..

Major: You see, a real smooth operator wouldn’t say whether they’re a smooth operator.

Big facts, no kissing and telling.

Steez: Man, I mean… We love and respect the ladies, you know. We always have. I don’t wanna come in too much with the ladies. Major, you wanna come in from the ladies?

Major: Yeah, we love and respect the ladies and, you know what? We do it for the ladies.

You do it for the ladies, for real?

Steez: Yes, yes, we do. That’s a fact and I’m pretty sure they agree.

That’s very interesting. Are there any challenges that you’ve stumbled upon in your career?

Steez: Yeah, plenty of challenges. I mean being 100% independent our whole lives, we used to view it as a challenge. To talk about the early days, gatekeeping was a huge problem for us. But high-key, we see it as a benefit because we just have more options now than we ever had before. We can do whatever we want. At this point, we have a small team who we literally trained to do the jobs that they do for us and we’ve all been learning and growing together, slowly but surely.

I’m curious to know what your stance is on artists being independent or signed to a label.

Major: You know, we’ve been doing so well independently. We’ve been doing this music thing successfully for three years and it’s all been independently. We’ve been able to knock the doors down independently. It makes more sense to stay on that streak. It has more benefits in the long run.

Steez: We’ve heard from our peers that there’s a lot of favouritism and politics behind closed doors of major labels. I think the benefit of being independent is the lack of politics. We always look after ourselves first. There’s a huge sense of competition within labels.

“We’ve been doing this music thing successfully for three years and it’s all been independently. We’ve been able to knock the doors down independently.”

That’s true.

Steez: At the end of the day, business is business. It really depends on where you are in your life. I think, as an artist, what you need to do is recognise what you’re willing to leverage in order to gain more in the long term.

You’re finally gearing up to release your debut album, which has been in the works for almost three years now. What can we expect to hear?

Steez: Right now, we’re just picking the best stuff and testing the waters at the same time. But to be honest, I think, as artists, we tend to trap ourselves in our minds a lot. We decided that we’re just going to commit and go for it. You can expect a lot of excitement throughout the album. A lot of emotion as well. A lot of, like, artistry. But we can assure everyone reading this that, at least half of the 11 or 12 tracks on the album, they will enjoy them. That we know for sure. There’s a little bit of something for everyone in there too. If you like Kelvin Momo, you’re going to like at least two songs on the album.

So, there are definitely going to be one or two ’piano joints on there?

Steez: No promises [laughs].

Fair enough. Is it safe to assume that there will be a heavy roster of features?

Steez: We have an international feature, yeah. We have a lot of GOATs from South Ah [Africa] too. We’re completing the album as we speak. We’re just trying to have the best of the best on our debut album. We’ve sort of gathered the avengers of the game right now – the only missing piece is, of course, Makhado [Riky Rick].

It seems surreal that it’s your first album, considering how long you guys have been dropping music.

Steez: Yeah, that actually feels like some Makhado stuff too, ’cause he apparently also only dropped one album in his entire career – Family Values. The rest were EPs.

Major: Yeah, that’s crazy. I think that’s one of our biggest regrets. The funny thing is, we were supposed to release a song with him called ‘Finger Licking’. We planned a session with him, where he would have had us on his podcast, The Yard, and then, the week that we were meant to have the session, he sadly passed away.

Damn…

Major: Yeah, that was really painful because he was also one of those people who really showed up for us and was very supportive. So, it would have meant everything if we could have had him on the album. To really complete all the features, you know?

I’m sure he would have been very proud of you guys.

Steez: Definitely, I believe he would have been, for sure.

“We designed this record, ‘Smooth Operator’, with Kiernan from scratch. The process was beautiful because we were all there making it together at his crib over a game of FIFA and a couple of drinks.”

I am really curious to know – you guys have clearly had a lot of viral moments in your music career and a lot of hit songs have become viral. Do you guys intentionally create songs for them to go viral ? Or is it more of an organic process?

Steez: The first one.

That’s very interesting…

Steez: Whenever we’re in studio, we’ll make 100 songs or whatever, and we think of ways to make the music relatable to the people because, if we can’t make relatable music, then how are the people supposed to enjoy it?

Hmm, that makes sense. So it is intentionally thought through?

Steez: Yeah, definitely. I mean, sometimes, it’s magic. For example, the ’piano song of ours we did with Nadia Nakai and Toss three years ago. We did not see that going the way it did, obviously, but the fact that it went as far as it did – streamwise – into Africa, that was a surprise. But we are very intentional with most things.

Talking about your songs blowing up and then reaching all these different heights when it comes to performances and touring, what is your game plan?

Major: Global.

Steez: I feel like we’ve not necessarily clocked South Ah yet, but we’ve obviously toured a lot locally – to schools, universities, stadiums and clubs across the country. Right now, our main priority with the album is not only feeding the nation a full project, but also being brave and taking the leap of leaving the country by getting on those flights, getting on the boat or getting on the quantum. Whatever it takes… whatever it takes to make it abroad.

Be it driving or flying 18 hours…

Steez: Exactly! We’ll do whatever it takes. That’s our number-one priority this year – exporting ourselves and, as independent artists, that isn’t easy. It’s taken years for us to even reach a place of feeling brave enough to take that leap. But we’re going to start with Africa, then we’re gonna say UK and then, from there, it’s wherever God takes us. Jesus will take the wheel from there.

In closing, what is next for Majorsteez?

Steez: To start with, I’d say our debut album – that is what is next in the near future. So, everybody should be looking out for that. And we also aspire to work with a lot more brands this year.

Major: Yes!

Steez: We’d also like to pursue our acting careers.

Actually, you guys already started with that, though?

Major: Yes, we were on Miseducation on Netflix.

Might I add, that was a great and funny acting debut.

Steez: Shoutout – thank you so much. So, this year is just about expanding on everything, but mainly what’s next for us is, in Jesus’s name, a global takeover. In every spectrum and in every way possible!

The post [Cover story] The Evolution of MajorSteez appeared first on HYPE Magazine.

[Cover story] A-Reece: The hero turned villain

Lolly — Fri, 22 Dec 2023 17:17:56 +0000

This story appears in HYPE magazine #37, available here.

A-Reece: The hero turned villain

The big-hearted bad guy

Words: Lesiba Mankga

Images: Black Milk Studios & Mishaal Gangaram

How does one begin an introduction to arguably one of the best rappers of our current generation? What would be a fitting introduction to an album that transcends music and exists in the plains of a movie score for the biopic that is A-Reece’s life? The answer is that there isn’t one best way to do it. So, I will simply say this: enjoy the cinematic experience that is the story of the big-hearted bad guy – a sonic biopic directed and curated by A-Reece.

A BIG HEART

Coming from the hood is somewhat of a double-edged sword, but such is the nature of life, and you have to take the good with the bad and the yin with the yang. I say this because, despite the negative socio-economic connotations that come with life in the townships, there are positive aspects that come with growing up in such an environment. Taken from the saying “We making it out the hood”, there is a sense of brotherhood that comes with being from a place with fewer opportunities. Although this might be in stark contrast to the crab-theory narrative that has been pushed among township communities, the division in townships across the country leads to groups or cliques forming. A-Reece was part of one such crew known as The Wrecking Crew, abbreviated as TWC. “I am just naturally a nice guy, and I wanted to bring everyone with me and give them the opportunity to become as successful as I wanted to be, but along the road, things change and real n*ggas end up alone,” says A-Reece.

The crew formed when A-Reece left his label at the time, Ambitiouz Entertainment, to pursue a career as an independent artist. Although one might think that A-Reece’s career was always set in stone, as destiny would have it, that wasn’t the case at that juncture of his career. Naturally, independence is no easy feat, and it came with its own fair share of trouble; however, that is where the magic existed, and A-Reece created one of the most pivotal projects of his career under those circumstances. With all eyes on him, he released From Me To You & Only You and that album marked the beginning of his reign. “I credit my independent success to me leaving the label as early as I did. If you look at the music I was making before I left the label… I was basically doing everything. They had me rapping in Zulu, they had me doing club records, they had me doing singing records, but looking back at it now, I’m grateful for those moments because they stretched my palette.”

At this time, he was still the big-hearted guy, and that aspect could be felt in his beat selection and lyrical context. The album is filled to the brim with beautiful melodies and singalong tracks, with each track having the potential to be a lead single. On the intro song of the album, ‘The Promise Land’, a much younger and more jovial A-Reece can be heard on the chorus singing, “Okay, now we made it! Roll one with my n*ggas, and I scream out loud, we made it!”

As great as his ascension was, the journey to who A-Reece is today wasn’t a straightforward dash to the end destination. Of all of A-Reece’s albums, none received more criticism than the follow-up to his debut album, Reece Effect. The public lambasted him for his seeming reluctance to collaborate with artists outside of his inner circle. This was a pivotal moment for A-Reece because his big heart may have gotten the best of him.

THE VILLIAN ARC

What makes a villain? What motivates them to behave in a villainous manner? Some of the best villains in films have all had valid reasons for their outlooks on life. The Joker became an erratic figure due to how he was treated in his earlier life, and a similar comparison can be found with A-Reece. He only became a villain as a result of being betrayed by those he trusted dearly. Following the unfortunate split of TWC, A-Reece felt as though he was made out to be a villain by those closest to him. While others were speaking on public platforms about the split of the crew, A-Reece remained silent, and his silence was viewed as an admission of guilt by the public at large. “I realised that I didn’t owe anyone an explanation. I don’t need to confront everyone about what is going on. Sometimes it’s just better to leave things the way they are and let those people expose themselves from a distance,” says A-Reece.

Seemingly tired of all of the controversy and narratives that were imposed on him, A-Reece’s silence grew into contempt and resulted in him embracing his new role as a villain. It is important to note that A-Reece’s transition to the “bad guy” was not immediate. We started to see glimpses of it in his sonic exploration of Today’s Tragedy, Tomorrow’s Memory, commonly referred to as TTTM. “I feel like I am the big-hearted bad guy in real life. Having been part of this industry for the past six or seven years, that’s what I have been turned into (a bad guy), whether it was voluntarily or involuntarily,” says A-Reece.

Let me paint you a picture of A-Reece’s position at the time. Having remained silent throughout the noise that was being made about him, yet again, all eyes were on him as the game was eagerly awaiting his upcoming mixtape. The release of his mixtape caused shock waves throughout the game. No one anticipated A-Reece to come out with an unapologetically rap tape. “I earned my stripes. I went through all of the hurdles and difficulties, and that’s why I can talk my sh*t.”

This was no longer the same A-Reece who was naive to the sinister intentions of people in the City of Gold, that is “Gollywood”. The album saw a more mature A-Reece in contrast to the Reece that we heard on From Me To You & Only You. The production and lyrical subject matter carry more of a brooding nature in comparison to his previous records. Whereas those he formerly associated with went on press runs, A-Reece responded the only way he knew how – through music. TTTM was adored by fans and critics alike, further cementing his place in the figurative rap hall of fame, but paradise wouldn’t last for long…

THE BAD GUY

“When I was a big-hearted guy, I always felt like it was my responsibility to confront the issue or confront whoever the person is that I might have a problem with or the person who has a problem with me,” says A-Reece about being considered a bad guy. Much like the majority of his career, fans were eager to see how A-Reece would follow up his last project, in this case, TTTM. The only thing more difficult than releasing a sophomore album is releasing a sequel to an already perfect product. That is the mountain of a task A-Reece was taking on when he announced that he would be releasing a P2: THE BIG HEARTED BAD GUY. As much as fans were excited by the idea of a sequel, they weren’t sure which A-Reece they would receive on the album and how it would stack up against his debut offering, Paradise.

At the listening session for P2: THE BIG HEARTED BAD GUY, we were all mesmerised by the menacing keys on the intro song. The eerie keys filled the room, and from that moment on, we all knew that we were going to receive an A-Reece that we hadn’t seen before. The skit at the beginning of the intro accurately describes A-Reece’s state of mind when the voice-over artist says, “Do you understand what comes with being who I am? My heart wouldn’t fit in that chest of you.” With the meaning that had anyone been in the same shoes or faced the same circumstances that A-Reece has faced, they would have done no better… or even worse, for that matter. “I wanted the album to have a gangster-esque aesthetic. I wanted the imagery to support the sound of the album,” says A-Reece about the cover art and overall sound of the album.

‘THE RUN’ is the second song on the album, and it continues where the intro left off with menacing keys and horns as A-Reece raps, “Stuck to the plan and I kept this sh*t in motion. Self-preservation over self-promotion.” These opening lines are in stark contrast to the A-Reece we saw on Paradise, the debut album. He carries a level of understated braggadocio that can only be expressed once one is settled in their career and in their stylistic approach as an artist. There is a sense of freedom that comes with embracing who you truly are. That certainty of who he is is the golden thread throughout the album and his braggadocio comes off as more confidence than arrogance.

THE EVOLUTION OF HIS SOUND

In 2016, A-Reece was a bubbling artist who had a lot to prove in the broader South African landscape. His debut album, titled Paradise, consisted of a number of hit singles like ‘Kena’, ‘Paradise’ and ‘Zimbali’. They were all well received, catapulting A-Reece into the minds of South African hip-hop listeners and making him a household name. Despite having disdain for the type of sound he was producing at that point in his career, it gave him commercial viability. His label at the time, Ambitiouz Entertainment, was the creative director of his art and taught him how to deliver a product that would appease the general populace and hip-hop heads alike. With that being said, Paradise was neither the sound nor the image that A-Reece wanted to develop into for the foreseeable future of his career, with a song like ‘Make Up Your Mind’ being the epitome of everything he didn’t want to be.

Widely regarded as some of his finest work, From Me To You & Only You is A-Reece’s first solo endeavour following his leaving the label Ambitiouz Entertainment, and an overbearing pressure was placed firmly on A-Reece’s shoulders. Needless to say, he delivered when it counted most by crafting a beautifully melodic offering filled with enchanting instrumentals and raps to match. From a writing point of view, the album saw A-Reece mature his pen in comparison to that of Paradise, covering a new spectrum of subject matters, such as his ambition to achieve greater feats in his life. One could feel the fire in him to establish himself as one of the select few artists who could be considered the best outside of Cassper Nyovest and AKA. One can point to a number of songs on the album that display both his lyrical prowess alongside his ear for melodies, but I will point you to the song ‘Pride’, featuring Rowlene. This is where he touches on how having too much pride could lead to one missing out on the wonders of life.

Reece Effect was the album in which we started seeing hints of the current-day A-Reece. Firmly established in his career, the album was somewhat of a victory lap, producing something that isn’t necessarily radio friendly and carried an overall moody hue, which is in stark contrast to the melodic version of A-Reece we received on From Me To You & Only You. It also came with a new air of confidence, delivering understated tones and raps that see him talk about wealth and women in a way we had never seen before. Solidified in his career and at the peak of his powers, and with a fan base to match, A-Reece seemed untouchable at what we thought was the pinnacle of his career.

Following Reece effect, A-Reece took a brief hiatus from music before he went on to release his critically acclaimed mixtape, Today’s Tragedy, Tomorrow’s Memory. The album opens with the song ‘MARK 15:35’, which sees A-Reece evolve yet again. This time into his final form. The song sees Reece exit his own universe and see life from a broader perspective. No longer does he view futile rap beefs as “problems”. This viewpoint came as a result of talking to people around him about deeply personal issues. Nowhere else is this more prevalent than on the song ‘No Man’s Land’, where we see A-Reece detail the struggles of a person stuck in a loveless marriage and a job with no future prospects. No longer do we hear a rapper in love with the superficial aspects of life, nor do we hear the same kid who was once concerned with the vanity of money and women. That leaves us at the end point of his catalogue: P2, the sonic biopic.

THE BIOPIC

P2: THE BIG HEARTED BAD GUY is more than just an album. It is a sonic experience that sees A-Reece direct and feature in his own biopic in the form of a sonic expression. Instead of experiencing it as a film, it reverberates in the ear of the listener. Each song in isolation may seem disjointed, but as a body of work, the album is clear in its escapade. A-Reece strikes a jaded and aloof figure in the game, and he vividly details why and how that perspective came to be. Drawing inspiration from classic gangster movies like The Godfather, A-Reece moulds the thematic golden thread throughout the album. The gangster movie influence can be felt in the dense production, almost as if the album is meant to be consumed in a cigar lounge.

The gangster movie reference goes beyond just a thematic reference point. It goes as far as how A-Reece mentally approaches life. Rather than reluctantly accepting the role of the villain, he fully embraces it in the same way The Godfather knows he plays the role of a villain to some and the role of a hero to those close to him. This code of honour that A-Reece lives by can be felt particularly on the song ‘BETTER NOW’ where he speaks on how an individual betrayed his trust and the sanctity of their friendship, rapping, “Calling it a friendship when you treated it like business. Stop acting like it’s all love when you know it isn’t.”

This story appears in HYPE magazine #38, available here.

The post [Cover story] A-Reece: The hero turned villain appeared first on HYPE Magazine.

[Cover story] Una Rams: A Lovers Tale

Lolly — Thu, 16 Nov 2023 10:55:39 +0000

This story appears in HYPE magazine #37, available here.

The Story of Una Rams: An artist finding his way into our hearts

Balancing a busy life, Grammy Award-winning Una Rams was born into a life full of music and love.

Words: Eatzz

Images: The Children of Midas

Una welcomed me into his lovely luxury apartment, located north of Johannesburg. He offered me some litchi juice, cookies, Wi-Fi and anything else to make me feel more comfortable. The crazy part of our conversation is that he started it by asking me a lot of questions about myself. This was a way for him to gauge my level of comfort in his space, and I appreciated that. His upbringing has played a role in shaping him into who he is today.

YOUNG UNARINE

Hailing from Makwarela, Limpopo, Unarine Rambani, the third child of six children in the Rams dynasty, started making music at the tender age of nine or 10 when he was exposed to a lot of music through his uncle, who was very involved in the gospel industry. He also saw his older brothers write and perform music; they were heavily involved in inspiring Una to partake in using songwriting as a medium of expression, and they later decided to start a boy band. He states that the content he consumed as a child was pivotal in growing his passion for making and performing music. “I was watching a lot of TV and it was a lot like Disney content. So, you’re growing up, and Cartoon Network [is on]… way back in the day. But at that time, what you’re hearing on TV is that you can be anything you want. And my family’s only affirming that. So I always was a big dreamer.” I gushed as he said this.

“I have an eclectic taste, which means I gather inspiration and influence from different spheres.”

“So, it’s Grade 4, and I’m writing my first-ever verse with my brothers, and we burned it on a bunch of CDs, then we went out and performed at our church and school. I remember we had this performance at my primary school. It was the year-end event, and usually, I shine. We had these jumpsuits on… the CD wasn’t playing, and my brother decided to beatbox when we only had one mic. It was so funny, but we made it work.” Una reminisces, as I die of laughter.

Raised by educated parents who were both teachers, he had to prove himself as an academic to convince them that he could also pursue his passion for music. “When I told them I wanted to do music, they were like, what about your grades? And I said, okay, let me prove myself. And when I showed them that I could do school and what I loved, they started supporting me. So I felt like I didn’t need to choose between one or the other,” Una says sincerely.

He also used to write poems and recite them to his mother. He smiled as he remembered that she would immortalise some of his childhood writings by printing them out and putting them into a flip file. Una also displayed a deep love for computers growing up: “I loved computers; I always told my mom in Grade 3 that when I grew up, I wanted to work with them. She always said it’s because when she was pregnant with me, she used to give computer classes. There was also a white dude who used to come to my house due to my parents’ affiliation, and he was really friendly. He brought a PC with a game that he actually made, and I was like, ‘Wait! What? You can make games?’ So in that moment, I was sure that I was going to work with computers.”

A GROWING RAMS

His current corporate backing has been key to him finding himself in his art, as he says, “It’s taught me a lot of discipline. And it’s kept me afloat. I never wanted to be a struggling artist. And think, as you’re pioneering something and building something, it takes a while for it to really hit that mark. So this has been like a good thing to hold me down. As I’ve figured out my place. My dream job would be no job.”

“I dropped ‘bebé’ featuring Tron Pyre. This was inspired by C-Tea who recently got married in Ghana and invited me to the wedding. He kept calling his wife, Bebé, and I took it as the hook. I was low-key manifesting my next love interest.”

As his self-confidence and passion for performing and making music grew, Una finally had the courage to get his first solo song as he taught himself to make beats on EJ (audio software similar to Fruity Loops). “The first time I released was in Grade 8 or something, and that first night, I got like 1,000 downloads on Datafilehost. I also loved dancing a lot and was in a dance group with some of my peers and friends in high school.”

Una is one artist who can’t be necessarily boxed, as he has made multiple music appearances on hip-hop, R&B, Afrobeats and Afropop songs, with his preference being R&B. “In essence, R&B is very soulful and has some of the most beautiful chords, progressions and writing. And those are things I consider high priorities when I’m making and creating music – how it’s gonna feel. And love is something I was always taught, whether in the church or at home. Something I just want to see around, be it romantic or just platonic amongst friends and whatnot, just people loving each other. And that’s the vibe,” he states gleefully, while some oldies are playing in the background. “Yeah, so I have an eclectic taste, which means I gather inspiration and influence from different spheres.”

When it comes to the music business moves and overall sound, he looks up to Drake. For the revolutionary musical ideology, he looks up to Kanye West and Pharell, and to Frank Ocean, and states he loves just how he moves in general. As he mentions Musa Keys, I interject and point out that they have a similar fashion sense, which caused him to chuckle a bit. “I don’t know if it’s similar. He has this distinct style, you know? It’s just always fun seeing someone else having fun with the outfits.”

C-TEA, THE 40 TO HIS DRAKE

As he focused on his high school career to acquire the grades he needed for his parents to approve of him also pursuing music, Una’s older brother Tondi was studying at EMENDY, a sound engineering school in Pretoria. He played quite an important role again in introducing Una to a producer by the name of C-Tea, who told the then-17-year-old that if he ever wanted to make music together, he must hit him up anytime.

“When I started my first year at the University of Pretoria, that’s where I hit him up. And I’m like, yo, I want to take you up on that offer. I went over to his house, and we recorded a song called ‘All Out’, like before trap was booming. I remember going to the studio session. I had my last R20 or something, and after recording, I was so excited… we were all in the mood and feeling the tune. I had to call my dad and be like, ‘Yo, can you send me some cash?’ And he did.” Una giggles at this memory, and we burst out laughing when I mentioned he actually “went all out”, like the song he recorded.

“I went over to his house, and we recorded a song called ‘All Out’, like before trap was booming. I remember going to the studio session. I had my last R20 or something, and after recording, I was so excited… we were all in the mood and feeling the tune.”

UNCUSS

This was his first experience with a professionally recorded song, which he put out on Datafilehost. The song also got a lot of downloads, and he scored a few small gigs around his university as he saw the fruits of his labour. He started making music with his fine arts creative designer and director, Wonke “Abucus” Lepheana, which birthed a collab tape for one of his art exhibitions. Abucus would send Una some beats, and Una would create a song. “I made a makeshift studio in the garage at home. I had the mixer from church and the mic from church, and I’d figured out a way to connect it to the computer. And then, I just got a hanger and my mom’s leggings, and I made a pop filter.” Una couldn’t hold back his laughter as he detailed this; he continues, “And I’d record my verses, and like, it was recess, so I could just go in the whole time. I’d call my siblings over to come listen to what I was doing and send it back to him, for about a week.”

This session birthed the Uncuss tape, which was taken from their stage names, UNa and abuCUS; this was in 2017. “There’s some old videos on YouTube that you can check out because I was rapping. I was talking about stuff that was happening in my life. Like how I saw politics and, you know, my uncles and friends passing and dealing with grief at that time. Yeah, that’s when Abucus and I made ‘Pink Moon’,” Una elaborates.

RAMMING HIS WAY IN

He got his first major playlisting from DJ Doowap, who at the time had a show on YFM, and Una decided to submit a song he made with C-Tea in 2018 called ‘Nobody’, which she loved so much that she playlisted him on her show. This was a major turning point for Una’s musical career. “It definitely opened up new sets of possibilities in my mind, which made me go and approach new opportunities. Like, ‘Oh, yeah, I can play on radio’. So I started looking for more places to submit where I would mention that my song was played on YFM and it’s currently at the top, whatever. They’d jump onto it,” Una states.

His first official solo project, Wavy Baby – EP, is a soothing, experimental EP where Una explores his sensual side as he addresses various love interests, his self-love journey and explores his love for poetry, unlike his rapping ability that he touched on in his first single on DSPs called ‘Monies’, which he co-created with C-Tea. The tape features SAHHA winner and critically acclaimed singer, Thabsie, on the intro ‘Good Intentions’; his frequent producer and vocalist, C-Tea; Nigerian singer-songwriter and actress, Seyi Shay, on ‘Murder’; and creative artist, producer and renowned writer, Misa Narrates, on ‘Eden’.

As an independent artist, Una Rams is part of the cohort of African artists who got scooped by Platoon, even though it came a bit later after he researched better ways to put his music out. He sent his music, artist profile and any important information to be considered by the Apple distribution company, and they were eager and keen to sign him, and eventually, he dropped hold me when it’s cold: a mixtape in 2021.

HOLD ME WHEN IT’S COLD: A MIXTAPE

This mixtape sets the tone for his intriguing rise to being R&B’s most valuable player and his exceptional attention to detail. As the title goes, this is a project that aims to reveal the types of emotions one goes through when wintertime comes around, both literally and figuratively, in relationships. The features are as impressive, with R&B’s most notable singers like Mikhalé Jones, Nanette, Langa Mavuso, Lucille Slade and alternative trailblazer Muzi, hip-hop superstar, Blxckie, and Mizo Phyll with Maeywon, who helps Una bring his consistent vernac bag as he sings in Tshivenḓa on ‘ndo tou rali’ which means “as I am”.

Una Rams has made a lot of notable appearances: ‘No Stress’ by DJ Speedsta; Muzi’s ‘Chocolate Dreams’; Shekhinah’s ‘Pick Up’; Tyson Sybateli’s ‘Homecoming’; and MashBeatz’s ‘888’ plus ‘CANNOT STOP ME’ to name a few.

After he was featured on a song called ‘Flava’ by Black Coffee in his 2021 Grammy award-winning album, Subconsciously, Una also earned a Grammy award to his name.

He definitely shined through each feature as a star vocalist and writer whose lyrics are often well sophisticated and relatable while balancing his versatility. He has been on my radar since, as all his releases and collaborations have had a major impact, and I could not deny the Una Rams brand any longer.

THE CUDDLE PACK

Now that he has my full attention, it’s not hard to notice that Una is definitely preparing his audience for something new. As one of my favourite rollouts this year, Una Rams started the Lovers & Friends series that features comedian Primo9teen as “Dr Thando”, who plays a charismatic host, while Una Rams plays “Pr!nce”, a confident singer and ladies’ man. “So I dropped ‘bebé’ featuring Tron Pyre. This was inspired by C-Tea who recently got married in Ghana and invited me to the wedding. He kept calling his wife, Bebé, and I took it as the hook. I was low-key manifesting my next love interest.”

With the next instalment of hold me when it’s cold, the Cuddle Pack aims to unlock the fully fledged lover boy by Una Rams as he channels his alter ego, Pr!nce.

“Track one is this song called ‘2am’. I co-produced this with the duo London Rhodes – that’s Christer and Loud ‘Vogan’ Fourie, and discovered this brilliant, talented vocalist on TikTok. His name is Sandile M. The aim was for Sandile to lay angelic vocals, and Rowlene managed to link up with me, and I’ve wanted to make a song with her for the longest time because she has this way of writing and layering her vocals so beautifully. And she completely ate it up.”

‘S.O.S’ is the second song, and it is quite a well-layered duet between him and Mikhalé Jones, where they both sing from a relationship point of view of how they need each other or their respective lovers, the romantic levels of treatment they receive, and how they reciprocate the love.

Next is ‘Body Party’, which is this monster of a song that sounds something reminiscent of Timberland. “Yeah, and that’s something I made with Zeke, it’s just me on the track vocally, but Zeke worked his magic and even added additional vocals; it’s just insane to hear and experience. Even the video, we shot it like that, reference or inspiration for that was like Hype Williams, so your Missy Elliott vibes. And I think we captured the essence of it in a way so I’m excited for people to get that too,” Una states, as he enthusiastically takes me through each song.

Track three is ‘bebé’, a song that took a lot of challenges to come together as they suffered a lot of technical issues even after it was created and done. It came out as an R&B anthem of two lover boys, Tron Pyre and Una, to detail a serenade to the one they love currently.

Ammo Moses is the final feature on the last song called ‘Pull Up’, and he lays his soulful, creative vocals that has Una Rams taking inspiration from his South African roots while including his grandparents’ vocals to add a sense of family and unity to the song.

The entire Cuddle Pack will be available on 19 November, which I cannot wait for. Everyone who’s in tune with Una is in for massive surprises, as he has set visuals for most of the tracks on this mixtape, which he plans to work with notable creative directors like The Children of Midas.

This story appears in HYPE magazine #37, available here.

The post [Cover story] Una Rams: A Lovers Tale appeared first on HYPE Magazine.

[Cover Story] Mochen: The Street Scribe

Lolly — Tue, 17 Oct 2023 13:32:49 +0000

This story appears in HYPE magazine #36, available here.

Mochen: The Street Scribe

For our November issue we delve into the story of burgeoning rapper Mochen, a young stalwart of the game who is quickly taking the Pretoria rap scene by storm.

Words: Boitumelo Molamu

Images: Godfather The President & Percy Kanon

It comes with no argument that Pretoria has been flexing its dominance when it comes to giving birth to talent, especially when it comes to rap. At some point, the capital city was associated with the ’piano sound; however, after the successful rap career of 25k, rapping in vernacular, the floodgates were opened, as more creative talents found their way into the mainstream. One such talent is Mochen. Armed with an ethereal pen, he documents the realities of growing up in Pretoria. His authentic story-telling is what has turned the burgeoning rapper into a young stalwart of the game, gaining critical acclaim from his peers and critics alike.

THE CITY

A new wave – “wave” might be an understatement; it’s been more like a tsunami – of young rappers have come into the light. These young rappers have merged vernacular rap with hard-hitting trap that represents the city. “With Pretoria, it’s not just about the music; it’s not just Pretoria rap, it is the culture,” says Mochen, over a 6pm Zoom call. “If you come to Pretoria, we have our language, our way of doing things; we have our homegrown brands like GalXBoy, we have homebrewed sounds like Bacardi and, most importantly, we have stories that are unique to us,” he continues. After winning Artist on the Rise 2023 by Homecoming Events, a Pretoria-grown events agency, Mochen has been on the explosive rise, securing features on the Wordz album People Forget to be People, as well as Tyson Sybateli’s mixtape, Present. With all of this in just a year, the Pretoria-bred rapper seems to be an industry favourite. “I feel like with what’s happening this year, the conversation has changed. Right now, it’s no longer just about being worried about tapping into the industry or making good music to just keep the momentum going, but the conversation this year has been about the music business,” he explains.

THE OPPORTUNITY

Despite not having a major project out, the young rapper has managed to receive co-signs from some of the biggest artists in the industry, while cultivating a niche audience on social media. With that being said, it is hard to imagine the dopamine that could rush through one’s head. After almost missing out on the Homecoming Artist on the Rise competition, the rapper had to put his pride aside. “Let me just say ego played a huge role in me initially thinking I was at a level where I didn’t need to be competing against other people, because I have a young cult following on Facebook, Instagram and Twitter, as well as being friends with big artists in the industry and already having features in songs with them,” explains Mochen.

“WITH PRETORIA, IT’S NOT JUST ABOUT THE MUSIC; IT’S NOT JUST PRETORIA RAP, IT IS THE CULTURE.”

He would later come to his senses, not for the money or even for the clout that would come with winning, but because of something else: “I knew that this thing was going to help me because they made it clear what we were getting from the win, such as legal services. I did not even think a lot about the cash price – free legal services was top of my mind because who else is going to give you that for free? And I need that, especially while I’m getting deeper in the game.”

THE CONTEXT

Despite not having a catalogue of music, Mochen has maintained consistency when it comes to producing exquisite features and freestyles and, like for most Pretoria rappers rapping in vernacular, the content can feel repetitive and not necessarily from Mochen’s catalogue but from the city’s output. Never mind it being a culture, a substantial amount of Pretoria rap contains graphic descriptions of environments and situations that young black men of the city find themselves in on a regular. “As I said, these are stories unique to us,” he explains. “Most of us are rapping from what we know, what we’ve seen and what we’ve experienced, and it’s unfortunate that most of our stories have those tones,” he clarifies. As the Pretoria rap scene expands and more artists get to experience success, the switch in content is inevitable. “Eventually, more and more of us will grow and live beyond our areas where we grew up, and we’ll tell the stories of how life has changed.” Mochen adds. He then continues to acknowledge the theatrics of the content, saying: “I think, right now, the gangster stories are fascinating to people; it’s entertaining for those who are listening, especially coming from the point of view of people from Pretoria.”

“I’VE ALWAYS KNOWN THAT I HAVE SOMETHING THAT PROVOKES PEOPLE AND, WHEN I PUT OUT MUSIC, I MAKE IT APPEAL TO PEOPLE SO THAT IT EVOKES SOMETHING IN THEM.”

THE CRAFT

Most would feel the urge and pressure to take advantage of the success of winning the Artist on the Rise competition and a feature on ‘Barker Haines’, alongside Wordz and Maglera Doe Boy, in a short space of time. Despite there being a substantial amount of hype from winning the competition, Mochen carries a sense of calm and remains focused on honing his craft. There is a strategy behind his reluctance to flood the market with verses, singles and projects. “One thing about me is that I’ve always known that I have something that provokes people and, when I put out music, I make it appeal to people so that it evokes something in them,” Mochen explains. “I want people to hear and see my work, especially when I put out something that I hold close to my heart, that I feel is my best work,” he continues. This dedication, focus and obsession with perfection, and overall wholesome energy of Mochen, have made him a favourite to collaborate with, appearing on songs and projects with the likes of G-TECH 2bit, Tyson Sybateli and Wordz. There is a sense of unity when looking at how Pretoria artists move and collaborate in a larger context. “I’ve always been about building community, especially having been around amapiano guys,” he continues. “The way they move and the collaborative spirit they possess are things I want,” says Mochen. For him, a lot has changed in the space of a year; however, the essence of what makes him a phenomenal artist is still prominent, and it wouldn’t be far-fetched to assume or predict anything but success in his career in the coming years.

This story appears in HYPE magazine #36, available here.

The post [Cover Story] Mochen: The Street Scribe appeared first on HYPE Magazine.

[Cover Story] 25K Unplugged: From ‘Culture Vulture’ To New Heights

Lolly — Mon, 18 Sep 2023 15:16:57 +0000

This story appears in HYPE magazine #35, available here.

25K Unplugged: From ‘Culture Vulture’ To New Heights

For our September cover issue, we talk to Pitori’s very own 25K. In this issue Kilo talks about the Pretoria rap scene, his role in the game and his upcoming album.

Written by: Lolwetu Pakati | Images: Black Milk ZA

In the heart of Saulsville, Pretoria, a raw, lyrical storyteller named Lehlohonolo Molefe emerged from the shadows. Known to the world as 25K, he’s no stranger to adversity and resilience – a rising star who found his footing through the tumultuous waves of the music industry. From freestyling in the GalXBoy Store to gracing stages with the likes of Cassper Nyovest and AKA, this Pretoria native is primed to release his highly anticipated sophomore album, which is a testament to his unyielding commitment to his craft.

Nestled in the heart of the township, a young 25K found himself immersed in the rich tapestry of his upbringing. Here, he confronted the stark dichotomy of existence, where the harsh realities of his environment, from gang violence to chilling murders, provided the backdrop for the opening lines of his evocative track, ‘Culture Vulture’, a poignant reflection on a friend’s imprisonment for a life-altering crime. Amidst the turmoil, his hood became more than just a place of residence; it was a vessel of community and acceptance – the very vessel that would shape the man we know today. Every relationship, each fleeting encounter and every profound engagement etched a unique chapter in the captivating biography of 25K.

A STAR ON THE RISE

Let’s rewind to the pivotal moment when 25K’s star began its ascent. The Homecoming Events Artist On The Rise competition was a pressure cooker of talent, where emerging artists battled for their moment in the spotlight. In a sea of aspiring performers, 25K’s raw talent and unique storytelling stood out from the rest. It was here that 25K laid the groundwork for his journey towards stardom. But it wasn’t just competitions that bolstered his reputation. He demonstrated his distinctive flow at GalXBoy Freestyle Fridays, held at the GalXBoy Store in Hatfield, Pretoria. These freestyle sessions weren’t solely about showcasing talent; they served as a testing ground where artists could exhibit their capacity to engage intimately.

‘CULTURE VULTURE’ AND THE BIRTH OF A PHENOMENON’

As 2019 ended, 25K’s life would change forever with the release of the ‘Culture Vulture’ remix. This track wasn’t just a song – it was a cultural movement; a response to what he perceived as a stagnation in South Africa’s hip-hop scene. The track was bold and unapologetic, and injected a fresh dose of creativity into the genre.

Within the dynamic soundscape of contemporary hip-hop, 25K emerges as a striking and innovative figure. His distinctive approach to the craft represents a breath of fresh air in an increasingly crowded genre. 25K’s hallmark style weaves a captivating melodic thread through the tapestry of trap beats, offering a unique auditory experience.

A quality that is unique to Pretoria rappers is their ability to pack a lot of words into their bars. What sets 25K apart is his ability to introduce a refreshing element of simplicity. His verses take on a sing-along quality that sets him apart. This becomes evident in tracks such as ‘Dagwood’, ‘Apple Soda/Record Deal’ and his collaborative effort, ‘Quarter to Six’, featuring Maglera Doe Boy. 25K’s ability to infuse harmony into his compositions is a testament to his artistry.

“I feel like, now, we’re in an era where I’m way past being on a freshman’s list or being an up-and-coming artist.”

‘Culture Vulture’ not only caught the ears of hip-hop enthusiasts but also piqued the interest of industry heavyweights Cassper Nyovest and AKA. Both artists recognised the potential of this rising star and decided to feature on the ‘Culture Vulture’ remix alongside Emtee. This was a pivotal moment – a stamp of approval from South African hip-hop royalty. With his breakthrough track, 25K received the South African Hip Hop Award for Best Remix, signalling his arrival as a force to be reckoned with in the industry. The accolade wasn’t just a trophy; it was validation that he was on the right path – that his unique brand of storytelling was resonating with audiences far and wide.

In a world where the music industry is in constant flux, and where trends come and go, 25K has managed to retain his relevance and influence. Inking a record deal with the African subsidiary of one of the three largest global record labels, Sony Music, was a testament to his stature in the industry.

His reign continues with him jumping on the undeniable chart-topper, ‘Sosh Plata Remix’, by Loatinover Pounds – a track that has cemented his status as one of the biggest names in the music scene. But beneath the fame and accolades lies a young man who understands the responsibility that comes with success.

THE MENTOR AND THE PROTÉGÉ

Next, we delve into the partnership that 25K shares with multi-platinum producer and mentor Zoocci Coke Dope. Together, they have ventured into uncharted sonic territories, shaping not only the music but also each other’s understanding of the very essence of sound.

It’s a relationship that speaks of mentorship, kinship and a shared passion for the craft that binds them together. “He’s someone I look up to like a brother, firstly, before the music,” 25K reflects and, in those words, you can sense the depth of their connection. Their journey began long before the spotlight, in the humble hours of self-discovery. As 25K navigated the labyrinth of the music industry, Zoocci (who he affectionately refers to as “Zoo”) was a beacon; a guiding light in a world fraught with challenges.

In the hallowed year of 2019, destiny intervened, and their paths converged. A simple outreach from Zoocci sparked a creative flame that would soon engulf their artistic spirits. “I feel like I used to look up to Zoo when he was still putting out music and I was still trying to figure it out. So, in 2019, when he reached out to me, we just started making songs and then we had an idea to make the album. A couple of sessions in, we decided that we were heading into the direction of what the album was going to be like. So, ever since then, it’s always been a thing of I’m learning from him because, before I met Zoo, I just used to be too invested in producing. I still do now, but it works better now if I can focus on the raps and learn from a person like Zoo who is a multi-platinum producer. I still haven’t produced my records, so being in the studio with him teaches me lot about the production side of things, in terms of sound engineering and the theory of music. I think that working with him is one of the wisest things that I’ve ever done for my career. I appreciate Zoo for that.”

As he reflects on his journey, 25K shares his thoughts on the role he plays in the South African hip-hop ecosystem. “I feel like, now, we’re in an era where I’m way past being on a freshman’s list or being an up-and-coming artist,” he says. “But I feel like in Pretoria, especially, there are a lot of up-and-coming artists who are even younger than I was when I was coming up. I feel like it’s very important to bridge those gaps when it comes to mentorship and sharing advice that you might have.”

For 25K, mentoring the next generation of artists is more than just a passing interest; it’s a duty he takes seriously. He understands the challenges that aspiring artists face, having navigated the treacherous waters himself. “I want to give good advice to the upcoming artists, so they don’t end up in the same situation, because we had it hard, and the OGs definitely had it harder than we did,” he reflects.

In a music industry that can be unforgiving, guidance from someone who has walked the same path can make all the difference. 25K’s role isn’t just about sharing wisdom; it’s about simplifying the complex game of the music industry – making it more accessible for the next wave of talent.

“I feel like, now, we’re in an era where I’m way past being on a freshman’s list or being an up-and-coming artist. But I feel like in Pretoria, especially, there are a lot of up-and-coming artists who are even younger than I was when I was coming up. I feel like it’s very important to bridge those gaps when it comes to mentorship and sharing advice.” that you might have.”

THE DEBUT THAT DEFINED A NEW SOUND

Before we explore the highly anticipated sophomore album, it’s essential to revisit the debut that laid the foundation for 25K’s career. Pheli Makaveli was more than just an album; it was a statement. The gold-certified intro track, ‘Pheli Makaveli Intro’, was just the beginning of a journey that would lead to numerous hits.

The album featured collaborations with some of the biggest names in South African hip-hop, including Emtee, Maglera Doe Boy and R&B sensation FLVME. ‘Hustlers Prayer’ featuring A-Reece was a standout track, showcasing 25K’s ability to connect with listeners on a deeply personal level.

When asked about the significance of his debut album, 25K reflects: “I feel like it is very important for an artist to have a strong debut album, and I feel like that was what Pheli Makaveli was to me. It kind of gave me the foundation now to feel free to collaborate with other artists.”

The journey of an underdog often presents formidable challenges. In the eyes of 25K, he now identifies as an established artist who has firmly left behind the underdog status. He has successfully transitioned from the phase of emerging talent to becoming a prominent figure in the South African music landscape.

Nonetheless, it was only a few short years ago that 25K found himself engaged in a spirited pursuit, vying for recognition as the next significant artist within the dynamic South African music scene. Reflecting on that pivotal period, he shares: “A part of me really believed that I would reach the heights of me being recognised as one of the contributors in terms of hip-hop, because I always felt like, coming from Pretoria, I had something different to offer to the game on a mainstream platforms, because I felt that most artists from PTA couldn’t really make it outside of the region of PTA and Gauteng as a whole. I had some hope in me that I would reach these heights.”

“A part of me really believed that I would reach the heights of me being recognised as one of the contributors in terms of hip-hop.”

A SNEAK PEEK

Now, the spotlight shifts to 25K’s eagerly awaited sophomore album. While he remains tight-lipped about the album’s title, he offers a glimpse into what listeners can expect. “It’s more about growth and what it took for me to get to where I’m at. I’m also working with Zoocci on this one, so it’s going to be another crazy one. The approach is going to be different this time. It’s more mature raps, it’s more growth and just a recap of what happened ever since I came up in 2019 up until now. The sophomore is definitely also one for the books,” he explains.

This album marks a significant step in 25K’s artistic evolution. He’s not just a rapper or a singer; he’s an artist in the truest sense. “I feel that this project will really put a stamp on it and put it out there that it’s more than just rap at this point,” he asserts.

While 25K keeps his cards close to his chest regarding the full line-up of collaborators on this sophomore album, he does drop some tantalising hints. “Loatinover Pounds definitely is there,” he reveals. “After we did ‘Sosh Plata,’ I feel like he’s also heading in the right direction, so I had to have him on there.”

Another name on the list is Maglera Doe Boy, someone who isn’t just a collaborator but a brother in the industry. “That’s also one of the people in the industry who I look up to as a brother,” 25K shares.

And finally, Marcus Harvey, a gifted artist with a knack for melody, joins the ensemble. “Yeah, that’s also one artist I got to learn a lot from,” 25K says. “We are very similar artists; just, he’s more of a singing type of artist, but he does rap as well. So, I learnt a lot from him, especially melodically.”

With these collaborators on board, 25K’s sophomore album promises to be a sonic journey that transcends boundaries and genres. The maturity in his approach is evident, and he’s eager to showcase a more evolved sound.

THE LEGACY IN THE MAKING

As the curtain rises on 25K’s next chapter, the anticipation is palpable. In a landscape that constantly evolves, this Pretoria rap sensation stands poised to redefine the game once more. From ‘Culture Vulture’ to his forthcoming sophomore opus, 25K is more than a rapper; he’s an artist pushing the boundaries of creativity, a mentor guiding the future and an icon in the making.

So, stay tuned – the best is yet to come! 25K is not just a name; it’s a movement – a force that’s shaking up the South African music scene. And he’s just getting started. The journey from ‘Culture Vulture’ to industry maven is still unfolding, and we can’t wait to see where it leads.

This story appears in HYPE magazine #35, available here.

The post [Cover Story] 25K Unplugged: From ‘Culture Vulture’ To New Heights appeared first on HYPE Magazine.

[Cover Story] Wordz Unpacks His New Album

Lolly — Wed, 23 Aug 2023 07:31:09 +0000

This story appears in HYPE magazine #34, available here.

Wordz Unpacks His New Album

We talk to the Pretoria rapper about his latest album, People Forget to be People, his purpose, mental health and more

Written by: Boitumelo Molamu | Images: Supplied

Even with the backing of major labels, reaching number one on any chart is no easy feat. Pretoria lyricist Wordz has done it since the release of his 2021 debut album Product of a Praying Mother. His recently released sophomore album, People Forget to be People, debuted at number one on the Apple Music charts for albums.

Wordz has built something of a cult following. In People Forget to be People, he has taken on a new sound and incorporates Spitori in his raps – something completely different from the small projects released in 2019. The album’s lead single, ‘Barker Haines’, features Maglera Doe Boy and Pretoria’s next exciting act, Mochen.

On this new album, Wordz blends slow jazzy beats – touched by MashBeatz and Logical Rhymez – with storytelling, and this proves to be something special once again. We caught up with Wordz to chat about his music, future plans and life after the release.

Your first full body of work was released in 2019 and now you are on your sophomore album. Tell us about your career growth, and how things have changed since you started.

It’s been crazy. Even the way I make music… with my first album back in 2021, I was being expressive, but not deeply. I was still finding myself in terms of connecting more with my emotional side when it comes to my music. I was starting to tap in to that emotion and, as time went by, after I dropped my first album, when I started creating my current one, I wanted to tap in to emotions more because, when I listen to music, I look for connection first, and I wanted the same for my music. That’s how I’ve been growing over time – relating to people, listening to people’s stories and trying to conversate with more people for me to understand more about people in general, so that I can also understand more about myself.

Most people first got introduced to you through a collective, which at the time was The Wrecking Crew, later called the Rubberband Gang. Ever since your debut album, Product of a Praying Mother, you’ve been completely independent. How has it been, navigating the industry and the business alone, especially coming from a support base with the collective?

I’ve been doing things alone regardless of being in a collective. Yes, we moved in a collective mentality; however, when you’re in a situation, you get to understand that, as a person, you also have a responsibility for your own life. That being said, when I dropped my first album independently, it was me taking my life into my own hands, securing and cementing my position in my lane and my space. I don’t deny that people know me from The Wrecking Crew, because we did what we did, and it was amazing, but I also wanted people to know that I’m a bigger artist and not just me being part of a crew. Also, I realised that I had to pull up my socks and put in more work, because I no longer had spontaneous access to do a feature or song as I wanted. I needed to structure my things properly. Independence is so tough; I won’t even cap to you – the final results look good, but the work put in is hard.

“I’M ON THIS EARTH TO MAKE MUSIC, MAKE MY RACKS AND BE OUT. I DON’T NEED TO BE IN THESE DEBATES.”

As stated, Product of a Praying Mother was your first project after you parted ways with the collective. It’s fair to say a lot changed with this project, including your style of rapping – you started to incorporate vernacular. Tell me about the decision to make that change.

Yes, POAPM was the first time people were introduced to Wordz rapping in vernacular. Reason why I made the slight change was I decided to connect more with the people around me, because I knew I made good music, but people around me didn’t understand the type of music I was making. So, as much as I loved making the music I was making, I love making music for the people I live with even more. I wanted music that my mama could play, and that my uncle who lives somewhere different could also play, which to me means a lot. I think, as time went by, I also realised that there are a lot of people who know English but there are some people who connect more to a relatable language that they speak daily. And I learnt that while I was rapping in Spitori, I felt more connected to my music. It took a while for me to transition into that space, rapping in vernac; however, I also looked at the game and saw it was transitioning and starting to embrace vernac.

Tell me more about the making of Product of a Praying Mother, and the thought process behind it.

When I started making that project, it was directly after the crew disbanded and I usually don’t involve myself in those things; I’m on this Earth to make music, make my racks and be out. I don’t need to be in these debates. When I was making the project, I had a heavy heart and I felt like a lot of things were happening at the same time; however, besides all that, the key component that kept me up at that time was my mother’s prayers. That’s why I chose to name the project Product of a Praying Mother. As a reminder, I had to go back to myself and remember what was keeping me grounded as a person. I chose to speak of my experiences and all the things I was going through. I wanted people to connect more with me and know me for me. That album is a portion of my heart.

When you released POAPM in late 2021, we were still in the midst of the pandemic, and while we did get better, we were still figuring it out. I think that time was perfect for consuming music indoors and not necessarily live. POAPM felt perfect for the moment… would you agree?

Exactly. If you also listen to the music in that era, although people were making music for the club and whatever, it was more of a subtle approach because people were more alone, more entrapped with themselves in the house. Even when I made the album, I was alone, which is in my nature; I’m usually alone, especially after the crew because, when I have friends, those are my friends, and we do sh*t together, all the time. After the crew, I isolated a bit. For me, being alone has worked out. I find tapping in to yourself is very crucial, and those moments alone made me make the album, and it was good. Don’t get me wrong, time with myself is very important, but too much of it is also very dangerous.

Speaking about isolation and how it can be good and, at the same time, can have a negative impact on our lives… in the creative industry, we always preach mental health, but for us to take action seems to be a difficult thing, not so?

Exactly my point. In my case, I think making POAPM was best for me. Also, I take my mental health seriously. I usually work with Shifrogo Mental Healthcare Centre – I do some volunteering work there, and all those things. It’s nothing new to me because I grew up with mental health conversations in my house because my mom worked as a manager of one of the biggest mental health hospitals in Pretoria. I don’t need to just speak about all that, but I also want people to see that you need to be active and engage beyond just mental health for different disabilities. That’s why on the People Forget to be People tracklist, we used sign language, because there are a lot of people who cannot receive our art because of their disabilities. Although it won’t be the biggest stretch to accommodate people who can’t hear but, if they see those hand signs, they’ll be curious to know what People Forget to be People is. I wanted to involve people in the album approach – People Forget to be People is for the people, by the people.

“I FELT LIKE WE WERE LOSING OURSELVES AS A COLLECTIVE OF PEOPLE, SO WITH THE ALBUM, I WANTED TO SAY SOMETHING ABOUT THAT – HOW WE WERE/ARE TURNING INTO TEMPLATES AND SHELLS OF PEOPLE. AND I FELT LIKE I WAS THE LAST PERSON SEATED, AS MY SHELL OF LIFE WAS WAITING FOR ME TO STAND UP AND COME AND RECEIVE IT AND BECOME A CERTAIN TYPE OF PERSON.”

“People forget to be people” is such a thoughtprovoking title; it almost feels like the title of a psychological drama. Tell me about you settling on that title – how did it come about and what was the intention with it?

Before working on the album, there was a time when I felt like I was losing a lot of people and I was also seeing that people were losing themselves too. Not to judge, but I know people do lose themselves in general, because I also felt like I was slowly on that path of losing who I was, and I didn’t want that for myself, because as soon as you forget to be yourself or who you are, you tend to lose all sense of direction. I felt like we were losing ourselves as a collective of people, so with the album, I wanted to say something about that – how we were/ are turning into templates and shells of people. And I felt like I was the last person seated, as my shell of life was waiting for me to stand up and come and receive it and become a certain type of person. The title also goes hand in hand with the cover. As you can see, I’m the only one seated and everyone has left. I will add that the cover also has a positive meaning to it; I wanted to show people that, no matter how much time it takes, their turn will come. Everyone stood up from their chairs and I was the last one to wait for my turn and, guess what? I’m here now.

Tell me about making the project – putting together and writing the songs – besides the message coming from the title and the cover. What did you want to say through the songs?

I wanted to put in people’s stories, real-life observations and how I felt. The main aim was to have people feel connected to the stories because they are a part of it. As I said, I had to talk to people, conversate with them and find out how they live life, and what stories they’ve lived through, so that, when I make the music from my point of view, they can still connect with it because they were part of the story in the music. Also, I wanted to find a common thread about us as people; voice out our common views but, at the same time, give people my opinion. With this album, I was more in tune with my emotional side; I wanted to be vocal about how I also felt. Hence, in one of the verses, I say: “I miss my n*ggas at times.” I wanted to voice out that I don’t understand why people talk negatively about the country, but they don’t vote to change it. Things like that are things I was thinking about while making the project, and they’re things that I’m saying actively throughout it. I hope people understand and take them to heart.

“THE TITLE ALSO GOES HAND IN HAND WITH THE COVER. AS YOU CAN SEE, I’M THE ONLY ONE SEATED AND EVERYONE HAS LEFT. I WILL ADD THAT THE COVER ALSO HAS A POSITIVE MEANING TO IT; I WANTED TO SHOW PEOPLE THAT, NO MATTER HOW MUCH TIME IT TAKES, THEIR TURN WILL COME. EVERYONE STOOD UP FROM THEIR CHAIRS AND I WAS THE LAST ONE TO WAIT FOR MY TURN, AND GUESS WHAT? I’M HERE NOW.”

Still on the process of making the album, let’s talk about the production. Most of the songs are produced by MashBeatz and Logical Rhymez. It seems like you have a really beautiful working relationship with the two producers. Even the features that you chose – they’re people we recognise, and with whom we’ve seen you work before. What was it like involving all those people in the project?

When I started the album, Logical Rhymez sent me a beat pack, and the first song I made was the outro, ‘Still Love’, with Maarly. That’s the first song I made on People. I kept that song on the album because it felt so special to me. That song gave me a direction in what I wanted to do. We made a couple more records with LR – he was in Limpopo at that time and I was in Pretoria, so we just sent packs and recorded back and forth. While still in the beginning phases, I knew I needed Mash on my sh*t – he and I work so well together. He knows exactly what I want, what I need, and how to get it done – that’s what I like about him. When working with him, he puts your sh*t under the water – I don’t know how to explain it – whatever he does, works. I made a few records with LR, then I moved to Mash to start crafting the project and not just be demo records.

When it came to the features – when I record, I can already hear the feature in my head. When I made ‘Barker Haines’, I already knew I wanted Maglera Doe Boy and Mochen on it. In my heart, I believed that ‘Barker Haines’ would be such a big song, dog, and I wanted us to run this game with it. I wanted us, together, to be the north and west takeover, with Mochen in the north because he’s from the north of Pretoria. I’m from the west, and Maglera is in the middle, because he is from the North West. I’m very intentional with how I pack my songs – the transitioning, the story and the feels. And, although I do go with my gut feeling, if I were a curator and I found Wordz in the studio and he gave me all these demos, I would pack the album the same way.

With the album out already – sitting at number one – we are only just past the middle of the year. What should we look out for in the remainder of 2023?

If you’ve been following me, you’ll see I’ve been engaging more on social media, which is not in my nature. I want to be more engaging with my fans. I’m planning to do more interviews and gang visuals, and the music is not stopping. Trust me, the music is not stopping. I’m in a different mode – I want ‘Barker Haines’ to be one of the biggest songs in this country, and I’m gonna make that happen. I’m independent, and it won’t be easy; however, we’re changing the narrative. I’m not joking.

This story appears in HYPE magazine #34, available here.

The post [Cover Story] Wordz Unpacks His New Album appeared first on HYPE Magazine.

[Cover Story] lordkez’s Testament

Lolly — Wed, 19 Jul 2023 10:23:59 +0000

This story appears in HYPE magazine #33, available here.

lordkez's Testament

In a world hungry for genuine voices, lordkez shines bright, reminding us that through music, we can find solace, meaning and the courage to embrace our true selves. In our latest cover story, she unpacks her debut album, Testament

Written by: Lolwetu Pakati | Images: Children of Midas

lordkez’s artistry transcends the boundaries of traditional R&B. With a unique aesthetic, mesmerising voice and thought-provoking messaging, the artist has swiftly claimed her throne as the queen of alternative music in South Africa.

Her recently-released debut album, Testament, is indeed a testament to her immense talent, showcasing her ability to cocoon metaphoric songwriting and emotive storytelling within the R&B, hip-hop and neo-soul enclaves.

Born Keziah Zoë Meyers, lordkez’s journey began in the quaint mining town of Kimberley. Raised in a close-knit community, music found its way into her life through the walls of the church her grandfather once led. It was within the sanctuary’s choir that the young artist discovered her first taste of musical expression. However, in the midst of the tranquil town, she never dared to envision a future where music could be her profession.

“Growing up in Kimberley, I had never seen anyone pursuing a music career. I didn’t even know that was possible,” lordkez reminisces, her voice carrying a hint of nostalgia. “I thought I would have a very normal life; get married and settle down, because that’s what everyone around me did.” Despite the lack of visible role models, Keziah possessed a refined outward creative expression often associated with the artistic hubs of Cape Town and Joburg, which led many to mistakenly assume her origins.

SEARCHING FOR A SENSE OF BELONGING

While Keziah was still a teenager, her mother decided to uproot their lives and relocate to Abu Dhabi to pursue her teaching career. With their home packed and their dreams in tow, Keziah, her mother and her sister embarked on a transformative journey to the Middle East.

Amidst the bustling cityscape of Abu Dhabi, young Keziah found herself feeling out of place, like an imposter in her own skin. The stark differences between her and the people around her left her searching for a sense of belonging. In the midst of this internal struggle, she found solace and a genuine connection when she befriended twin sisters who were also from South Africa.

Bonding over their shared heritage, lordkez and the twins immersed themselves in music, poetry and random freestyle sessions. “We were hanging out, and I remember just randomly singing with them, but it wasn’t anything serious. That’s when they told me that I should consider making music,” lordkez recalls with a light-hearted laugh.

Like most artists, her early attempts at music left a lot to be desired – at least, according to lordkez herself. “I listen back to my earlier songs that I uploaded on SoundCloud, and they were just… not very good,” she says. “I cringe so much I can’t even listen to them. But people were genuinely supportive, and that meant a lot.”

Those same songs, however, caught the attention of Stay Low’s Vaughn Thiel, her current manager and a pivotal figure in her musical journey. Vaughn, recognising her potential, reached out to her, laying the foundation for a close professional relationship that continues to this day. lordkez is currently signed to Stay Low, which is home to Priddy Ugly, Herc Cut The Lights, Mars Baby and several other artists. Her dedication to pushing boundaries and exploring the depths of her musicality has set her apart, propelling her towards R&B stardom.

A TESTAMENT TO SELF-DISCOVERY AND SELF-ACCEPTANCE

Rock bottom lead to ‘Confessions’, a gritty and raw track where lordkez just lets it rip, shattering the anxiety surrounding the expectations placed upon her as a young woman. “This was one of the heaviest songs, it wasn’t going to make it on the album initially, which, in retrospect, is so crazy,” she says. “Overall, it’s me just confessing everything that has shaped me into the person I am today, whether it be losing friends, lovers or family. I wanted to just take my heart out and put it on a plate on this one.”

In a vulnerable state, lordkez sought solace in her mother’s embrace after the pressure became too much to bear. Writing the song was a moment of reckoning, reminiscent of Jesus’s weakest moment on the cross when betrayal loomed large. As she puts it, “It felt like that same emotion of pain that he was going through; it felt like I could relate. It felt like I needed to address myself because I felt so lost and didn’t know who I was.

“It’s about being human and being okay with that. That’s what Testament is for me: the journey of getting to know yourself and learning to be okay with that. So, it’s kind of like my testament of who I am as a person and as an artist.”

“When I wrote that song, I was at my mother’s house. She had just moved back from Abu Dhabi, and I had left Joburg because it was getting too much for me to handle. I was sitting on the floor in my mother’s apartment,” she says, “on an air mattress because we didn’t even have a couch. I was talking to my mom about everything, and she turned and looked at me and told me that I have something to say now. I was sitting on the floor crying; my hair was a mess, and I was wearing my old clothes that my mom had brought with her from Kimberley when I was a child. It was one of the most terrible moments in my life. I was sitting there and picked up my book and just started writing.”

At that point, she recalls, it wasn’t even a song. “I just started writing everything that I felt. All of the feelings that I was going through – I poured them out onto paper. I wrote down how I lost trust for people and how I was feeling absolutely demolished.”

‘Confessions’ encapsulates the transformative power of art as lordkez bares her soul, embracing her vulnerability and finding the light at the end of the tunnel. Through her music, she empowers herself and her listeners to confront their own demons and emerge stronger.

“The entire experience was intense and, even now, I find it hard to believe that we accomplished what we did. I’m also amazed that Bas was enthusiastic about the collaboration. I had some apprehensions because it was something he had never done before, but his willingness to embrace the vision speaks volumes. I have an immense amount of gratitude and appreciation for him because he truly is a legend in my books.”

LOVE AND RELIGION: A DELICATE DANCE

One of the defining themes in Testament is the intricate dance between love and religion. lordkez explores this delicate balance through captivating collaborations and introspective tracks. In ‘Judas’, the opening song of the album, she draws inspiration from the betrayal of Jesus Christ by Judas Iscariot in the Bible. “There were these stories going around about me, and I was very innocent in all of that, so that’s where it came from,” she says.

Collaborations play a significant role in lordkez’s musical journey. She enlisted the talents of her dear friend and frequent collaborator, Shekhinah, for ‘Water’, which stands out as one of the more light-hearted tracks on the album. “It’s a love song, but more of a longing song that isn’t directed at a specific person. We allow each other the space to just go off in the studio, and that’s what makes our collaborations so special,” she says.

The chemistry between lordkez and Shekhinah is undeniable, as they had previously joined forces on the popular song ‘Bella Donna’ from Midsummer. Their musical partnership continues to captivate audiences with their seamless collaboration and creative synergy.

Dreamville artist Bas embarked on a romantic journey alongside lordkez on the album’s lead single ‘Enthralled’ to tell a mystical story against the backdrop of what looks like scenes out of a fairytale. “I wanted to create a music video that tapped into the fun aspect of storytelling and allowed me to express my inner child, rather than focusing solely on romance. The team behind the creation of the music video, the Children of Midas, were absolutely incredible; they are high-level. I don’t even think I can thank them enough for putting my wildest dreams into something tangible. Their expertise and talent were on another level.

“The entire experience was intense, and even now, I find it hard to believe that we accomplished what we did. I’m also amazed that Bas was enthusiastic about the collaboration. I had some apprehensions because it was something he had never done before, but his willingness to embrace the vision speaks volumes. I have an immense amount of gratitude and appreciation for him because he truly is a legend in my books.”

“Shortly before my grandfather died, I made a music video, and my entire family was in it. He was standing there, looking all dapper. My aunt was the one who told me, ‘You know, you’ve immortalised him now because whenever you’re sad, you can go watch the video.’’

The spontaneous collaboration between her and Bas took place when he was in South Africa last year in March for a series of performances. “And we found ourselves in the studio together,” she says. “I was genuinely surprised by the situation. He played ‘Enthralled’ for me, and I was absolutely blown away. At that moment, I felt inspired and started writing then and there. I still can’t believe that I have a record with Bas. It’s truly surreal and humbling.”

By fearlessly exploring these themes, lordkez opens up a space for dialogue and introspection, inviting listeners to reflect on their own experiences and beliefs surrounding love and religion.

SPIRITUALITY IN MUSIC: A JOURNEY THROUGH LOSS AND GRIEF

While love and religion form the foundation of Testament, the album is also deeply intertwined with themes of loss and grief. Through her music, she navigates the emotional terrain of these experiences, offering a source of solace and catharsis for both herself and her audience. On the track ‘Eternity’, lordkez pays homage to her late aunt, infusing the song with deep emotions and vulnerability. Through her heartfelt lyrics, lordkez reminds us of the profound impact that loss can have on our lives and the healing power of art and music. ‘Eternity’, featuring Jelani Blackman, was the most vulnerable song on the album, she says. “It’s my auntie’s voice speaking in the beginning; she passed on in 2021 during COVID-19, and she’s my guardian angel now.

“Shortly before my grandfather died, I made a music video, and my entire family was in it. He was standing there, looking all dapper. My aunt was the one who told me, ‘You know, you’ve immortalised him now because whenever you’re sad, you can go watch the video.’’

“As much as it also sounds like a love song, I was singing about grief,” she says. “To love is to take the ultimate risk, and this is a song about losing the greatest love. I recorded this song and didn’t touch it for a year. I didn’t want it to be a deep, heavy song that wasn’t going to trigger anyone because my aunt talks about love in the song; I wanted it to be a love song.

“I got so excited that Jelani Blackman is on the song because I was really looking for someone with a deep voice because I wanted it to sound sensual. Shoutout to him for matching the energy on the song.”

A WANING LOVE STORY

One notable collaboration on the album is with her labelmate Mars Baby, on the poignant track titled ‘Flowers’. This heartbreak song delicately explores the gradual process of witnessing someone fall out of love. It starts with subtle changes, such as not receiving text messages from a lover and progresses to the absence of gestures, like receiving flowers.

‘Flowers’ has quickly become a fan favourite. However, lordkez admits that the song evoked a profound sense of sadness during the video shoot. “When we shot the video for it, I was so depressed because the song just kept playing over and over again, and it just made me feel so sad.”

Collaborating with Mars Baby on ‘Flowers’ was an intentional choice for lordkez, as she believed his perspective as a man would enhance the song’s depth and impact.

THE VISUAL JOURNEY: ART AND MUSIC CONVERGE

Beyond the realm of music, lordkez’s commitment to artistic expression extends to the world of fine art. Her first art exhibition, titled The Last Supper, drew inspiration from her album with themes of religion, caricatures and maximalist artistry; the artworks complement the sonic experience of the album, creating a cohesive visual narrative.

lordkez’s multidisciplinary approach allows her to create a complete sensory experience for her audience. The fusion of music and visual art provides a deeper understanding of the concepts explored in Testament, emphasising the inseparable connection between the two mediums.

With Testament, lordkez has not only etched her name into the annals of South African music but also established herself as an artist whose authenticity and vulnerability know no bounds. Her debut album is a masterpiece that will undoubtedly stand the test of time, serving as a beacon of hope and inspiration to young music lovers.

This story appears in HYPE magazine #33, available here.

The post [Cover Story] lordkez’s Testament appeared first on HYPE Magazine.

[Cover Story] The tale of two hip-hop kings: The Lost Diamonds dynasty

Lolly — Thu, 15 Jun 2023 12:30:23 +0000

The Tale of Two Kings: The Lost Diamonds Dynasty

We sit down with SA hip-hop veterans Blaklez and PdotO while they unpack their journeys and what drives them

This story appears in HYPE magazine #32, available here.

Written by: ubereatzz | Images: Megamania

PdotO seems excited to be at the HYPE mag office. Killing his vibe is the flu, which has been terrorising most of us since COVID-19 became part of our reality. He asks for some form of medicine and, luckily, we got him. As he takes a sip of a Berocca mixture, Blaklez joins us.

Having started recording music together in 2008 and collaborating over the years alongside N’Veigh and Ras, the two SA hip-hop veterans formed a formidable duo and released the album Lost Diamonds in 2020 – peak COVID-19 times. Their follow-up, Lost Diamonds II, dropped in 2022. “The timing for us had to be perfect to start working as a duo because I know, when we started, he had a much bigger brand than I did, so I never wanted that situation where you make a project with someone and you’re in their shadow. I had to build up my thing and my identity,” PdotO says.

“I WAS BEING ASKED, ‘WHY ARE YOU NOT DOING THIS THING, ’CAUSE
YOU ARE A PERFECT EXAMPLE OF A HYBRID RAPPER?’ BUT I TOLD THEM THE BEST I CAN DO IS A FEATURE BUT, AS FOR A PIANO ALBUM, I CAN’T DO IT IF I GO IN THERE , I WILL BE A CHARLATAN ’CAUSE I THINK THAT’S WHERE EVERYONE IS GOING.’’ – BLAKLEZ

As individual artists, both rappers have proved themselves to be two of our best. As a duo, they resonate better with me. Forming a duo felt inevitable after working together on countless songs on each other’s albums. PdotO made his first notable appearance on Blaklez’s 2013 album Black Beast on the track ‘Hush’.

“When I first met P and recorded ‘Hush’ in 2013, I got him on there, ’cause I thought this n*gga was nice,” Blaklez says. “I didn’t put him on, I just put him on a joint. I liked what HHP did with his hood. He is the greatest of all time, not only for his catalogue and how he put his city on, but for how he put the guys on who became kings in their own right and never got in their way.”

“Some people want to put you on and be close to you the whole time and not let those they put on do their thing… We need to let the story develop,” PdotO adds. “Jabba was selfless about it – that’s key.”

A TALE OF TWO KINGS

Blaklez

Both rappers followed a similar timeline in their respective hometowns and continued until they met up and started rapping together more and more frequently. Lesego ‘Blaklez’ Moiloa is one of 012’s finest. Having been born in Bothithong, a village in the Northern Cape, he was raised in Queenswood, Pretoria East. His career coincidentally started at HYPE magazine. “This was 2007. Miziyonke ‘Mizi’ Mtshali was the youngest editor at the time, and I was still doing my undergrad in journalism. I needed an internship. I wrote a lot of the covers around that time for Pro Kid, HHP, Flabba… about 15 covers I did. Simone Harris was the deputy editor, and the offices were still in Oxford Road.

“We changed the whole quality up for the [HYPE Sessions] CDs. Mizi and I curated them. N*ggas couldn’t even get on after we did that.” Blaklez joins PdotO and me in laughter after sharing that humorous historical anecdote. “Simone used to do them, but Mizi told him ‘let these n*ggas handle it’. I ended up being hired full-time and used to make guap from writing. As I was paid for words per minute, I wrote big stories.” Blaklez solidified his name as a lyricist in the competitive Pretoria hip-hop scene, both as a solo act and as one third of the punchline-slinging group, The Anvils, alongside Mycbeth and N’Veigh.

But Blaklez refused to end it at just being a pioneer of the underground Pretoria scene. He got to taste the fruits of his and other pioneers’ labours in the mid-2010s when SA hip-hop reached its peak. His 2013 album Black Beast spawned the hits ‘Hush’ and ‘Don’t Be Scared’, which tapped into new-age kwaito, the sound of that era. In 2015, he dropped A Broken Man’s Dream, which led with ‘Freedom or Fame’, a mellow trap single whose remix featured Reason and PRO. Blaklez established himself as a rapper who knows how to get emotive lyrically but doesn’t mind having a good time with bouncy singles like the Cassper Nyovest-featuring ‘Saka Nyuka’ and the aforementioned ‘Don’t Be Scared’.

That duality is one Blaklez shares with PdotO, who is mostly known for his poignant reflections of the self on PdotO staples like ‘Soaked in Bleach’ and ‘Hallelujah’. PdotO loosens up every now and then on songs like 2017’s ‘Move Over’, a new-age kwaito single released in the Cap City Records era when the pioneers of Pretoria’s hip-hop scene formed a label/collective and made sure to continue their run into the 2010s. For the ‘Move Over’ remix, which closed PdotO’s 2017 album Devilz Playground, he recruited DJ Capital, Buks, Kwesta, Ginger Trill and fellow Cap City Records member and frequent collaborator, N’Veigh.

**“WHEN I FIRST MET P AND RECORDED ‘HUSH’ IN 2013, I GOT HIM ON THERE, ’CAUSE I THOUGHT THIS N*GGA WAS NICE. I DIDN’T PUT HIM ON, I JUST PUT HIM ON A JOINT.” – BLAKLEZ’**

PdotO

Born in Umtata and raised in East London, Eastern Cape, Siphelele ‘PdotO’ Mnyande grew up in a spiritual home. “I came up from the Eastern Cape because my mother told me, ‘If you want to do this music thing, you have to study something.’ 2pac was my guy who got me into this thing ’cause he rapped and acted at the same time. I can act… I like acting, so I auditioned at TUT campus – that was 2006 – and enrolled for a drama course,” PdotO says.

PdotO got assimilated into the Pretoria hip-hop scene, starting out as Poet The Sonnet and dropping a string of tracks and mixtapes – Street Novelty (2009), Blue Murda (2010) – before eventually adopting ‘PdotO’ as a moniker, and dropping more singles and projects. PdotO remains consistent with a growing discography that includes solo releases and joint projects with the likes of Chad Da Don, DJ Switch and, of course, Blaklez.

I THINK WE LEARNT A LOT FROM EACH OTHER AND, WHEN YOU’RE WORKING WITH SOMEONE, YOU NATURALLY RUB OFF ON EACH OTHER; IT’S THE ENERGY. YOU WILL BE LIKE, ‘THAT WAS DOPE, LEMME TRY IT TOO.” – PdotO

Blaklez and PdotO both started making music at a young age. PdotO was 16 when he made his first song and Blaklez started making music at 15. “That song was horrible,” PdotO recollects. Blaklez feels the same about his: “Mine was probably worse than his; I hated my voice. One of the first things when you start recording is your voice – you just can’t stand it, so you need to find where you’re comfortable.”

Both rappers were part of crews during their respective come-ups. “I was part of two collectives. One was called Pressure Point, around ’03,” Blaklez says. “It was myself and a good friend of mine called Ras and this other dude, Stas – I don’t think he raps anymore. We were doing our thing; we were like the jiggy side of Pretoria ’cause it was during the time of groups like Ba4za, which had dudes like Flex Boogie, and The Anvils that had Mycbeth and N’Veigh, which I later joined around ’06. We were managed by this guy called Lethabo Peter.”

Blaklez and PdotO both speak fondly of Lethabo. “He was an engineer at the time, and a hip-hop fiend, but he’s left the game now to pursue other ventures,” Blaklez says. PdotO adds, “Lethabo was pivotal, man. He was like the Dame Dash of Cap City at the time.” Blaklez continues, “Yeah, we were front-line at the time. Lethabo started speaking to the State Theatre, so we could perform there, and got sponsorships where we got paid for rapping.”

Earlier in his career, PdotO was part of a collective called Xhosa Nostra. “When I was still in the Eastern Cape… and it was Semiato (aka Shorty T), Masekid, Mali D, C Luv and myself… it was about four or five of us. Shorty T was 10 steps ahead of me in terms of rap ’cause he listened to a lot of Biggie, and I thought I was Tupac, like, ‘Yeah, I’m tryna be like Pac, bro!’” We all chuckle before PdotO continues. “He taught me how to flow on a beat ’cause I was always like, ‘How does this guy do this?’” PdotO reveals about Shorty T. “He always had a blunt and I was always like: ‘I don’t do this stuff. Smoke that there, bro!’ and he would tell me to relax.” This is where PdotO’s spiritual upbringing played a part in him frowning upon alcohol and marijuana use at the time. “I grew up and learnt, and found myself. Ain’t nothing wrong with a li’l gin and juice,” he says.

“YOU KNOW THE PROBLEM WITH SOUTH AFRICA IS WE ARE OBSESSED WITH ONE THING FOR TOO LONG. I THINK THERE’S NO PROBLEM WITH HAVING DIFFERENT GENRES IN THE MUSIC INDUSTRY, WHILE PEOPLE WITHIN EACH GENRE SHOULD ALSO BE DIFFERENT. THERE SHOULD BE COLOUR.” –PdotO

To this day, it still feels like Pac is one of PdotO’s biggest influences. PdotO has built a cult following from his extremely honest lyrics. His “God Bless the God Blessed” tagline is their slogan, which is incorporated in his merchandise line. Blaklez and PdotO feed off each other’s energies in a very obvious, synergic way, with opposing but complementary personalities. In conversation, their banter shows up and they definitely sound like rap siblings.

“You forgot to mention who taught you how to double rhyme and told you that the accent cannot bail you out,” Blaklez says. PdotO interjects: “You know what, you know what…” I am in stitches at this point. Blaklez continues: “We gonna sound like we are arguing now; don’t fight me on this, bro, but let me say, he became so dope with the double rhyming thing and I said, ‘Let’s get some content in there,’ ’cause everything was perfect, he just needed to say some conscious stuff that makes sense, on my momma! What did I say to you? Tell the truth; shame the devil! You from a spiritual family.” PdotO nods, “Yeah, yeah, yeah… I’ll give him that,” he says, punctuating his sentences with laughter. “I didn’t have the double rhyming at first; he did say it, and I learnt a lot.”

PdotO states, “I think we learnt a lot from each other and, when you’re working with someone, you naturally rub off on each other; it’s the energy. You will be like, ‘That was dope, lemme try it too.”

A LOST DIAMOND FOREVER

They dropped their first joint album, Lost Diamonds, in August 2020. It featured rapper N’Veigh, R&B singer Jay Claude, Ntate Stunna, Jst Sako and Lebo Mochudi. The cover art has two diamond chains with the word “Lost” as a charm on the longest chain, along with the word “Diamonds”, capitalised. This album served as the official introduction to them as a duo, and received positive reviews. It is a 13-track boom-bap album that tackles various themes about their lives as rappers, why they deserve their top spot in SA hip-hop royalty, being hopeful in tough times and their love lives, amongst other things.

“Our recording process is fast,” Blaklez states. “This guy can make a song in less than 15 minutes,” PdotO adds. “So does he,” says Blaklez. “We finished the album in four days – the whole thing. For example, we can do three to four joints in a day and then call the features in and get it out the way, or they stay with us and suggest what we can do with the songs we recorded. I brought in Ntate Stunna for ‘Keep Pushing’.”

My favourite tracks are ‘Banana Clips’, featuring N’Veigh – a hard-knocking rap track about confidence and challenging your opponents, as PdotO raps: “My n*ggas gambinos, you n*ggas moleanos. I pump action, my words piff, we the new Sopranos,” – and ‘Forbidden Fruit’, which is a beautiful, sultry song about being with someone who makes you feel so good that it feels like a bad thing to indulge in them, as Blaklez raps: “Waxin’ it like Miyagi/ Love when you call me papi/ Forbidden fruit so hush please, no tellin’ like Tekashi.”

“I THINK MUSIC IS MORE ADVANCED NOW; IT’S FASTER NOW. IT’S A GREAT THING, BUT IT’S GOT ITS NEGATIVES. ONE OF THE NEGATIVES: I FEEL A LOT OF ARTISTS OVERCOOK THIER MUSIC NOW.”

Their recent joint album Lost Diamonds II released in 2022, featuring Ayanda Jiya, Jay Jody, Tyson Sybateli, Chad Da Don, N’Veigh, Bugzito, AV, Maggz and many more. The cover art is a picture of both artists wearing golden crowns and drinking from what one could presume is the “Holy Grail”. Staying true to their powerful lyrical content and boom-bap rap style, this album has 13 tracks as well, and gives a much more youthful feel while still remaining true to the early 2000s hip-hop feel, as they rap about themes like relationships, fame, self- introspection and how they continue to dominate the game.

“The second one was three days long. Then we called in a selection of people to feature, like the first album. When Tyson Sybateli came through for ‘About It’, I thought he was dope – I loved his energy,” PdotO says.

ON THE GAME TODAY

Both of them have careers that span over more than a decade, so I was pretty interested in their views on music – especially hip-hop music – given that the COVID-19 pandemic was a pivotal moment for every industry. It has changed a lot of things for everyone.

“I think music is more advanced now; it’s faster now. It’s a great thing, but it’s got its negatives. One of the negatives: I feel a lot of artists overcook their music now. When I listen to some albums, people will have so many beat changes – like 52 times on a song – then they start singing; then there’s a lot of skits all over the place. I listen to a lot of hip-hop albums that don’t sound like hip-hop albums ’cause of the overcooking. It’s the same thing that’s happening oorkant,” Blaklez says.

They touched on how they watched their peers move from creating hip-hop to creating amapiano when it hit the nation’s overall music consumers, and the climate shifted. It took a psychological and mental toll on them, because some people who were in hip-hop with them had migrated, and they were winning. “I was being asked, ‘Why are you not doing this thing, ’cause you are a perfect example of a hybrid rapper?’ But I told them the best I can do is a feature but, as for a piano album, I can’t do it. If I go in there, I will be a charlatan ’cause I think that’s where everyone is going,” Blaklez states.

He also gives a shout-out to the younger generation of South African rappers who continued to make hip-hop music, irrespective of the current musical climate. “They earned their way throughout COVID because they kept it hip-hop. I suppose age is a big factor because some of the artists are 22 or younger and they might have less responsibilities than the older guys who needed to put food on the table for their families.”

“You know the problem with South Africa is we are obsessed with one thing for too long,” PdotO says. “I think there’s no problem with having different genres in the music industry, while people within each genre should also be different. There should be colour. We are very one-dimensional – when people do different things, people in specific positions will be like, ‘Well, this is not selling. You need to do what sells.’ It’s not about selling all the time; it’s about having so much different music to learn from.”

“I THINK IT IS ABOUT SELLING, BUT IT’S IMPORTANT TO KNOW WHO YOU’RE SELLING TO. FOR MANY YEARS, WE FORGOT THAT HIP-HOP IS A NICHE MARKET- ARTISTS WHO ARE LOYAL TO THEIR NICHE MARKETS AND ARE DOING IT PROPERLY ARE EATING FROM IT” -BLAKLEZ

Blaklez adds: “I think it is about selling, but it’s important to know who you’re selling to. For many years, we forgot that hip-hop is a niche market – artists who are loyal to their niche markets and are doing it properly are eating from it, like Zonke. She sells out 3,000 tickets. She knows her people.”

PdotO currently has a mixtape out on all DSPs called Son Of Nomsa (S.O.N.) that came out on 10 March as a tribute to his late mother, who passed away. Blaklez has an album that dropped on 2 June, called Loyal To The Soil, as an introduction to his ‘Brother Bear’ era for his fans.

This story appears in HYPE magazine #32, available here.

The post [Cover Story] The tale of two hip-hop kings: The Lost Diamonds dynasty appeared first on HYPE Magazine.

[Cover Story] The Rise of Kiddo CSA

Lolly — Tue, 16 May 2023 09:48:18 +0000

The Rise of Kiddo CSA

Kiddo CSA’s artistic talent is a kaleidoscope of diversity, blending lyrical genius with an effortless and smooth tone. As the rap game takes notice, it’s only a matter of time before Kiddo CSA becomes a household name.

This story appears in HYPE magazine #31, available here.

TEXT: THEO MOKGETHI // IMAGES: WARNER MUSIC SOUTH AFRICA

Hailing from the east of Joburg, Sipho Ncube, better known as Kiddo CSA, is the highly anticipated rising star of the SA hip-hop scene. With his diverse artistry, he possesses lyrical genius and a smooth, effortless tone that sets him apart from the rest. Kiddo CSA has been knocking at the door of the music industry to move from the underground to a mainstream level, and it started with his online freestyles, which he used to showcase his lyrical ability. Little did he know those freestyles would catch the attention of DJ PH, who, in 2020, placed him on the track ‘Gotta Go’, with living legend Da L.E.S and the late Tumi Tladi. “It was crazy,” Kiddo CSA says when asked about that moment. “That’s when everything became real,” he says. “Like, that’s when you could see you’re not delusional; you’re actually nice because you can make it in the game. For DJ PH to hit you up and say, ‘I want you on a song’, and not because they heard it from a label or they heard it from this guy… He saw me on the internet. It was a confirmation at the time for me to continue pursuing this music thing.”

To add fuel to the fire, Kiddo’s friend and producer Undfind, who is based in Los Angeles, was able to share one of Kiddo’s freestyles with accomplished Chicago rapper Mick Jenkins, who was blown away by Kiddo’s lyrical ability. Right away, he sent Kiddo a song with just a chorus and asked him to spit a verse, and that’s how the song ‘Stay Down’ came to fruition.

MAINSTREAM

Kiddo’s vision for his career became clearer as Warner Music South Africa started knocking on his door to offer him a deal he couldn’t refuse. He officially joined the label in October 2021. “It’s been dope,” he says about his experience with Warner, “because there are certain resources you don’t have independently. Having a music career is different from having a business. If I have products that I’m selling, like if I bought the product and I’m selling it back and someone’s gonna buy it, that makes me money. But with music, you are selling the product for a specific number of years without the return on investment. So, when you’re doing it solely by yourself, it’s pretty draining on the pocket, and stuff like that. So having a label that’s able to offer you resources and offer the mentalities that they have, in terms of the expertise that they have in music, it’s dope, because it also puts you in a different mental perspective.” We’ve seen artists switch up their sound after signing with major labels. Asked if he would do the same, Kiddo shares an epiphany. “I really think I was very stubborn about that last year,” he says, “because I was making my own thing, but when I started doing shows, I realised that I can’t keep making things for myself, because the shows don’t go up as much, you know. It’s dope music, but people need to listen to it in different settings; the shows are where you see your relevancy, and that keeps you going forward. “So, I started making music and doing research by going to clubs and also listening to what’s actually being played – the BPM, the sound, the 808s… whatever the case may be – so that I could get to understand what I needed to come back with. And I think, yeah man, it’s fun, because you’re just experimenting, you know. It’s not like I’m making music for other people. It’s like I’m still making music for myself but in a more experimental way.”

“I REALLY THINK I WAS VERY STUBBORN ABOUT THAT LAST YEAR BECAUSE I WAS MAKING MY OWN THING, BUT WHEN I STARTED DOING SHOWS, I REALISED THAT I CAN’T KEEP MAKING THINGS FOR MYSELF, BECAUSE THE SHOWS DON’T GO UP AS MUCH, YOU KNOW. IT’S DOPE MUSIC, BUT PEOPLE NEED TO LISTEN TO IT IN DIFFERENT SETTINGS; THE SHOWS ARE WHERE YOU SEE YOUR RELEVANCY, AND THAT KEEPS YOU GOING FORWARD.”

WHEREVER A MIC’S AVAILABLE

Kiddo CSA’s love for hip-hop began at home, where his family played a lot of different sounds and genres. As a child, he didn’t have many friends and mostly stayed indoors, so making music became a way for him to have fun and express himself creatively. It explains why rapping and making music are second nature to him. “I don’t like to write my lyrics. I prefer to freestyle instead,” he says after explaining that he doesn’t stick to a particular creative process when making music. “The luxury of having a creative process also goes with the experience and the type of money you have,” Kiddo says. “Like, there are rappers that be like, ‘I want to be in a room by myself and it’s dark and it’s…’ you know. Sometimes I go to the studio and it’s eight people, and I gotta make music, bro.” Kiddo makes music wherever there’s a mic available.

LONDON

Kiddo CSA had the privilege of going to London last year in October for a recording boot camp, where he met and engaged with various artists and producers. This opportunity gave him a chance to work with a singer-songwriter from London, UK, Monique Lawz, who recently collaborated with him on his latest single, ‘Window’, which has been number one on radio for a few weeks, and still going. “It didn’t even take more than 30 minutes to make the song,” Kiddo says. I was not surprised, as the chemistry between these two artists is electric. I could feel it in the room as I was interviewing Kiddo, and Monique was on the other side of the room, hyping him up as he answered my interview questions. Monique Lawz, Kiddo says, will be on his upcoming project, Worldwide Eye, which is due for release on 28 April. Kiddo mentions that he worked with different producers from all over the world. The project features five songs, and the cover art was shot by the one and only Mishaal Gangaram. So, what kind of message does he want his fans to take from his music? “The sense of hope,” he says. “I think with my music, if you’re gonna listen to it, like the song that’s currently out now, it’s fun. But you can still hear a line that says something like coming from the bottom is not nice but you can work your way out, or whatever. So even if we’re having fun, it’s still from an educational perspective. It’s like I was trying to say – the listener must have just a sense of hope and faith.”

This story appears in HYPE magazine #31, available here.

The post [Cover Story] The Rise of Kiddo CSA appeared first on HYPE Magazine.